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20220630 Culture 14

2022-09-18T18:05:06Z

Zhang Minfeng: /* 英语口译张旻丰 Zhang Minfeng 202170081631 */

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

==英语口译向望 Xiang Wang 202170081628==
<center>'''Fandom Culture in China'''</center>

<center>Xiang Wang</center>

===1.Introduction===

A fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity. Fandom culture, or the so-called "fanquan" culture, refers to online youth communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.

===2.Fandom===

'''History'''

Although early fandom was strongly perceived as a fandom culture involving a few fanatic people, it has recently brought about a shift in perception that can be accessed in a variety of ways only by the name of a star or related search terms on portal sites, which is largely due to the development of the Internet and media.

Among the numerous fandoms in cyberspace, especially the nation’s “idol” fandom has steadily expanded its influence in various ways to date. In the past, idol fandom culture was called “girl culture” or “teenage culture” and was considered primarily an immature culture for teenage girls, while the third-generation idol fandom has recently expanded to men and over 40s, exerting an influence on cultural consumption aspects for all generations.

'''Fan relationship'''

Parasocial relationship is a one-sided relationship as a result of constant exposure to a media persona that a celebrity demonstrates. This then causes fans to develop an illusion of an intimate relationship or friendship. Idols are typically trained to have and form close connections with their fans which leads to this close-knit connection becoming a parasocial relationship. Idols do this through parasocial interaction. Parasocial interaction between fans and idol(s) is a start at explaining fandom culture. The idol(s) become a “parasocial-kin”, an object of consumption and parasocial interaction; such as a family member or a friend. This “parasocial kinship” is defined by how an individual would treat an extended family member, allowing for further understanding of the positive and negative aspects of the idol/fan parasocial relationship.

Celebrities are icons that are driven by their presence in majorly media-driven societies. As time, society, and culture progress, the idols must change and form along with it. The best way that this is represented is through social media.

'''Fansumer'''

“Fansumer” is a compound word of “fan” and “consumer.” This means consumers who participate in production, in other words, productive consumers. Then, the fan base, which was classified as a fandom, turned into a very active fan who focused on the interaction of planning, investing and checking while participating in the overall production and production process for products or entertainers, not just one-sided love and purchase for one-sidedly.

Fansumer’s sphere of activity is very wide. As mentioned above, they invest in startup idea products, engage in corporate product development, engage in marketing activities as supporters, and support or criticize celebrities or influencers, not to mention fostering celebrities before their debut. The driving force behind these Fansumer’s activities is the pride that ‘it was made by me.’ It’s called Byme Syndrome, noting the efficacy of being created by me.

'''Fan behavior'''

'''Positive'''

Members of idol fandoms may better themselves in the pursuit of their obsession, such as by studying to enter the same university as their idols, learning foreign languages to follow their idol’s career abroad, or learning image-processing techniques to edit photos of the idol. Fans’ role in creating their own fan content allows for idol groups to gain mainstream exposure in the west, and have tours abroad.

'''Negative'''

Stalker fans are considered to have become overly obsessed with a public figure and engaged in behavior that constitutes an invasion of privacy. Stalker fans may disguise themselves as a stage hand or manager to approach the star or pretend to be reporters in order to gain entry to a press conference. Many fans use the Internet and social media to find and track the location of their idols. Some of the fans came to the group’s hostel, stole the members’ underwear, took pictures of them sleeping, and later sent the pictures to the members by text message. Many normal fans have an unpleasant feeling about such fans’ actions.
Paparazzi also exist in China and Zhuo Wei is one of the most famous ones. They report on the private lives of celebrities in the Chinese entertainment industry and have violated privacy by exposing secrets and illicitly taken photos.

===3. Fandom culture===

'''Overview'''

Fandom culture is not new. Long before the internet, fan clubs were organizing gatherings, publishing magazines, and writing fan fiction. But in the early 2000s, the rise of social networks fundamentally changed the face of fandom, turning it from a pleasant communal activity into something competitive, chaotic, and even abusive.

In China, the main driving force behind this evolution of fandom is Sina Weibo, the largest social media platform in the country. In addition to helping enthusiasts find their communities, Weibo also brought celebrities and their supporters closer together by breaking down the wall between them.
At its core, the way Weibo operates in the world of fandom is no different than its global counterparts like Twitter and Instagram. But if in the West the relationship between stars and their fans can be called one-sided — fans just follow, consume content, or copy the lavish lifestyles on display — in China the relationship is more co-dependent.

The fan circle members are believed to be mostly Generation Zers born after 1995, and their number has grown significantly in recent years. In 2020, about 8 percent of China’s 183 million underage netizens engaged in reputation-boosting activities for their idols, according to a recent report from the China Internet Network Information Center.

'''The status quo of fandom culture in China'''

For many young people in China, particularly those born after the 1990s, fandom culture—which can be traced back to the idol worship of the 1980s and 1990s—has offered a rare avenue for identity formation and community building in society. As networked and often highly organized communities of fans rallying around their beloved idols, “fandoms” have enabled close parasocial interactions in which fans feel a kind of intimacy with the object of their shared interest, as well as a sense of active participation that can be empowering and identity-forming.

Examples of fandom culture include the hit show “Idol Producer,” which launched in January 2018 on the online video platform iQiyi and empowered fans to select and promote their favored contestants from among 100 aspiring performers. The ultimate goal of the program was to select nine performers to form a brand-new male idol group. As fans organized to promote their favored idols through social media platforms, their interactions were fueled by Gen Z-focused services like live-streaming and live commerce.

Fandoms have become big business in China. A report published by iResearch Consulting Group put the market value of the fan economy in China at close to $620 billion in 2019 and estimated that the fan economy would grow a further 50 percent by 2023.

It would be easy to dismiss fandoms as shallow and celebrity-obsessed, but the highly organized online communities forming around China’s fandoms have already demonstrated their potential for both social activism and political organization. Perhaps the most prominent example of online fandom communities’ potential for political expression came in 2016, when the so-called “Diba expedition” saw thousands of highly organized cyber-nationalists, mostly “fan girls,” mob the Facebook account of Taiwan’s newly elected leader, Tsai Ing-wen.

Fandoms and their capacity for collective action were also one of the largely untold stories of China’s fight against the COVID-19 epidemic in its early stage. In January 2020, as it became clear that an epidemic had emerged in Wuhan and surrounding areas, the government response was far too slow in many key areas, including the provision of protective equipment. By contrast, the networks already formed within fandom culture—the same that allowed mobilization in support of chosen idols—enabled the rapid marshalling of resources. On Jan. 21, 2020, one day after China confirmed human transmission of COVID-19, the fan network of Zhu Yilong, a young actor originally from the city of Wuhan, mobilized funds to purchase more than 200,000 protective masks. These and other supplies were delivered to Wuhan within 24 hours, offering much-needed support for medical personnel and others on the front lines. The aid offered by the Zhu Yilong network is just one of many examples of how online groups provided a crucial means of support amid a rapidly unfolding crisis.

===4. Fandom culture in the wave of social media===

Fandom culture has been around for centuries. However, it is the emergence of social media in recent decades that has led to the remarkable transformation and development of fandom culture. Most obviously, fans play a more active role. They are not like completely passive receivers in the past but participate in the production process of cultural products on their own initiative. All these phenomena show that fandom culture profoundly impacts the economy, culture, society, and other fields.

'''The impacts of digital networks'''

Many processes, such as forming fan groups and creating fandom culture, require communication and interaction. However, due to the limited means of communication, in the pre-Internet era, communication between fans was always hindered in various ways, either by long distances or inconvenient schedules. Henry Jenkins argues that the emergence of digital networks has made it possible for fans who might not otherwise have met to have meaningful conversations and has created a new context that fans can share. It is reasonable to declare that those barriers mentioned above have been broken in a digital network environment where the degree of fan interaction is much higher than in the pre-Internet era, as is the degree of fandom culture development.

'''The interaction between social media and fan engagement'''

In the first 10 years of the new century, the world Internet gradually developed from Web1.0 to Web2.0. Compared with Web 1.0, Web 2.0 emphasizes more on interactivity. This feature has laid the foundation for the emergence of social media platforms and thus promoted the new development of fandom culture. Guo Shuojia points out that the rise of social media has greatly broadened the scale of fan groups and promoted communication within fan groups. Because the fans can communicate and discuss on social media in real-time, which all result in the prosperity of the immediacy and participation of the current fan culture (Guo Shuojia, 2018,147-162).

In the second decade of the 21st century, fandom culture has seen a new boom around the world, which is related to the continuous upgrading of social media. All the efforts that social media make to increase users’ stickiness and activity objectively help fandom culture grow. Take Weibo for example, China’s largest entertainment social media platform. When a user chooses to follow a celebrity, the user is immediately notified of the celebrity’s tag, channel, and fan group. Further, through big data technology, the user will be frequently recommended content related to or similar to the celebrity, including entertainment news, commercial advertisements, and other content, when browsing information.

'''Celebrities’ active participation in social media'''

Moreover, the growth of fandom culture is not the result of the rise of social media alone. Celebrities also choose to use social media to enhance the sense of intimacy and provide greater possibilities for interaction (Guo Shuojia, 2018). In other words, it’s not just fans who are discovering the power of social media. Celebrities and the business communities behind them are also noticing the value that social media can bring. Since she joined Twitter in 2008, Lady Gaga has insisted on interacting with her fans as a publicity hot spot. Lucy Bennett has summarized this kind of phenomenon as “the emergence and widespread use of social media by celebrities are trying to reconfigure the contact level and participation depth between both fans and celebrities” (Lucy Bennett, 2014, 109-120). Since its establishment in 2009, Weibo has also attracted a large number of celebrities to come here to share their daily life and communicate with their fans, which attracts more fans and improves their business value. With the expansion of fans, fandom culture and fan economy have entered the mainstream of society.

'''Brief summary'''

The growth of fandom culture results from a multi-faceted effort by social media, fans, and celebrities. The emergence and development of social media have narrowed the distance between celebrities and fans, creating a new environment for real-time comments and feedback from fans. At the same time, the development of fandom culture has promoted the development of the fan economy. In the context of the double prosperity of fan culture and fan economy, fans have become an indispensable group in the social scene, and their influence soared.

===5.The role change of fans===

'''From receiver to producer'''

Firstly, the exchange of traditional media to emerging social media promotes the development of the participatory culture of fandom, which makes their role change from the receiver to the producer. According to Henry Jenkins, participatory culture is a notion to describe how media fandom operates, and it is known as spectator culture (Henry Jenkins, 1992). And we consider participatory culture important to fandom culture because fandom was participatory in so far as fans formed alternative interpretations that were often expressed through unauthorized cultural productions. Before the 2010s, the mainstream media was still traditional media, making the fans only receive information from official sites, and there is not enough space or suitable platform for fandom to expand. However, John Fiske pointed out that fans are the producers and consumers of popular culture capital, and fandom culture has two cores, chatting and derivative creation (John Fiske, 1992, 30-49). Under the control of traditional media, although fans at that time do not have enough space to communicate with each other, there are still platforms like Tieba (in 2009, the Tieba of Li Yuchun already had over a billion) for them to exchange commands and show their derivative creative productions. Therefore, after 10 years, we media emerged, newly developed platforms like Weibo, Bilibili, and the developed technology promote the progress of the social media revolution, producing more alternative spaces for fandom and participatory culture to grow. According to Cai Qi, fans are always the first user and promoter of new media techniques, and the most direct driver of a true communication revolution is, as always, technology (Cai Qi, 2009, 86-90). In the generation of we media, fans have taken the best advantage of social media platforms to promote their fandom. A place like Chaohua (community of Weibo) is now a community for fans to exchange the dynamics of the idol, communicate feelings, and produce artworks. Along with the revolution of social media these years, the role of fans is not only receiver and consumer of information, but also producer and participants of derivative creations.

'''From passive to active'''

The revolution of social media also changes the mindset of fans from passive to active. As mentioned above, the essence of fandom culture is participatory culture. Fans need to have communication in the fandom. The change of mindset can be considered a willingness to communicate with other people and enlarge their fandom. According to Cai Qi and Huang Yaoying, based on the technology development, from traditional media to emerging we media, information spreading is also changed from node to surface to multiple nodes exchange (Cai Qi, Huang Yaoyin, 2011, 28-33). In the age of traditional media, the role of fans on the internet is more like the audience. They receive information from media and form concepts but lack the platform for expression and comments. People can only communicate their ideas with their surroundings which is very limited under the condition of traditional media, and it is also hard for them to form a circle to share a common hobby. While under the condition of we media, people can send out their fragment information through the Internet to everyone and receive the information they are interested in immediately. Fans in this generation can make use of these conditions and form their fandom quickly. Like in Douban, you can choose to join different groups and find a few people with common interests, which stimulates the willingness of expression quite a lot. Therefore, it can be concluded that the social media revolution encourages expression and different voices, which makes fans braver to share their ideas, and the mindset change from passive to active.

===6.The impact of fandom culture===

Thanks to social media, fans have gained so much power compared to the past. As an integral part of society, being such a powerful group allows them to have a strong influence that cannot be neglected on our society. The influence is multi-dimensional and impressive.

'''Economic influence: fan economy'''

Among the most followed celebrities on Weibo, Xie Na, who ranked first, has 129 million followers. The figure shows how enormous the fan base is in China, which is also targeted by companies as their potential market. In his 1992 book Textual Poachers, Jenkins described fandom as a base for consumer activism among five core dimensions (Henry Jenkins, 1992). Indeed, many product producers seek the endorsement of famous actors or singers to boost sales. Combining a celebrity’s advertising post on his or her social media and other forms of advertisement is now considered a reliable marketing strategy by big companies. Fans’ purchase power is also demonstrated when their object of admiration makes a new production, whether it is music, a film or other forms of achievement. For example, when a singer or a band releases a new album, fan bases will immediately devote themselves to negotiation with the publisher to get the lowest price possible and design special merchandises like slogans, canvas bags, bottles, etc. These merchandises, with beautiful pictures of the singer or band on them, must be purchased with the album, which serves to attract as many fans as possible to purchase the album. Baidu Jeon Jungkook Bar, a fan base for the K-pop sensation BTS’ member Jungkook, purchased a total of 166,200 Map of the Soul: Persona albums after its release. As Li put it, when fans’ need is met and they are excited about what will come next, they will be willing to spend more money; when the consumption is interactive, it lasts longer (L. Li, 2012, 25-26).

The fan economy in China is driven mostly by minors. An average online fan club has millions of young (mostly female) followers ready to support their idols by contributing money or actively buying the idol’s advertised products. Often, they go beyond spending money. For example, fans can raise an idol’s commercial rating and help him or her get even more endorsement deals if they took a screenshot of the purchase, tagged it with both their own username and the brand’s social account, and uploaded it to social media.

Cooperation with Chinese idols is a proven method for brands to grow their reputation. In 2019, Estee Lauder announced Xiao Zhan, a popular Chinese singer and actor, as its brand ambassador just before Singles’ Day, the world’s largest online shopping festival, held on November 11 every year. As a result, sales exceeded 40 million yuan ($6.2 million) in one hour. U.S. cosmetic brand Origins reported similar results. Its collection, made in collaboration with Wang Yibo, surpassed 30 million yuan ($4.6 million) in one hour. Last year, Chinese actor, singer, and dancer Jackson Yee became a global makeup and skin care ambassador for Armani Beauty and an Emporio Armani global ambassador.

Some studies show that of the estimated 500 million “idol chasers” (defined as anyone ready to spend money on an idol) in China, 36% are willing to spend 100 to 500 RMB ($15 to $75) per month. What do they get in return? Emotional satisfaction, an academic analysis of the fan economy says, is like having a good conversation with a friend. This feeling is the key element of the so-called “emotional capital” of the star. The more people feel that a celebrity can understand and satisfy their emotional needs, the more emotional capital they get.

'''Cultural influence: creation boom and values shift'''

Recent years have witnessed a boom of fan productions: fan fiction, fan videos, fan arts, fan edits, etc. Jenkins believed that the reason why more and more people are participating in this creation is that the network provides them with a safe place where they can experiment with new passions or activities (Henry Jenkins, 2018, 11-26). The massive online community offers fans the audience no matter whether their creation is good or bad. Many fans with specialties in a particular area even give instructions to rookies by using social media or making instruction videos. Through social media, each fan could find a way to participate in content creation and feel a sense of belonging and achievement. The advent of social media has also enabled people to voice their opinions in an unimpeded way. Information and knowledge could no longer be cut off from the public; public opinion is free from control and manipulation. Thus, independent of the traditional media, fans have come together to break the mould of society. Their strong voice, in turn, exerts influence on traditional media (Cai Qi, 2009, 86-90). Fans question the values held by most people, for example, the definition of beauty. Wang Ju, a participant in one of the most popular variety shows in China, Produce 101, has dark skin and a strong body contrary to the typical appearance of female idols who are usually slim with light skin color. At the beginning of the show, netizens criticized her harshly, making fun of her skin and exaggerated expressions. However, as the show went on, Wang Ju expressed her respect for the independence of females and demonstrated her candid and ambitious personality, which gained her a lot of fans, many of whom were against her before. Her fans did their utmost to promote her and vote for her, contributing to her rising popularity. People began to recognize this different definition of beauty. Global Times wrote: “The personality Wang displays coincides with the shifting attitudes of China’s younger generations (Zhang Yiqian, 2018).”

'''Social Influence: Public Welfare'''

As mentioned before, China has a large fan base, which can play an important role in donation and relief. Fans can deliver what they appeal for online (Cai Qi, 2009, 86-90). Many fan bases continue to make donations to international and domestic organizations such as Whale and Dolphin Conservation, WWF and participate in various projects to help advance the cause of animal, environmental protection, and human welfare. After the coronavirus outbreak in Wuhan at the end of 2019, many fan bases and organizations in China rallied to raise funds for the epicenter of the epidemic. By February 2020, there were more than 300 fan groups in the joint force that has obtained face masks, protective gowns, and other crucial supplies to donate to medical practitioners fighting in Wuhan. Among the deeply concerned fan groups, Lun Deng’s fan club stood out. More than 3000 members of Deng, a famous actor with more than 39 million followers on Weibo, contributed to the donation effort by raising more than 230,000 yuan ($32,752) in 12 hours (Chen Nan, 2020). By doing their utmost to support Wuhan, fans show care and compassion for their compatriots and a sense of social responsibility.

===7.The “Clear and Bright ” campaign===

The campaign, called “Clear and Bright,” started in June, with the Cyberspace Administration of China (CAC) saying in a statement that it would put an end to cyberbullying and rumor-spreading. Some of the behaviors being targeted include inducing minors to raise funds, vote rigging, and agitating fans to flaunt their wealth and extravagant lives.

The celebrity-ranking ban follows the CAC’s removal of 150,000 pieces of “harmful online content” and punishment of more than 4,000 accounts related to fan clubs, according to a recent Xinhua report.

The campaign was originally launched after an incident in May that came to be known as the “milk waste” scandal. The popular talent show Youth With You 3 encouraged viewers to buy milk and scan the QR code inside the bottle caps to support their favorite stars on the show. Videos of people opening bottles of dairy products and dumping the contents into drains went viral. Some calculated that 270,000 bottles of dairy products were poured directly into the sewage. Intense online backlash caused the show to be suspended by the Beijing Municipal Radio and Television Bureau.

===8.Conclusion===

Fandom culture emerges as a subculture; it is a cultural phenomenon formed by the interplay between the network and social media. Its emergence and development are an important transformation of niche culture in the era of new media and big data. In the network society, the development of network technology makes interaction possible, and the media is no longer compulsory. Fandom culture is created by fan groups and its characteristics of the organization and circle-based groups, and full participation exert a significant impact on the mainstream culture, the spread of media information, people's behavior and the progress of society. Fandom culture is a double-edged sword and its future development needs to be properly guided by the government.

===References===

Henry Jenkins, Fandom, negotiation, and participatory culture, in: P. Booth (Eds.), A companion to media fandom and fan studies, John Wiley & Sons, Inc., Oxford, 2018, pp. 11-26. DOI: https://doi.org/10.1002/9781119237211

Guo Shuojia, Charging Fandom in the Digital Age: The Rise of Social Media, in: C. Wang (Eds.), Exploring the Rise of Fandom in Contemporary Consumer Culture, IGI Global, Hershey, 2018, pp. 147-162. DOI: https://doi.org/10.4018/978-1-5225-3220-0

Lucy Bennett, Fan/celebrity interactions and social media: Connectivity and engagement in Lady Gaga fandom, in: L. Duits, K. Zwaan, S. Reijnders (Eds.), The Ashgate Research Companion to Fan Cultures, Ashgate Publishing, Ltd., London, 2014, pp. 109-120. DOI: https://doi.org/10.4324/9781315612959

Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture, Routledge, New York, 1992. DOI: https://doi.org/10.4324/9780203361917

John Fiske, The Cultural Economy of Fandom, in: L.A. Lewis (Eds.), The Adoring Audience: Fan Culture and Popular Media, Routledge, London, 1992, pp. 30-49. DOI: https://doi.org/10.4324/9780203181539

Cai Qi, The Internet and the Development of Fan Culture, in: X. Liu, J. Chen, Y. Wang (Eds.), Chinese Journal of Journalism & Communication, Renmin University of China, Beijing, 2009 (7), pp. 86-90.

Cai Qi, Huang Yaoyin, New Media Communication and the Development of Audiences' Participatory Culture, in: P. Liu, Q. Wang (Eds.), Shanghai Journalism Review, Shanghai United Media Group, Shanghai, 2011 (8), pp. 28-33. DOI: https://doi.org/10.16057/j.cnki.31-1171/g2.2011.08.009

L. Li, Fan culture under consumerism, in: C. Jing (Eds), Youth Journalist, Dazhong Press Group, Jinan, 2012 (14), pp. 25-26. DOI: https://doi.org/10.15997/j.cnki.qnjz.2012.14.009

Zhang Yiqian, 2018, Woman not slim and fair shoots to phenomenal stardom with LGBT, feminist fan base, [Online] Retrieved May, 25, 2021, from https://www.globaltimes.cn/page/201806/1105683.shtml

Chen Nan, 2020, Pop fans rally to raise funds for Wuhan, [Online] Retrieved May, 20, 2021, from http://www.chinadaily.com.cn/a/202002/05/WS5e3a1ecca310128217274fd2_6.html

===Terms and expressions===

Fandom/Fan circle 饭圈

Fansumer 粉丝消费

Stalker fans 私生饭

Paparazzi 狗仔

China Internet Network Information Center 中国互联网络信息中心

Idol Producer 偶像练习生

live-streaming 直播

iResearch Consulting Group 艾瑞咨询集团

fan economy 粉丝经济

Diba expedition 帝吧出征

fan girls 饭圈女孩

participatory culture 参与文化

we media 自媒体

Produce 101 创造101

Whale and Dolphin Conservation 鲸豚保育协会

WWF 世界自然基金会

emotional capital 情感资本

===Questions===
1. What has led to the remarkable transformation and development of fandom culture?

A.Fans

B.Network

C.Social media

D.Idol

2. What are the fan circle members mostly believed to be?

A.Boomers

B.Generation X

C.Generation Y

D.Generation Z

3. What does “Diba expedition” show?

A.online fandom communities’ potential for political expression

B.a large group of fandom members

C.a journey to a remote area

D.an online platform that focuses on an expedition

===Answers===

1. Social media

2. Generation Z

3. online fandom communities’ potential for political expression

==英语口译徐舞 Xu Wu 202170081629==
<center>'''The Analysis Of "Chi+O"'''</center>

<center>Xu Wu</center>

===Abstract===
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
typical significance to choose the verb "Chi" with object as the research object. Based
on the research results, this paper attempts to make a comprehensive and multi angle
investigation and research on the phenomenon of "eat" with object through corpus data
statistics. This paper mainly discusses the phonetic distribution, semantic types and
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
the perspective of word meaning, food objects are the first; From the perspective of
deep semantic structure, patient object is still the most typical type of object. Secondly,
by summarizing the diachronic changes of "Chi" with object, we find that the types of
object increase after "Chi". The reasons include the change of word meanings, cultural
influence, network development and so on.

===Key words===
Chi; Object

===Introduction===
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

===Literature Review===
Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

===Research Significance and Corpus Sources===

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

===The syllable distribution of "Chi" with object in modern Chinese===

1.Syllables
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage
Monosyllable 7128 54.43%
Two-syllable 4736 36.16%
Three-syllable 1006 7.68%
Four-syllable 144 1.24%
Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

===The word meaning distribution of "Chi" with object in modern Chinese===

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage
Tool 440 3.37%
Food 10736 81.99%
Place 24 0.19%
Abstract noun 1680 12.84%
Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

===The semantic structure of "Chi" with object in modern Chinese===

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage
Recipient object 10792 82.41%
Object of place 212 1.62%
Result object 1472 11.24%
Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

===Reasons===
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

===Conclusion===

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

===References===
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

===Terms ans Expressions===
Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语 metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

===Questions===
Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

===Answers===
It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

==英语口译张静芝 Zhang Jingzhi 202170081630==

<center>''' The Chinese Cheongsam Culture'''</center>
<center>Zhang Jingzhi</center>
===Abstract===
This paper will show the beauty of cheongsam from its shape, color, pattern and material, and explain the influence of social ideology on cheongsam, one of the traditional Chinese clothes by connecting the evolution of cheongsam with the development of Chinese society in recent hundreds of years.

===Key words===
Cheongsam,culture,social ideology

===1.Introduction===
Clothing is not only the product of human material civilization, but also the crystallization of human spiritual civilization. Throughout the development history of human civilization, the clothing characteristics of any nation contain profound cultural heritages of a nation, which has been deposited for thousands of years. Since the day of the origin of clothing, human beings have blend their living customs, aesthetic tastes, color interests, as well as various cultural attitudes and religious concepts into clothing, and built the spiritual civilization connotation of clothing culture.
As an exotic costume of China,Cheongsam’s material choice and the change of style and design and colour collocation not only record the productivity, science and technology level of the specific historical period, but also have close relations with the social ideology, political background, economic environment, as well as the national culture psychology.so to speak, Each evolution of Cheongsam is an "inflection point" in the development of the whole Chinese costume and even the whole modern Chinese history, whose significance directly indicates the profound changes of ideology, social economy and superstructure in modern Chinese society.

===2.Cheongsam-A representative of Chinese Clothing===

'''2.1 Comparison of Chinese and Western Costume'''

'''2.2.1 The Comparison of Modeling'''

In the design of clothing structure, due to the selection of different human body posture, Chinese and Western clothing are different in clothing style. The static posture of the human body when standing is the structural design standard of Chinese clothing. The structural form of the standing posture of the human body with natural flat arms and easy legs has become the structural form of Chinese traditional clothing since the ancient clothing system. Therefore, Chinese traditional clothing has the characteristics of straight line, whole piece and plane type. People are convenient to raise a hand or lift a leg and squat or sit with such costume. Chinese dress usually has the features of simple and plain,as well as is conducive to labor.
The pursuit of perfect combination with individual shape is the top priority in the structural design of Western clothing, so the structure of clothing is more complex than that of Chinese clothing. In the design and modeling of western clothing, each special feature of the human body structure is designed respectively. For example, according to the torso, upper limbs, lower limbs and other parts, the collar, garment body, sleeve, trouser tube and other major parts are designed respectively, then some other accessory parts are added to form the whole garment and pants. And each main component is irregular tubular shape or tubular formit according to the human body outline with different length, wideth, size . In terms of external surface, western classical clothing often adopts the horizontal expanding shoulder outline, expanded sleeve shape, huge skirt and overlapping lace to emphasize the horizontal style, so that the clothing produce exaggerated and radiating effect. The undulating facial contour, tall and straight body shape and passionate temperament of westerners all determine these modeling characteristics of Western clothing.

'''2.1.2 The Comparison of Colour'''

Color is another major factor in the composition of clothing, Chinese clothing has always paid more attention to the choice and collocation of color. In ancient China, the costume color is divided into two kinds: normal color and secondary color. The normal color is cyan, yellow, red, white and black, and the other is secondary color. In ancient times, the choice of clothing color in China was a phenomenon with social connotation: once a certain color was favored by the royal and noble, it was forbidden to use it among the folk, otherwise, it was a crime of deceiving the king. In most dynasties, the normal color was reserved for the superior society, indicating nobility. In the folk, normal color is also the color that people like and pursue when designing clothes. On the one hand, this shows that ancient China attaches great importance to dress color, on the other hand, it also shows that the use of dress color has obvious class nature.
Like the eastern culture, the western people attach great importance to the choice of clothing color, but they pay more attention to the emotion contained in the color. Western people believe that any kind of color is endowed with profound meaning, any kind of color can represent a sublimed spirit. When people see red, which gives people a kind of passion, romance and strong feelings, they will associate with blood, sun and flame and other related things. However, westerners attach great importance to the choice and collocation of clothing colors in close coordination with the age, skin color, body shape and figure of the wearer, as well as with the purpose and environment of wearing the costume, it mainly because that the above various colors can produce different emotional changes and symbols to people. Westerners often choose clothing colors according to their own specific characteristics. Therefore, the choice and collocation of clothing color appear to be very personalized, and there sre rarely blind imitation phenomenons, people's wearing appears featured.

'''2.1.3 The Comparison of Dermatoglyphic Pattern'''

Chinese and Western clothes have their own preferences in the choice of patterns. Chinese style clothing preferences using pattern to express auspicious wishes. Due to China's textile industry has been leading in the world, and is able to use heavy machinery and exquisite workmanship to weave a variety of complex auspicious patterns,so through the ages, whether it is noble silk or folk prints, auspicious patterns are widely used, which reflects people's expectations and hopes for a better life. The patterns of dragon flying and dancing, the Dragon and Phoenix and the Nine Dragons playing with pearls not only symbolize totem worship, but also express the emotions of "Descendants of the Dragon".
Western European clothing has always been known as the representative of western clothing, and the patterns on its clothing are constantly changing and updating with the vicissitudes of history, incorporating new elements and cultures from time to time. In ancient times, western European costumes were mainly flowers and patterns, especially in the Italian Renaissance, gorgeous flower patterns were more popular. In modern times, with the development of science and technology, it became popular to use geometric principles to design the Op patterns and so on. With the continuous progress of science and technology and the maturity of textile and dyeing technology, the patterns of western mainstream clothing are becoming more and more delicate, and all kinds of clear and distinctive patterns are slowly becoming a popular costume theme in the world.

'''2.1.4 The Comparison of Material'''

Due to the influence of history, culture, geography and other aspects, there are huge differences in the materials of Chinese and Western clothes. China, the once famous "Silk Kingdom", is rich in silk goods, so the traditional Chinese clothes are mainly made of silk. Silk products have the characteristics of soft and smooth, good air permeability.They are cool and comfortable in summer while light and warm in winter, so they are widely used in the clothing industry and are gradually popular in the world market. The silk pattern is delicate and exquisite, the cloth color is bright, the silk cloth is chosen to make the clothing, rich in national characteristics, and can be decorated with various crafts, after wearing, it gives a person with elegant and noble, graceful and charming feeling.
Different from the Eastern countries whose civilization developed earlier, most western countries were nomadic people who were mainly hunting and nomadic in the early development period. Therefore, in the primitive society, they were good at making clothes with the animal fur to achieve the purpose of heating, protection and decoration. With the rapid development of woolen spinning and woolen weaving technology in western countries, especially the exquisite woolen spinning technology in Britain and Italy, after the Middle Ages, the wearing of woolen cloth became increasingly common. In western countries at that time, the men's clothing is mostly made from woolen. Because the distinctive characteristics of the cwoolen materials are solid, crisp, high plasticity, so clothes made from it can make the garment appearance with neat, modesty, full of vigor and vitality.

'''2.2 The Beatuty of Cheongsam'''

'''2.2.1 The Beauty of Modeling'''

As we all know, Cheongsam is the representative of Traditional Chinese national dress. However, the reason why Cheongsam can be called one of the most dazzling pearl among many Chinese clothes is due to its shape.
The silhouette can best reflect the modeling of Cheongsam. Cheongsam has rigorous structure and smooth lines. This kind of implicit curve shape fully shows the natural curvaceous beauty of the human body, which is in line with the Asian people's physique, especially suitable for the petite and exquisite Southerners in China. At the same time, it also reflects the "people-oriented" design concept and embodies the traditional cultural characteristics of "unity of heaven and man" in China. After centuries of evolution, the s-shaped contour structure and oriental style have become the most stable elements of Cheongsam, deeply influencing designers at home and abroad and making people unforgettable.

'''2.2.2 The Beauty of Colour'''

The color of clothing is regarded as the soul of beauty of clothing. The use of cheongsam in color can be said to be a classic image of Chinese clothing, which fully expressed the significance of color. Each color has different characteristics and implication, in different seasons, occasions, through the combination of color collocation, color can give people enthusiastic,elegant, warm and romantic even sedate and sad aesthetic feelings.
Since ancient times, China has had the custom of wearing red. Chinese red is the theme color that Chinese people like to use in the Spring Festival and wedding celebrations. Red is a color with rich emotions and is a symbol of happiness. The red Cheongsam can be the best expression of warm, bold, happy emotions, but also make people appear vigorous, full of youth and vitality.
Yellow is the traditional color of our country. In history, yellow is a symbol of dignity and power. Yellow is rich in layers and is widely used in Cheongsam, which is loved by women. The green cheongsam symbolizes nature, growth, hope, freshness and tranquility. It reminds people of plants in nature and brings people a sense of comfort, suppleness and gentleness. Blue cheongsam can well show the pure, rational, serious and honest personality of women.
Purple is a kind of color full of mystery, it is mixed by red and blue. Purple is regarded as a symbol of nobility and luxury, and is often chosen as a dress color by princes and nobles. Purple cheongsam full of luxurious, rich, elegant feeling. Black is a dual color, symbolizing darkness and silence on the one hand, while maturity, solemnity and mystery on the other hand.
White symbolizing purity and holiness. White Cheongsam can best reflect people's nobility, elegance. The Manchus of the Qing Dynasty believed that white was auspicious, and they often wore red or other colors of Cheongsam with white lace, or paired with a white veil.
In conclusion,different colors show different connotations of Cheongsam, but it is these gorgeous colors that makes Cheongsam a bright visual symbol in Chinese culture.

'''2.2.3 The Beauty of Dermatoglyphic Pattern'''

In costume decoration, pattern is an essential element in Chinese costume culture. It has a long history and is the embodiment of traditional symbols. Every pattern has a deep meaning. Cheongsam patterns are mainly animal patterns, plant patterns, landscape patterns, and geometric patterns，and different categories of patterns have different meanings.
Animal patterns often have profound meanings, such as joy, longevity, auspice, happiness and health. Common patterns include dragon, phoenix, pheasant, crane, mandarin duck, butterfly, peacock, magpie and auspicious fish. Plant decoration is endowed with a lot of auspicious meaning, showing people's yearning for beautiful things. Cheongsams with landscape patterns are relatively rare. Landscape patterns mainly include landscape rural residence, pavilions and pastoral scenery with strong freehand brushwork. Landscape patterns mostly contain clear meaning, that is appreciating landscape. The Ten Views of the West Lake and the scenery of the four seasons are often chosen as themes. The geometric patterns on the Cheongsam give people a fresh and elegant aesthetic feeling. They look orderly, rhythmical, and have a lasting appeal.

'''2.2.4 The Beauty of Material'''

Fabric is the material basis on which shape and color depend. The fabric of Cheongsam is very exquisite, and the fabric of Cheongsam is also different in different periods. The cheongsam made of different fabrics also has different styles and charm. They can be simple, elegant, luxurious, or even gorgeous.
Cheongsam made of dark high-grade velvet or cashmere fabrics can reflect the elegance; Woolen Cheongsam reveals maturity and the beauty of intelligence; The Cheongsam made from high-quality silk or gauze is light and soft, showing the elegance and quietness of ladies. As a formal dress, the floral velvet Cheongsam usually are decorated by bright patterns and colors, giving people a sense of elegance and luxury. Cheongsam made of cotton, usually are decorated with plaid, stripes and other patterns, or flowers with pure color, giving people a gentle and comfortable feeling. With the development of the times, now the choices of Cheongsam fabric are also very wide, so people generally choose Cheongsam according to their own needs or the seasons. Cheongsam made of these high-quality fabrics can fully express the beauty of women's body shape.

===3. 3. The Evolution of Cheongsam and the Development of Chinese Society ===

'''3.1 The Origin of Cheongsam'''

Cheongsam is a kind of robe, and its history can be traced back to the ancient Chinese robe of the Spring and Autumn period and the Warring States Period.The ancient Chinese robe is one of the most important forms of clothing in ancient China. During the Yuan and Ming dynasties, the ancestors of the Manchu, called Nuzhen, lived outside the north of Liaoning Province under the Changbai Mountain, Songhua River and Heilongjiang River. As the fishing and hunting economy occupied an important position, men, women and children were skilled in riding and shooting. Not only men are good at shooting and riding, but women are no less skilled at shooting and riding than men. When riding and shooting, men wear the "horse-hoof-shaped cuff" type of gown. The gowns cuffs are narrow and cover the back of the hand, the sides of the gown open, cloth bags tied in the waist. Women wore a long gown with narrow sleeves and corset,which is also for the convenience of riding and shooting activities on horseback. In 1601, Nurhaci unified the Nuzhen tribes and established the Eight Banners. The people who were incorporated into the banners were called Banners, and the robes worn by Banners were called Qipao.
In 1635, Huang Taiji renamed Nuzhen as Manchu. In the process of frequent campaigns, the people of Manzhou gradually formed a kind of Qipao with wide waist and straight cylinder. At this time, not only the people who were drafted into the banners wore Qipao, but also men, women and children wore Qipao. The men's Qipao were called long gowns, and the women's gowns were called big robes. In 1644, after Emperor Shizu entered the central China and moved to Beijing, Qipao became popular in the Central China. In the late Qing Dynasty, when the colonial rule began,because the western and political influence on people's life style and concept, the manchu and Han women's clothing was integrated.

'''3.2 Cheongsam during Qing Dynasty'''

'''3.2.1 The Influence of the Establishment of Qing Dynasty on Cheongsam'''

After Nurhachi established the later Jin regime, he carried out the Eight Banners system. Therefore, the Manchu people were also called the Banners, and the clothes they wore were collectively called Qi Dress. When Qing regime charged the central China, a huge wave of shave hair clothing started. The Qing regime began to enforce clothing system reform, people who violated the law may loss their life. To the late Qing dynasty, the Chinese women's dress style quietly blended and the difference between both costumes increasingly reduced, which became the prelude of Qipao popular throughout the country.

'''3.2.2 The Influence of Change in Economy Form of Qing Dynasty on Cheongsam'''

The economic development of the early and middle Qing Dynasty made great progress on the basis of the Ming Dynasty.The arable land area of the Qing Dynasty was far more than that of the previous historical period, and the crops of the Qing Dynasty increased greatly. On this basis, all sectors of the economic field presented a prosperous situation, and gave birth to the embryo of capitalism. At the same time of the domestic economic prosperity, the foreign trade of the Qing Dynasty also increased rapidly. Until the outbreak of the Opium War, the Qing Dynasty kept a trade surplus in foreign trade, which played a very significant role in the development of Chinese economy. The development of industry and commerce further stimulated the prosperity of the city.The economic development and the prosperity of the city reflected in the design of Qipao. From the Opium War in 1840 to the Revolution of 1911, due to the imperialist aggression, China's economy suffered a great impact.As a result of internal and external difficulties, people's way of life and dress concept are also changed a lot, showing an "open" character. Cheongsam at this time, though mostly retreated into Manchu noble families, its design still keep the Mid-qing Dynasty modelling.But under the influence of western society at that time, the Chinese dress also quietly changed, including tightening and shortening the sleeves,reducing robe length is and purer colors. In the decoration of the robes, its integral style tends to be contracted, simple but elegant.

'''3.3 Cheongsam during the Republican Period'''

'''3.3.1 The Influence of the Revolution of 1911 on Cheongsam'''

In 1911, the Revolution overthrew the Manchu QingDynasty and abolished the feudal monarchy that had existed in China for thousands of years. As regimes changed, so did the dress culture,which is a mirror of the politics. With the establishment of the Republic of China, the biggest change in the history of Chinese national costume was the abolition of the costume hierarchy that had been followed for thousands of years. The monopolistic position of traditional costumes was greatly impacted, and with the decrease of the social status of the Manchu, fewer and fewer people wore Cheongsams.The Manchu began to wear it like the Han people. The formal costumes of Manchu and the political rule of the Qing Dynasty became history.

'''3.3.2 The Influence of the Unbalanced Economy on Cheongsam'''

Dring the Revolution of 1911, China was in a period of historical transition with ups and downs. Due to the imbalance of economic development caused by political turmoil, the change of clothing also appeared imbalanced. In general, change was seen at the upper class, whilel with little change at the lower class. With the frequent exchanges with the West, the styles and materials of clothing changed rapidly, which also accelerated the change of Cheongsam. At this time, the fabric of Cheongsam is various. With the western-style textiles poured in, Cheongsam become a new clothe of women. These foreign fabrics are soft and elastic, making Cheongsams fit well and elegant, so they are very popular. At that time, Shanghai women have begun to perm hair, wearing close-fitting Cheongsam and walking high heels, while women in Sanhe county in Hebei Province still wear the crowns three or four hundred years ago, and wrapped in "three -inche golden lotuses".

'''3.3.3 The Influence of the Collision between the Chinese and Western Cultures'''

The Westernization Movement in the late 19th century proposed that "Middle school for physical, Western learning for use", which greatly impacted the social dress concept at that time. In addition to breaking the old dress system, the Nationalist Government also actively advocated the people to learn from the West and in line with the world trend. Western life and customs in the 20th century were not only novel things to Chinese people at that time, but also were connected with western scientific and technological civilization. It is precisely because of the latter that western customs have revolutionary significance for the change of Chinese traditional customs. By the end of 1920s, the style of Cheongsam had changed significantly under the influence of Western culture, such as waist tightening, length shortening, and so on. In the 1920s and 1930s, under the influence of western women's skirts, the waist began to tighten, the cuffs began to shrink, and the hem of the skirt was raised, which was similar to the western straight waist skirt. Under the intense collision of this culture, the new Cheongsam absorbs the advantages of other costumes, and quickly becomes a "fashion". On the eve of the founding of the People's Republic of China in 1949, Cheongsam was very popular in China,and almost every urban woman had one or two Cheongsams, which had become a very popular daily dress for urban women.

'''3.4 Cheongsam after the the founding of the people's Republic of China'''

'''3.4.1 The Influence of the Great Cultural Revolution on Cheongsam'''

For quite a period of time after the founding of the People's Republic of China, opposing imperialist cultural aggression, decadent bourgeois culture and feudal cultural became an important part of Chinese cultural ideology. Under the background of continuous radicalization, "a revolution that touches people's soul" broke out, and one of whose main objectives was to carry out a "cultural" "revolution". With the launch of the Great Cultural Revolution, Cheongam was regarded as the life style of feudalism, the landlord class and the exploiting class,and became the revolution object. Not only the Cheongsam, but also the long gown, mandarin jacket and cloak were once the target of boycott. Since then, Chinese traditional clothes have almost completely disappeared. It can be said that the Cultural Revolution is exactly a revolution of traditional clothes. As a result,Cheongsam gradually declined and was replaced by a simple popular dresS. Throughout the 1960s and 1970s, the Cheongsam, along with other ornaments, disappeared on the Chinese mainland.
In the 1980s, under the historical background of reform and opening up, Cheongsam made a comeback quietly. Although it did not recover its position in the 1930s and 1940s, it again influenced the world's clothing industry as a symbol of Chinese clothing.

'''3.4.2 The Influence of the Reform and Openning-up on Cheongsam'''

Politically, reform and opening-up have promoted institutional building and innovation, stimulated the creative vitality of society, and achieved the historic transformation from a traditional society to a modern one. In terms of foreign relations, China has expanded its development and made a historic change from self-seclusion to openness.
With the development of economy and the improvement of people's living standard, Great changes have taken place in Chinese clothing.People have begun to get rid of the monotonous dress system. Fine texture, rich colors and novel style gradually become the standard to measure clothing, and clothing styles at this time are also multifarious. At this time, cheongsam was no longer regarded as a feudal, bourgeois dress and reappeared in people's vision. Due to the improvement of production technology and the enrichment of material life, Cheongsam has became a kind of fashion coustume, and various fabrics were also applied to make Cheongsama solid foundation for the popularity of cheongsam.
Culturally, after the reform and opening up, in addition to maintaining China's own dress culture, modern western dress culture concepts also entered China with the trend of reform and opening up. People's clothes not only focused on keeping warm, people began to realize that clothes is also a kind of culture.Although China's clothing culture has a long history, but years of isolation from the outside world, young people know little about their own country's rich clothing culture and foreign things. Once the country door was opened, our clothing culture began to connected with foreign clothing culture. Foreign clothing culture, advanced technology and clothing materials enrich our own clothing culture. A new Chinese clothing culture with the characteristics of that times has been formed, which has played a revolutionary role in people's dressing concept and made the clothing style keep pace with the times.Today, the various elements of Cheongsam are basically stable, and it has become a classic women's dress.

===4.Conclusion===

Since the reform and opening-up, with the continuous improvement of China's status, China has increasingly frequent exchanges with other countries in the world. Chinese costume culture has attracted worldwide attention. Not only in the international market,but also on the fashion t-shaped stage, it arouses great reflection and propagates, popularizes and promotes Chinese costume culture to the world. International fashion master Pierre Cardin said: "In my evening dress design, a large part of the dresses are inspired by the Chinese cheongsam." At the awards gala of the Oscars and Cannes, Gong Li's Chinese Cheongsam sparked the "Cheongsam hot" again. "Since then, even many foreign stars have worn Chinese Cheongsam to attend the world's top cultural and social occasions, thus breaking the dominance of western evening dress and becoming a representative of national clothing culture brand that transcends national boundaries."
"The significance of the existence of Chinese Cheongsam is not only a" dress "but also a symbol, a pride, a sign, a symbol. In terms of dress, Cheongsam always seems to represent the quintessence of China."

===References===

[1]Yuan Yingjie:The History of Chinese Costumes[M].Beijing:Higher Education Press,1994:217.

[2]Gao Weihong:On Cheongsam Culture and Charm[J].Modern Science,2009,3:103.

[3]Wang Lihua:Costume Culture[M].Hohhot:Inner Mongolia Press,2005:157.

[4]Tomie Yamauchi:A Study on Costume Culture of Han in the 20th century[M].Lanzhou：
Northwest University Press，2008：44-45.

[5]Tong Zhijun: Cheongsam and Women[J].Beijing:Costume Designer,2007:137

[6]Qianmin: Chengsam: The Model of Traditional Chinese Culture[J].Nanjing:The Art,2005:202.

===Terms and expressions===

Cheongsam/Qipao旗袍

Oscars 奥斯卡奖

Cannes 戛纳电影节

Feudalism 封建主义

Capitalis资本主义

The “Eight Banners” 八旗

Huang Taiji 皇太极

The Revolution in 1911 辛亥革命

the Spring and Autumn period and the Warring States Period 春秋战国时期

Manchu 满族

Op patterns 欧普图案

Phoenix 凤凰

===Questions===
1.Which nationality did Cheongsam originate from?

A.Han

B.Manchu

C.Miao

2.Which color is the symbol of dignity and power?

A.Red

B.Yellow

C.Black

3.Is Cheongsam always popular with the Chinese people?

A.Yes

B.No

===Answers===

1.B

2.B

3.B

==英语口译张旻丰 Zhang Minfeng 202170081631==
<center>'''Chinese Chess Culture'''</center>

<center>Zhang Minfeng</center>

===Abstract===
As an abstract picture of ancient battlefield and the wisdom of people in old ages, together with the most typical representative of ancient civilization and culture, chess has been developing and famous for a long history. Up to now, the chess game has become a competitive match and is increasingly popular with chess fans both in China and overseas, at the same time, the chess has a great impact on every country where the chess covers.

After proposing the Sapir-Whorf Hypothesis which raised how languages affect human thought, the connection between the nationality of language and the nationality of culture have become the final study intention for scholars. And that also proves there must exist close connection between language and culture. Thus, if people want to acquaint one kind of national culture, they require to study its language in advance,vice versa.

In this thesis, the research object Chinese chess or the international chess is actually one kind of representative of its own local culture. Perhaps, both of them have been invaded by other cultures, or have been affected by exchange of local various societies and institutions, in some degree. And finally, only illustrating their language phenomenon reflected by this kind of culture performance, its cultural connotation can be found out.

This thesis focuses the cultural meaning on the study of Chinese chess and the international chess, which includes the study of chess and chessboard's origin, chess piece terms meaning betweeen cultural view and meaning view.

===Key words===
Chinese chess, international chess, cultural meaning

===Introduction===
Chess, as a popular game with the fans all around the world, represents not only the history of battlefields but also the wisdom of the ancient folks. It also reveals the lasting development of the real society, especially, in terms of social institution and cultural changes.

As for a crucial carrier of society and culture, language plays an vital role for it. And the language, certainly, is also used to convey the messages and information of society and culture.(Wu Guohua,1994) To some extent, language and chess have something in common.

Chinese chess has a long history and is an important part of Chinese traditional culture.It is a high traditional intellectual competition game. The nine palaces on the chessboard symbolize the imperial palace.帅/将 representing the emperor and士/仕representing the guards around the emperor can only walk in the nine palaces, and 相representing ministers can only walk around the nine palaces.兵/卒 representing pwans can only move forward and not retreat. This layout is a true portrayal of life in feudal society, the chess game process has the meaning of teaching and learning ancient warfare.

Chinese chess is simple and easy to learn, but also easy to learn but difficult to master because of its endless changes. It has cultural, educational, competitive and entertainment value and many other aspects has been loved by people since ancient times. With time going by, the Chinese chess, which carries Chinese traditional cultural genes, occupies a place in the world culture with its distinctive competitive characteristics.

===Origin of Chinese Chess and Its Chessboard===
When it comes to the origin of Chinese chess, also called as Xiang Qi, there are a great number of arguments about it. One of the arguments holds that the Chinese chessis derived from Shen Nong, a legendary ancient Patron of Agriculture. One of them holds that Chinese chess comes from Huang Di, a legendary ruler. However, according to Bo Wu Zhi of Zhang Hua in West Jin Dynasty, which holds Chinese chess derives from Shang Dynasty. In his book, he thinks the Chinese chess is created by King Wu, and the chess is made of ivory.

There are a lot of information contained in the Chinese chess, such as the ancient strategies of battlement, layout of troops, astrology and so on. More scholars consider the Chinese chess as a fabulous production created by Han Xin during the time between Qin Dynasty and Han Dynasty. At that time, Chinese chess is applied by Han Xin for training formation of soldiers against Qin Dynasty. The evidence is that "River Chu and Border Han" are carved in the middle of every Chinese chess chessboard. While some groups of the scholars, especially the Ming Dynasty Luo Xin, holds that Chinese chess is made by Wu Emperor in Northern Zhou Dynasty due to an old history book which has written it down. But up to now, there is no specific evidence that can prove when the Chinese chess is created.

As for the Chinese chess piece, some historians claim that there are only four kinds of pieces in the Chinese chess before Tang Dynasty, which are“将，车，马，卒”.During Tang Dynasty, the pieces are increased to six which are“上将，车，马，卒，军师，王”and Bao Ying Chinese chess is the typical one which can prove this officially. And
some historians also think that the piece“砲”possibly appears during Song Dynasty because“炮”referring to artillery is used in battles at that time. Since then, the shape of Chinese chess is becoming similar to what we play nowadays, and it consists of seven pieces including“车，马，砲，象，士，将，卒”.No matter when the Chinese chess originates from, there is one definite perspective that the rules and pieces of the Chinese chess are changing all the time with the developing process of social culture and are effected by the increasingly advanced weapons.

If it was concerned from the point of literature, Chinese chess is designed in early Song Dynasty and developed in Southern Song Dynasty. During that time, one poet named Liu Kezhuang portrays the chessboard, all kinds of pieces and even their rules. To Chinese chess, there are obvious differences in each dynasty, and some scholars think that the Chinese chess is the experiential conclusion of the development of each Chinese dynasty. From the point of Chinese chess itself, it is not easy to find out its cultural tradition and conservation. And people can also hardly understand the nature of Chinese chess only if understand the connotation of the piece term and rules in advance.

As for the chessboard, the Chinese chess chessboard is composed of nine straight lines and eight horizontal lines with the "River Chu and Border Han"(楚河汉界)in the middle of it, which shows such a scene of two troops opposing each other on both sides of a river. Pieces need to put on the intersections. In real history, "River Chu and Border Han"(楚河汉界)is located in the middle between King of Chu city and its opponent King of Han city. These two cities are regarded on the chessboard as two Imperial Palace areas. The number of "nine" lines and "eight" lines refer to the utmost number in ancient China, thus they stand for the length and breadth of land which equals to the whole country. In ancient China, the intention of war is to gain more land and unite other countries into the most powerful country, and the chessboard just stands for the whole land.

===Contrast between Chinese Chess Piece Terms and International Chess Piece Terms in Meaning===
In this part of thesis, the author begin to discuss the meaning of every piece term in both Chinese chess and international chess, and then to conclude their differences and similarities to search for their inner link. Seven groups of piece terms are list as follows:马and Knight,車and Rook，卒(兵)and Pawn, 仕(士)and Queen，相(象)and Bishop，将(帅)and King，炮(砲)

'''Meanig Contrast between piece马and Knight'''

Both piece马and Knight are important pieces in those two sorts of chess, and they are perfectly acceptable that these pieces are widely used as cavalry. Why? According to Ancient Chinese Dictionary (2005), the Chinese character马just has two ancient meanings, the first one means a kind of beast and the second one is chip which is also written as码in Chinese. Unfortunately, there is no ideal meaning referring to cavalry from those two meanings. Through categorization, some words and expressions are classified into several groups. The characteristic of马is seen as the basic category, after classifying, the related words and expressions of马in battle, in temper, in relationship with people, status and others are regarded as subordinate categories. Adding mental analysis to these subordinate categories groups, one of those showing up the similar meaning to the symbolic meaning on chessboard, namely cavalry, is picked up. These words and expressions in the group are list as follows:金戈铁马，马革裹尸，厉兵袜马，单枪匹马，千军万马，兵荒马乱，戎马控惚，戎马生涯，招兵买马，兵强马壮，马军，战马.From these Chinese words and expressions, it is clear when the piece term马is used as cavalry. However about the international chess piece
Knight?

In the Longman Dictionary of Contemporary English Knight has four definitions:first up, it means a man with a high rank in former times who was trained to fight with riding a horse. The second meaning is a man who has received a knighthood and has the title SIR; the next one means the chess piece with a horse's head on it; and the forth one is used as a verb, to give someone the rank of knight. From above definitions, the reason can be easily come out that on the chessboard the piece of horse's head signifies the piece Knight, which is the third definition, but in fact it refers to the first definition which means cavalry in real battlefield.

From the meaning of piece马and piece knight, the author have found that as to the Chinese character马，the meaning of it just stands for a kind of beast or animal and a chip. And only if the Chinese character马is used in one word or expression related to army, weapon or war, the meaning of character马here will be more detail as cavalry. Meanwhile, the piece knight can directly refer to cavalry by definition, because knight has already to be a kind of term of cavalry in Europe at that time.

'''Meaning Contrast between 車and Rook'''

Both of the piece車and the Rook are the most effective and direct type of piece on chessboard. But what do they stand for in battlefield? As the matter of fact, they are respectively regarded as chariot in the Chinese chess and siege tower in the international chess. Let's take a look at the definition of these two piece terms. In Ancient Chinese Dictionary, 車has three meanings. The first one means vehicle, then the second one represents windlass, and the last one is a verb which means to use windlass to do something. Obviously, in the international chess, the piece shape of piece Rook signifies the chariot, but in fact, the piece Rook signifies another kind of chariot, that is siege tower according to records, and that shape is just what the piece Rook stands for in real battlefield. As to the Chinese chess, the first definition of車is supposed to be used on the chessboard. But what kind of vehicle does車stand for? Through the categorizing, the words and expressions of車are divided into several groups which are seen as subordinate categories, the function of vehicle, the carrying capacity of vehicle, the value of vehicle, the prosperity of some place and so on. Since the Chinese chessboard is seen as a battlefield, the piece車should be regarded as the chariot which belongs to the subordinate category which is the function of vehicle including战车，兵车，马车，炮车，独轮车，敞篷车and so on. While, in Longman Dictionary, Rook only refers to itself which equals to Chinese chess車which means a kind of chariot for attacking, and as WIKIPEDIA says the piece Rook signifies siege tower initially.

To sum up, the meaning of Chinese chess piece term車can describe the symbolic meaning on the chessboard only through putting some Chinese characters before車，and these Chinese characters must be available to describe the function or characteristic of vehicle. While, the meaning of international chess piece term Rook can directly express the piece's symbolic meaning on the chessboard.

'''Meaning Contrast between piece 卒/兵and pawn'''

The piece卒/兵and piece Pawn are the largest number of pieces in the Chinese chess and international chess, and their symbolic meaning of both denote soldiers on the chessboard. In Ancient Chinese Dictionary，兵just means weapons, meanwhile，卒
has three definitions which are infantry or soldier, the second is a unit and the last one
refers to death as a verb. From the categorization of the words and expressions of兵/卒，adding the analysis to those words and idioms, which is related to the meaning of soldier or army are listed as follows:无名小卒，贩夫走卒，瓦合之卒，轻卒锐兵，调兵遣将，按兵不动

The author find out that in the words and expressions of卒，large part of which are used with the first definition of卒as a soldier. As to the meaning of兵，except for some words and expressions referring to weapon, the meaning in most part of them is extended as the same as solider.

And as to the piece Pawn, in Longman Dictionary, there are two meanings of pawn, the first means a piece in chess equals to Chinese chess piece term兵/卒，and the second denotes someone who is used by a more powerful person or group. Right here, the second meanings is its origin.

Through comparison between these two kinds of chess in meanings, some findings show that the Chinese chess piece卒，it can also directly describe its symbolic meaning on the chessboard. But the original meaning of the piece term兵can not express its symbolic meaning until the original meaning of the piece兵is extended, while the international chess piece Pawn can directly express its symbolic meaning on chessboard as the same as its second definition indicates.

'''Meaning Contrast between piece 相/象and Bishop'''

In Ancient Chinese Dictionary，the piece term相owns five meanings and the first two meanings are verbs, the first means to examine something carefully in order to find out more about it, such as相风水，the second one means to assist or help somebody such as，管仲相桓公，and then the third one stands for a person who masters the ceremonies, and the fourth one refers to song as a noun and the last one which is a adverb stands for doing or experiencing something by two people, such as互相.At the same time,the other piece term象has four meanings, the first one refers to elephant, the second means scene, such as景象，the next signifies portrait such as肖像，and the last meaning is a verb referring to imitation.

Although the piece相and piece象have many different meanings, in fact they signify the same definition in Chinese chess which refers to prime minister, a civil official with highest level, namely宰相in Chinese. Here宰is a official title which means master or ruler, and相denotes to help somebody thus宰相is equal to the person who assist the ruler to master the whole matters.

As to the piece term Bishop, according to Longman Dictionary of Contemporary English, the piece term Bishop has two meanings, the first one means a piece like Chinese chess piece term相/象，the second one is a priest with a high Christian religion, who is the head of all the churches and priests in a large rank in the area. Right here, the second meaning priest is seen as the prototype of the first meaning and the it is also used on chessboard according to WIKIPEDIA.

After the comparison between the meanings of the piece term相/象and piece term Bishop, it is necessary for the piece term相/象to pick up one group of subordinate category words related to its symbolic meaning on chessboard. After that, the words referring to helping somebody are list as follows, they are宰相，相国，首相，辅相. Right here, the word class of相turns out from verb to noun, at the same time, the meaning of it turns into a high level title, namely primary minister. As for the piece term象，some of the scholars believe that it is equal to the piece term相，but some others support a distinct proposal that piece term象stands for a kind of corps, namely elephant. Because the development of Chinese chess has been influenced by spreading of elephant from India. Although the record of elephant for fighting is rare, but elephant actually appears in ancient Chinese war, especially is taken advantage of ethnic minorities in South China.

As to the meaning of piece term Bishop, namely priest with high level title, it can directly stand for its symbolic meaning on chessboard.

Between the meanings of piece相/象and piece Bishop, the author find out that it is obvious that different kinds of chess pieces can reveal different civilizations. The piece term相/象refers to the feudal official with highest level who assists the ruler of country to manage the whole civilians and other crucial matters. And the piece term Bishop stands for the highest rank priest of Orthodox or Catholicism in medieval Europe.

'''Meaning Contrast between 将/帅and King'''

As an ancient chess with long-term history, the Chinese chess has two similar and important pieces, the piece将and piece帅.And the meaning of piece term将is equal to the piece term帅in Chinese chess，but they belong to opposite side.

In Ancient Chinese Dictionary, as to the meanings of piece term将，it has nine meanings, but only one of them is relevant to leading army. Although this is a verb which denotes to lead somebody to do something, its nominalized meaning signifies general that is phenomenon widely used at that time. This is a kind of verbal nominalization which results from the metaphor conceptualization. Metaphor conceptualization is a common cognitive competence for human people. Lakoff(1999) and Johnson believe that metaphor conceptualization is mainly realized by conceptual metaphor. Hu Zhuanglin(2000) figured out that in the process of conceptual metaphor, one object can turn into another object due to the change of lexical level inside them, however, there also must exist the similar basic attribute in them. As for the piece term帅，there are three definitions found out in total. The first definition as a noun means emperor similar to the meaning of piece term King, and the second one as a verb means to lead somebody to do something which is just like the meaning of the verb of piece term将discussed above, and the last one refers to obey someone or something else. Thus the first definition of piece term帅is used to describe its symbolic meaning on chessboard. From the categorization of the words and expressions of piece term将\帅，the subordinate categories words similar to the meaning of general are listed as follows:王侯将相，将遇良才，调兵遣将，将门虎子，精兵强将，丢车保帅。

And, as to the piece King, it is also an essential one which plays a decisive role in the international chess. In Longman Dictionary, the basic meaning of king signifies a man who is a ruler of a country because he is from a royal family and of course, it represents the most important piece in chess.

In contrast to the piece term King, the meaning of the piece term将/帅all represent the general or emperor nowadays which is different from king. In the matter of fact, before Song Dynasty, instead of piece将/帅，the piece王is used on chessboard. Since Song Dynasty, the piece将/帅are added and limited in Imperial Palace area. The reason arises from the different history background, that is since Song Dynasty, both将and帅prefer to stay in palace or military camp rather than lead army against enemy.But for piece King, it can directly express its symbolic meaning on chessboard and tend to be the meaning of ruler of country and can move everywhere on chessboard, that is because in medieval Europe, kings always lead their lords and armies to fight against enemies on battlefield.

'''Meaning Contrast between 仕/士and Queen'''

As for the piece term仕/士，these two Chinese characters stand for the same meaning, and just used for different sides. From the views of some scholars, these two pieces are admitted as the similar ones as the piece queen, but not totally identical due to different cultural and social backgrounds. In Ancient Chinese Dictionary the piece term士has five meanings, the first one means the laudatory title of man, the second refers to the lowest nobility, the third one denotes intellectuals, the forth one signifies the office of jail and the final one means soldier who is used to be on the chariot to fight against enemies which is different from卒，because卒refers to the soldier who used to fight on foot. At the same time, the piece term仕only has three meanings, the first meaning is equal to that of piece term士，namely intellectuals, and the second denotes officer, then the third one represents maid in a imperial palace.

The piece term Queen is the most powerful piece in the international chess, in Longman Dictionary queen has several meanings, one of which means a piece in chess, and in fact, this piece refers to the female ruler of a country. Besides it, the piece term Queen can also denote a related meaning which is a transferred one of it. For example, Tammy Whnette is the queen of country music(queen here means the woman who is regarded as the best at a particular activity or in a particular field). This meaning of the piece term Queen is showing the metaphorical attribute transference of it.

Through comparison between meanings of piece term仕or piece term士，there are not any related meaning as similar as the piece term Queen. In this case, scholars have proposed three different point views about it to illustrate what the piece term仕/士 really stands for. Some scholars believe that the piece term仕/士stands for guard of emperor, another scholars hold that it represents military counselor of emperor. These two point views can be achieved in the subordinate category of仕/士as follows:身先士卒，将士，悬车致仕，学而优则仕.And the other scholars suppose that it signifies wife of king, because the Chinese chess is seen as epitome of Chu-Han Contention, the piece term仕and piece term士refer to the wife of King of Chu and the wife of King of Han. Although these three point views are not similar at all, they have two common characteristics which are that all of what they signify are always working in imperial palace and accompany with emperor. Thus no matter what the most accurate meaning of the piece term仕/士stands for, there is only one major responsibility for guard, officer and maid to do, that is to protect or service their emperor, even if losing their lives.

To sum up, the piece term仕/士possibly stand for guard, military counselor and wife of the emperor. While the piece term Queen refers to its symbolic meaning on chessboard which is just one female ruler of a country. Right here, the third meaning of term仕/士，namely wife of king, is similar to queen, so in some degree, the meaning of piece term仕/士can equal to that of piece term Queen.

'''Meaning of piece炮/砲'''

The meaning of piece term炮is equal to piece term 砲which is the particular piece for Chinese chess in contrast to international chess. In Ancient Chinese Dictionary炮/砲only has one meaning which means artillery which can be used to express its symbolic meaning on chessboard.

According to definite research, the piece炮/砲is added to the Chinese chess during Tang and Song dynasty. Because at the time of that dynasty, gunpowder is applied to shell, and that is what we called as炮in Chinese. However, before Tang dynasty, stone is the only material used as shell, and we call it as砲in Chinese. So Chinese chess use炮and砲to represent ancient Chinese artillery for different sides.

===Conclusion===
This study is about the Chinese chess and the international chess with the view of cultural meaning, which is closed linked with combination between language culture and language meaning, and both of them can not be separated, but depend on each other closely. In this study, the origins and chessboards of Chinese chess and international chess are explained and compared through the view of culture, and then the meanings of these kinds of chess piece terms are analyzed and compared by semantic view or rather cognitive metaphor. Through the combination of culture and meaning, each piece of them can be illustrated accurately and elaborately.

From the superficial aspect of Chinese chess and the international chess, the most evident findings are that in Chinese chess there are seven kinds of pieces which are車，马，象/相，卒/兵，将/帅，仕/士，炮/砲，while for international chess there are only six kinds of pieces which are Rook, Knight, Bishop, Pawn, King and Queen. In order to contrast them clearly, the pieces with similar meanings can be classified as follows:马and Knight, 車and Rook，象/相and Bishop，卒/兵and Pawn，将/帅and King，仕/士and Queen, and炮/砲.From final results of contrast, some scholars raise a hypothesis that most of the pieces between Chinese chess and international chess are much similar, so they may be derived from the same original chess which people have not known yet. As related investigations show that, the earliest ancient Chinese chess is discovered in Spring-Autumn Dynasty about during the 7th BC to 4th century BC. While, the modern international chess is derived from shatranj which is an ancient Persia chess, and this Persia chess comes from an ancient India chess named Chaturanga which appeared ranging from the 4th century BC to 3rd century BC according to reliable records. By the comparison of their appearance time, the Chaturanga spread from Chinese chess could be deduced but lack of provable evidence.Another similar points are that as the oldest edition of modern international chess, the Chaturanga also has six kinds of pieces which are king, Counselor, Elephant, Knight, Rook and Pawn. Right here the piece Counselor is much similar to the piece仕/士，and the piece Elephant resembles Chinese piece象/相. But from the definite discoveries of study, there are only some connections proved between them in culture, but not confirming that this kind of chess comes from Chinese chess.

Through the comparison about the meanings of corresponding piece terms between Chinese chess and international chess, some findings are discovered: for the meanings of Chinese chess piece terms, always they can not describe the symbolic meaning on chessboard directly. Because some of them are with many different meanings, namely, polysemies,such as piece马，piece車，piece仕/士，piece卒/兵;some original meaning of Chinese chess piece terms are derived from verb, among the groups of将/帅，相/象，the original meanings of将and相are verbs. And there is only one piece term which can describe the symbolic meaning on chessboard directly, that is piece炮/砲.
While for the international chess piece terms, almost all of them are able to describe the symbolic meanings on chessboard with their original meanings directly.

On balance, in describing the meanings between Chinese chess piece terms and international chess piece terms on chessboards, the meaning of Chinese chess piece terms are not as concrete as international chess pieces terms. That is to say, international chess piece terms can express the symbolic meaning of what the piece stands for on chessboard directly, but it always doesn't go for the Chinese piece terms. Such as the piece象，people can not regard it as primary minister at the first sight, maybe just an elephant instead (although this kind of thought is supported by some people, it is still lack of some evidence). But for its counterpart,the international chess piece term Bishop, people could image a picture of priest easily in their mind, because its original and unique meaning is its symbolic meaning on chessboard. And this phenomenon is also a performance that the Chinese character is usually more abstract than English word.

===References===
*[1]Fillmore,C.J. 1975. An alternative to checklist theories of meaning [C]// C. Cogen,H. Thompson,GThurgood,K.Whistler&J.Wright. Proceedings of the First Annual Meeting of the Berkeley Linguistics Society. Berkeley; Berkeley Linguistics Society:123一131.
*[2]Lakoff, G Women, Fire, and Dangerous Things What Categories Reveal about the Mind[M].Chicago and London: University of Chicago Press,1987.
*[3]Langacker, R. W. Concept, Image, and Symbol[M]. Berlin: Mouton de Gruyter,1990
*[4]Liu Shilan刘适兰.从国际象棋与中国象棋的异同看中西方文化差异[J](The Cultural Diferrences between China and Western Countries from the Perspective of International Chess and Chinese Chess).武汉体育学院（Wuhan Sports University），第37卷，第5期，2003.
*[5]Li Xiaoyi李潇逸.从国际象棋看欧洲中世纪父权制（ Patriarchy in Medieval Europe from the Perspective of International Chess）[J].中国会议(Chinese Conference).2011.06.
*[6]Wang Xiaopeng王晓鹏.中国象棋与国际象棋比较分析(A Comparative Study between Chinese Chess and International chess)[J].沈阳:东北大学(Northeastern University)，2007.
*[7]Zhang Zaihong张再红.词汇文化语义的认知研究(A cognitive Research on semantic lexical culture)[D].南京:华东科技大学(East China University of Science and Technology)，2009

==日语笔译曹梦然 Cao Mengran 202170081632==
<center>'''Chinese Wedding Costumes'''</center>
<center>曹梦然</center>
===Abstract===
In Chinese history, the embroidered red dresses, the phoenix coronet & colorful embroidered capes and the red head kerchiefs that Han people wore on their wedding ceremony were customized-made in Qing dynasty and early Minguo. The wedding dresses in Ming dynasty made the phoenix coronet & colorful embroidered capes and the red head kerchiefs, etc. popular in Han dynasty for 500 years. But the New Cultural revolution, the Cultural Revolution and the opening reform in recent and contemporary ages made the Chinese traditional wedding culture change a lot, and some are almost disappeared. Today, the Chinese traditional wedding and traditional wedding dresses became popular, but the confusion is which dynasty that the Chinese traditional wedding dresses of Han nationality can be dated. To study the evolution of Chinese traditional wedding dresses from Ming dynasty to today is to make modern people know more about Chinese traditional wedding dresses of Han nationality, to enlighten the designers today and make them creative and thoughtful to design Chinese traditional wedding dresses .

===Key words===
Traditional wedding dresses in Han nationality; The phoenix coronet& colorful
embroidered cape; wedding accessories

===Introduction===
When it comes to Chinese wedding dresses, not only foreigners but also most Chinese people are believed to be very unfamiliar with it. What should Chinese wedding dresses look like? Why is the Chinese wedding dress worn by modern people different from the feudal era? What is the "phoenix coronet & colorful embroidered capes" that is mentioned in the book? The wedding dress is a microcosm of the entire Chinese culture. As China's internal turmoil and various cultures spread and developed in the modern era, the wedding dress has changed its look, introduced different elements, been abandoned, and has been rediscovered in modern times. To understand the look of wedding dress, we must look at it from a historical perspective.

===The History of Chinese Wedding Dress===
Wedding dress in China has regional differences, as well as differences in time and ethnicity, but there are still some distinctive features that distinguish it from other countries. Historically speaking, the wedding clothes of the Tang and Song dynasties laid the foundation for Chinese wedding clothes, and after the Ming dynasty, Chinese wedding clothes took shape and have been used ever since. Let's talk about the characteristics of the Ming Dynasty wedding clothes.
The most familiar Han wedding dresses today are the colorful embroidered dragon and phoenix, phoenix coronet and colorful embroidered capes, big red capes, A few people know that more than 3,000 years ago in the Zhou Dynasty, the color of wedding dresses was black and red, and this mainstream wedding dress color system lasted until before the Sui and Tang Dynasties. The development to the North and South Dynasties also once appeared white dresses, to the Song Dynasty, the court nymphs of the six dresses, the wedding dress is cyan. By the Ming Dynasty, the big red wedding dresses we are familiar with only had a clear shape.
The Ming Dynasty established the custom of celebrating in red. When getting married, the bride usually wore a large red blouse with a long green skirt underneath. The bridegroom theoretically wore a ninth-ranking official's uniform, a hairpin wusha hat and long boots, and a red silk belt. Below are cartoon drawings that visually reflect the image of wedding costumes at that time.

===6.3.1 The phoenix coronet===
During the 400 years from the Ming Dynasty to the modern era, men could wear ninth-grade official uniforms when they married, while new brides used phoenix coronet and colorful embroidered capes. The phoenix coronet, as the name implies, is a cap in the shape of a phoenix, usually made of iron or silver. The rich use gold and Kingfisher feather art. It is decorated with pearls and precious stones. It is shown in the picture below.

===6.3.2 colorful embroidered capes===
The phoenix coronet and colorful embroidered capes appeared as a set of ornaments, originally meaning a gorgeous silk fabric that women used to drape over their bodies. "The colorful embroidered capes were used by Taoist masters as their vestments. The custom gradually evolved, and in the Song Dynasty, colorful embroidered capes became an accessory to the consort's regular clothes and the dresses of the princesses, with different embroidery patterns depending on the rank. In the Ming Dynasty, the wives of consorts and officials all wore colorful embroidered capes, but the consorts used vermilion and gold threads to embroider dragon and phoenix patterns, while other women could only use capes in dark blue without embroidery patterns. For the marriage of common people, women could wear phoenix coronet colorful embroidered capes.

===6.3.3 head covering===
The prototype of the cover is the ancient veil, which is a red cloth over the bride's head. The cover is covered from the time the bride leaves the boudoir until the male family enters the bridal chamber, when the groom picks it off or uncovers it with a scale. The material of the barrier surface is mostly silk gauze, silk gauze net of things, its thin and transparent does not obstruct the bride's vision. But also with a slightly thicker fabric made, the form of more square scarf or cap type. Covered in the head, long to between the ears, neck, chest and even to the feet a few feet, and vary with the times, different regions. The color is mostly red. There are two kinds of head coverings: round and square, sometimes with colorful embroidery on the head coverings.
6.4 Evolution of wedding clothes in Qing Dynasty
The Qing dynasty dress system changed dramatically, and men used robes and mandarin jacket as formal wedding dresses due to Manchu policies. But in general the first and middle of the Qing Dynasty women's wedding clothes still continued the style of the Ming Dynasty. In the late Qing Dynasty, influenced by men's mandarin jacket, women began to commonly use black mandarin jacket and red skirts as wedding dresses. The waistcoat was embroidered with gold and silver threads with dragon and phoenix patterns, as shown in the picture below.

Women's skirts still follow the popular "horse face dress" of the Ming Dynasty. This skirt has two light surfaces in front and behind the body without pleating, and it was popular in the Qing Dynasty to decorate the light surfaces in front and behind with gorgeous embroidery.

===6.5 Chinese Wedding Dresses Since Modern Times===
The mandarin jacket and skirt were still the main wedding clothes at the beginning of the Republic of China, initially black gown and red skirt with the wedding clothes at the end of the Qing Dynasty, and then gradually became popular to red gown and red skirt, whose color was more bright and eye-catching. Until now, the color of the coat and skirt still retains the form of red coat and red skirt. The collar of the gown is "Chinese style" stand-up collar, no slit and sash, the length of the sleeve is also different from the cheongsam, the gown is long-sleeved, but the Republican period gown sleeve length is shorter than the Qing Dynasty, the cuffs are also small. The sleeve length of the dress in the Republic of China period was about 5 cm above the wrist, in order to allow the bride to display the bracelets, bangles and other accessories worn. The skirt coat is relatively loose, with only a small waist, which is different from the cheongsam's emphasis on the female figure. The dress coat must also be worn inside a long coat and pants worn inside.
The westernization of wedding clothes also took place at the same time. The westernization of wedding clothes began in the late Qing Dynasty, and flourished in the middle of the Republic. In the late Qing Dynasty, the Qing court was in internal and external difficulties, and the country was in decline. In order to save the peril, a large number of foreign students were sent to study abroad, and the army also changed to train a new army. Among the Chinese students and soldiers, western-style student's drill clothes, drill caps and western-style military uniforms and caps first appeared. The importation of foreign clothes provided another reference system for judging beauty and directly influenced the change of social dress concept. In this context, it is not surprising that the fundamental changes in Han wedding costumes were understood and accepted by people. Thus, in Shanghai from the 1920s to the 1940s, both the style and the shape of clothing were Western in style. Women's clothing gradually became more and more fitted from wide clothes and sleeves. It was at this time that wedding dresses combining East and West began to appear. In this period in China, centered on Shanghai and other major cities, women wore Chinese cheongsam with western veil, and men wore suits or long shirts and hats, and Chinese wedding dresses did not have a uniform standard and blossomed, following the owner's preference. The picture below shows the popular wedding dresses at that time.

===6.6 Chinese wedding clothes exit the stage of history===
For economic and political reasons, one of the phenomena that occurred between the early days of liberation and the Cultural Revolution was the disappearance of traditional wedding clothes.
The special nature of wedding clothes no longer existed, and the so-called acquisition of wedding clothes was nothing more than making a new dress. In this era of extreme material scarcity, the purchase of a new dress became a great luxury. The period from the founding of the People's Republic of China to the Cultural Revolution The period between the founding of the People's Republic of China and the Cultural Revolution was a time of hardship and simplicity. Since the country's economy was at a low level of development, hardship and simplicity became the common fashion of the times, and people mostly wore blue, army green or gray clothes. At a time when the standard of living was quite low, there was no The standard of living was quite low, there was no extra income to buy extra clothes, so the traditional wedding costume was replaced by regular clothes. dress. This practice also embodied the proletarian spirit of hardship and simplicity and was advocated by people at that time. At the same time At the same time, in those times of class struggle, wearing wedding dresses and western clothes to get married was feared to be described as aspiring to a bourgeois lifestyle. The need to get married as a matter of human nature took a back seat to the needs of the revolution and the need to work.
In the early years of the founding of New China, China's politics, economy, military and culture were all modeled on the Soviet Union, and Soviet clothing became a symbol of the revolution.
Soviet clothing became a symbol of the revolution, and Soviet dresses instantly swept across China, Lenin's dress and the Bragi being two distinct examples.
The Lenin suit was a typical costume for female cadres in the late 1950s, and was actually a modification of the suit, which was worn by Lenin before and after the October Revolution.
After the October Revolution, Lenin often wore this style of clothing, the revolutionary enthusiasm of people in order to completely separate it from the suit, so it was given It was given the name "Lenin Suit", which was full of proletarian colors, as a proof of the revolutionary determination to follow the Soviet Union's example. This was a testament to the determination to follow the Soviet Union's example. The Lenin suit was once popular among women, and the fashionable dress for women was to wear the Lenin suit and have short hair to show their heroic The revolutionary style of heroism.
In the late 1950s, when a leader of the former Soviet Union visited China, he suggested that Chinese clothing did not fit the image of a large socialist country and that women should all wear flowery clothes.
Women should all wear flowery clothes to reflect the thriving face of socialism. At one time, the floral bragi became fashionable. Bragi is the Russian translation of the dress, the style is extremely simple: loose short-sleeved, bubble pleated skirt, simple round collar, and The fabric color pattern was mainly floral, plaid and stripes. This style is healthy and lively, not pretentious, and has been popular for a long time. This style was also used in the summer to wear when getting married.
It can be said that after the founding of New China until the eve of reform and opening up, Chinese wedding dresses and even weddings were basically extinct in mainland China.
6.7 Chinese wedding clothes after the reform and opening up
With the reform and opening up, with the emancipation of the mind, people's dressing style also began to become more and more diversified. While more and more young people are choosing Western-style weddings, traditional Chinese weddings are also favored by many tradition-loving Chinese people. Due to the long break in generation, there is a lack of craftsmen who can make traditional wedding clothes in mainland China, so people imitate the clothes of the previous generation and adapt them into the Chinese wedding clothes that are now popular in mainland China. This is the so-called "xiuhe dress".

This wedding dress is still part of the Chinese wedding costume, but its structure and cut are very different from its predecessors. The traditional Chinese cut was abandoned in favor of a more body-hugging Western cut. Since the horse-faced skirt was lost, the skirt was commonly made into a straight skirt with a piece of cloth sewn on the skirt to make it look like a horse-faced skirt. The body of the dress is embroidered with gold and silver threads with dragon and phoenix designs.
In recent years, more and more people are calling for wedding dresses should be from ancient times, and young people are trying to imitate the wedding customs of various Chinese feudal dynasties, including wedding dresses. As for what exactly Chinese wedding clothes should look like, there is actually no definite conclusion today.

===Conclusion===
There is no exact definition or form of Chinese wedding dress. It has a long history and is rich in variations of forms, but had been transformed and abandoned for economic and ideological reasons, among others. Nowadays, more and more people are taking Chinese traditions seriously, and it has become a modern Chinese trend to keep digging into the marriage customs of ancient feudal dynasties. I believe different people will have different answers as to what Chinese wedding clothes should look like. Perhaps in the near future, traditional Chinese wedding dresses will still shine in China.
===References===
[1] 王宏付.民国时期上海婚礼服中的“西化”元素[J].装饰，2006，（5）

[2] 徐莉.试论婚礼服饰的变迁[J].北京城市学院学报，2006，（3）

[3] 姚君洲.论女性婚礼服在中国的发展趋势[J]，徐州教育学院学报，2001，16（01）

[4]许星.苏州地区民间传统婚礼仪俗及衣着饰物探析[J].装饰，2006，（3）：97

[5]史林.对白色婚礼服流行的几点思考[J].苏州丝绸工学院学报，1996，3（1）

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（6）

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[11] 周锡保．中国古代服饰史．中国戏剧出版社[M]，1984

===Terms and Expressions===
凤冠 phoenix coronet

霞帔 colorful embroidered capes

点翠 Kingfisher feather art

马褂 mandarin jacket

马面裙 horse face dress

秀禾服 xiuhe dress

===Questions===
When did Chinese wedding dresses start to revere red?

What led to the extinction of Chinese wedding dresses in China itself?

What are the origins of modern wedding dresses?

===Answers===
1. The beginning of the Ming Dynasty

2. Changes in the dominant ideology and the constraints of productivity level

3. The popular mandarin jacket and skirt of the Qing Dynasty

20220630 Culture 14

2022-09-18T18:02:01Z

Zhang Minfeng: /* 英语口译张旻丰 Zhang Minfeng 202170081631 */

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

==英语口译向望 Xiang Wang 202170081628==
<center>'''Fandom Culture in China'''</center>

<center>Xiang Wang</center>

===1.Introduction===

A fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity. Fandom culture, or the so-called "fanquan" culture, refers to online youth communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.

===2.Fandom===

'''History'''

Although early fandom was strongly perceived as a fandom culture involving a few fanatic people, it has recently brought about a shift in perception that can be accessed in a variety of ways only by the name of a star or related search terms on portal sites, which is largely due to the development of the Internet and media.

Among the numerous fandoms in cyberspace, especially the nation’s “idol” fandom has steadily expanded its influence in various ways to date. In the past, idol fandom culture was called “girl culture” or “teenage culture” and was considered primarily an immature culture for teenage girls, while the third-generation idol fandom has recently expanded to men and over 40s, exerting an influence on cultural consumption aspects for all generations.

'''Fan relationship'''

Parasocial relationship is a one-sided relationship as a result of constant exposure to a media persona that a celebrity demonstrates. This then causes fans to develop an illusion of an intimate relationship or friendship. Idols are typically trained to have and form close connections with their fans which leads to this close-knit connection becoming a parasocial relationship. Idols do this through parasocial interaction. Parasocial interaction between fans and idol(s) is a start at explaining fandom culture. The idol(s) become a “parasocial-kin”, an object of consumption and parasocial interaction; such as a family member or a friend. This “parasocial kinship” is defined by how an individual would treat an extended family member, allowing for further understanding of the positive and negative aspects of the idol/fan parasocial relationship.

Celebrities are icons that are driven by their presence in majorly media-driven societies. As time, society, and culture progress, the idols must change and form along with it. The best way that this is represented is through social media.

'''Fansumer'''

“Fansumer” is a compound word of “fan” and “consumer.” This means consumers who participate in production, in other words, productive consumers. Then, the fan base, which was classified as a fandom, turned into a very active fan who focused on the interaction of planning, investing and checking while participating in the overall production and production process for products or entertainers, not just one-sided love and purchase for one-sidedly.

Fansumer’s sphere of activity is very wide. As mentioned above, they invest in startup idea products, engage in corporate product development, engage in marketing activities as supporters, and support or criticize celebrities or influencers, not to mention fostering celebrities before their debut. The driving force behind these Fansumer’s activities is the pride that ‘it was made by me.’ It’s called Byme Syndrome, noting the efficacy of being created by me.

'''Fan behavior'''

'''Positive'''

Members of idol fandoms may better themselves in the pursuit of their obsession, such as by studying to enter the same university as their idols, learning foreign languages to follow their idol’s career abroad, or learning image-processing techniques to edit photos of the idol. Fans’ role in creating their own fan content allows for idol groups to gain mainstream exposure in the west, and have tours abroad.

'''Negative'''

Stalker fans are considered to have become overly obsessed with a public figure and engaged in behavior that constitutes an invasion of privacy. Stalker fans may disguise themselves as a stage hand or manager to approach the star or pretend to be reporters in order to gain entry to a press conference. Many fans use the Internet and social media to find and track the location of their idols. Some of the fans came to the group’s hostel, stole the members’ underwear, took pictures of them sleeping, and later sent the pictures to the members by text message. Many normal fans have an unpleasant feeling about such fans’ actions.
Paparazzi also exist in China and Zhuo Wei is one of the most famous ones. They report on the private lives of celebrities in the Chinese entertainment industry and have violated privacy by exposing secrets and illicitly taken photos.

===3. Fandom culture===

'''Overview'''

Fandom culture is not new. Long before the internet, fan clubs were organizing gatherings, publishing magazines, and writing fan fiction. But in the early 2000s, the rise of social networks fundamentally changed the face of fandom, turning it from a pleasant communal activity into something competitive, chaotic, and even abusive.

In China, the main driving force behind this evolution of fandom is Sina Weibo, the largest social media platform in the country. In addition to helping enthusiasts find their communities, Weibo also brought celebrities and their supporters closer together by breaking down the wall between them.
At its core, the way Weibo operates in the world of fandom is no different than its global counterparts like Twitter and Instagram. But if in the West the relationship between stars and their fans can be called one-sided — fans just follow, consume content, or copy the lavish lifestyles on display — in China the relationship is more co-dependent.

The fan circle members are believed to be mostly Generation Zers born after 1995, and their number has grown significantly in recent years. In 2020, about 8 percent of China’s 183 million underage netizens engaged in reputation-boosting activities for their idols, according to a recent report from the China Internet Network Information Center.

'''The status quo of fandom culture in China'''

For many young people in China, particularly those born after the 1990s, fandom culture—which can be traced back to the idol worship of the 1980s and 1990s—has offered a rare avenue for identity formation and community building in society. As networked and often highly organized communities of fans rallying around their beloved idols, “fandoms” have enabled close parasocial interactions in which fans feel a kind of intimacy with the object of their shared interest, as well as a sense of active participation that can be empowering and identity-forming.

Examples of fandom culture include the hit show “Idol Producer,” which launched in January 2018 on the online video platform iQiyi and empowered fans to select and promote their favored contestants from among 100 aspiring performers. The ultimate goal of the program was to select nine performers to form a brand-new male idol group. As fans organized to promote their favored idols through social media platforms, their interactions were fueled by Gen Z-focused services like live-streaming and live commerce.

Fandoms have become big business in China. A report published by iResearch Consulting Group put the market value of the fan economy in China at close to $620 billion in 2019 and estimated that the fan economy would grow a further 50 percent by 2023.

It would be easy to dismiss fandoms as shallow and celebrity-obsessed, but the highly organized online communities forming around China’s fandoms have already demonstrated their potential for both social activism and political organization. Perhaps the most prominent example of online fandom communities’ potential for political expression came in 2016, when the so-called “Diba expedition” saw thousands of highly organized cyber-nationalists, mostly “fan girls,” mob the Facebook account of Taiwan’s newly elected leader, Tsai Ing-wen.

Fandoms and their capacity for collective action were also one of the largely untold stories of China’s fight against the COVID-19 epidemic in its early stage. In January 2020, as it became clear that an epidemic had emerged in Wuhan and surrounding areas, the government response was far too slow in many key areas, including the provision of protective equipment. By contrast, the networks already formed within fandom culture—the same that allowed mobilization in support of chosen idols—enabled the rapid marshalling of resources. On Jan. 21, 2020, one day after China confirmed human transmission of COVID-19, the fan network of Zhu Yilong, a young actor originally from the city of Wuhan, mobilized funds to purchase more than 200,000 protective masks. These and other supplies were delivered to Wuhan within 24 hours, offering much-needed support for medical personnel and others on the front lines. The aid offered by the Zhu Yilong network is just one of many examples of how online groups provided a crucial means of support amid a rapidly unfolding crisis.

===4. Fandom culture in the wave of social media===

Fandom culture has been around for centuries. However, it is the emergence of social media in recent decades that has led to the remarkable transformation and development of fandom culture. Most obviously, fans play a more active role. They are not like completely passive receivers in the past but participate in the production process of cultural products on their own initiative. All these phenomena show that fandom culture profoundly impacts the economy, culture, society, and other fields.

'''The impacts of digital networks'''

Many processes, such as forming fan groups and creating fandom culture, require communication and interaction. However, due to the limited means of communication, in the pre-Internet era, communication between fans was always hindered in various ways, either by long distances or inconvenient schedules. Henry Jenkins argues that the emergence of digital networks has made it possible for fans who might not otherwise have met to have meaningful conversations and has created a new context that fans can share. It is reasonable to declare that those barriers mentioned above have been broken in a digital network environment where the degree of fan interaction is much higher than in the pre-Internet era, as is the degree of fandom culture development.

'''The interaction between social media and fan engagement'''

In the first 10 years of the new century, the world Internet gradually developed from Web1.0 to Web2.0. Compared with Web 1.0, Web 2.0 emphasizes more on interactivity. This feature has laid the foundation for the emergence of social media platforms and thus promoted the new development of fandom culture. Guo Shuojia points out that the rise of social media has greatly broadened the scale of fan groups and promoted communication within fan groups. Because the fans can communicate and discuss on social media in real-time, which all result in the prosperity of the immediacy and participation of the current fan culture (Guo Shuojia, 2018,147-162).

In the second decade of the 21st century, fandom culture has seen a new boom around the world, which is related to the continuous upgrading of social media. All the efforts that social media make to increase users’ stickiness and activity objectively help fandom culture grow. Take Weibo for example, China’s largest entertainment social media platform. When a user chooses to follow a celebrity, the user is immediately notified of the celebrity’s tag, channel, and fan group. Further, through big data technology, the user will be frequently recommended content related to or similar to the celebrity, including entertainment news, commercial advertisements, and other content, when browsing information.

'''Celebrities’ active participation in social media'''

Moreover, the growth of fandom culture is not the result of the rise of social media alone. Celebrities also choose to use social media to enhance the sense of intimacy and provide greater possibilities for interaction (Guo Shuojia, 2018). In other words, it’s not just fans who are discovering the power of social media. Celebrities and the business communities behind them are also noticing the value that social media can bring. Since she joined Twitter in 2008, Lady Gaga has insisted on interacting with her fans as a publicity hot spot. Lucy Bennett has summarized this kind of phenomenon as “the emergence and widespread use of social media by celebrities are trying to reconfigure the contact level and participation depth between both fans and celebrities” (Lucy Bennett, 2014, 109-120). Since its establishment in 2009, Weibo has also attracted a large number of celebrities to come here to share their daily life and communicate with their fans, which attracts more fans and improves their business value. With the expansion of fans, fandom culture and fan economy have entered the mainstream of society.

'''Brief summary'''

The growth of fandom culture results from a multi-faceted effort by social media, fans, and celebrities. The emergence and development of social media have narrowed the distance between celebrities and fans, creating a new environment for real-time comments and feedback from fans. At the same time, the development of fandom culture has promoted the development of the fan economy. In the context of the double prosperity of fan culture and fan economy, fans have become an indispensable group in the social scene, and their influence soared.

===5.The role change of fans===

'''From receiver to producer'''

Firstly, the exchange of traditional media to emerging social media promotes the development of the participatory culture of fandom, which makes their role change from the receiver to the producer. According to Henry Jenkins, participatory culture is a notion to describe how media fandom operates, and it is known as spectator culture (Henry Jenkins, 1992). And we consider participatory culture important to fandom culture because fandom was participatory in so far as fans formed alternative interpretations that were often expressed through unauthorized cultural productions. Before the 2010s, the mainstream media was still traditional media, making the fans only receive information from official sites, and there is not enough space or suitable platform for fandom to expand. However, John Fiske pointed out that fans are the producers and consumers of popular culture capital, and fandom culture has two cores, chatting and derivative creation (John Fiske, 1992, 30-49). Under the control of traditional media, although fans at that time do not have enough space to communicate with each other, there are still platforms like Tieba (in 2009, the Tieba of Li Yuchun already had over a billion) for them to exchange commands and show their derivative creative productions. Therefore, after 10 years, we media emerged, newly developed platforms like Weibo, Bilibili, and the developed technology promote the progress of the social media revolution, producing more alternative spaces for fandom and participatory culture to grow. According to Cai Qi, fans are always the first user and promoter of new media techniques, and the most direct driver of a true communication revolution is, as always, technology (Cai Qi, 2009, 86-90). In the generation of we media, fans have taken the best advantage of social media platforms to promote their fandom. A place like Chaohua (community of Weibo) is now a community for fans to exchange the dynamics of the idol, communicate feelings, and produce artworks. Along with the revolution of social media these years, the role of fans is not only receiver and consumer of information, but also producer and participants of derivative creations.

'''From passive to active'''

The revolution of social media also changes the mindset of fans from passive to active. As mentioned above, the essence of fandom culture is participatory culture. Fans need to have communication in the fandom. The change of mindset can be considered a willingness to communicate with other people and enlarge their fandom. According to Cai Qi and Huang Yaoying, based on the technology development, from traditional media to emerging we media, information spreading is also changed from node to surface to multiple nodes exchange (Cai Qi, Huang Yaoyin, 2011, 28-33). In the age of traditional media, the role of fans on the internet is more like the audience. They receive information from media and form concepts but lack the platform for expression and comments. People can only communicate their ideas with their surroundings which is very limited under the condition of traditional media, and it is also hard for them to form a circle to share a common hobby. While under the condition of we media, people can send out their fragment information through the Internet to everyone and receive the information they are interested in immediately. Fans in this generation can make use of these conditions and form their fandom quickly. Like in Douban, you can choose to join different groups and find a few people with common interests, which stimulates the willingness of expression quite a lot. Therefore, it can be concluded that the social media revolution encourages expression and different voices, which makes fans braver to share their ideas, and the mindset change from passive to active.

===6.The impact of fandom culture===

Thanks to social media, fans have gained so much power compared to the past. As an integral part of society, being such a powerful group allows them to have a strong influence that cannot be neglected on our society. The influence is multi-dimensional and impressive.

'''Economic influence: fan economy'''

Among the most followed celebrities on Weibo, Xie Na, who ranked first, has 129 million followers. The figure shows how enormous the fan base is in China, which is also targeted by companies as their potential market. In his 1992 book Textual Poachers, Jenkins described fandom as a base for consumer activism among five core dimensions (Henry Jenkins, 1992). Indeed, many product producers seek the endorsement of famous actors or singers to boost sales. Combining a celebrity’s advertising post on his or her social media and other forms of advertisement is now considered a reliable marketing strategy by big companies. Fans’ purchase power is also demonstrated when their object of admiration makes a new production, whether it is music, a film or other forms of achievement. For example, when a singer or a band releases a new album, fan bases will immediately devote themselves to negotiation with the publisher to get the lowest price possible and design special merchandises like slogans, canvas bags, bottles, etc. These merchandises, with beautiful pictures of the singer or band on them, must be purchased with the album, which serves to attract as many fans as possible to purchase the album. Baidu Jeon Jungkook Bar, a fan base for the K-pop sensation BTS’ member Jungkook, purchased a total of 166,200 Map of the Soul: Persona albums after its release. As Li put it, when fans’ need is met and they are excited about what will come next, they will be willing to spend more money; when the consumption is interactive, it lasts longer (L. Li, 2012, 25-26).

The fan economy in China is driven mostly by minors. An average online fan club has millions of young (mostly female) followers ready to support their idols by contributing money or actively buying the idol’s advertised products. Often, they go beyond spending money. For example, fans can raise an idol’s commercial rating and help him or her get even more endorsement deals if they took a screenshot of the purchase, tagged it with both their own username and the brand’s social account, and uploaded it to social media.

Cooperation with Chinese idols is a proven method for brands to grow their reputation. In 2019, Estee Lauder announced Xiao Zhan, a popular Chinese singer and actor, as its brand ambassador just before Singles’ Day, the world’s largest online shopping festival, held on November 11 every year. As a result, sales exceeded 40 million yuan ($6.2 million) in one hour. U.S. cosmetic brand Origins reported similar results. Its collection, made in collaboration with Wang Yibo, surpassed 30 million yuan ($4.6 million) in one hour. Last year, Chinese actor, singer, and dancer Jackson Yee became a global makeup and skin care ambassador for Armani Beauty and an Emporio Armani global ambassador.

Some studies show that of the estimated 500 million “idol chasers” (defined as anyone ready to spend money on an idol) in China, 36% are willing to spend 100 to 500 RMB ($15 to $75) per month. What do they get in return? Emotional satisfaction, an academic analysis of the fan economy says, is like having a good conversation with a friend. This feeling is the key element of the so-called “emotional capital” of the star. The more people feel that a celebrity can understand and satisfy their emotional needs, the more emotional capital they get.

'''Cultural influence: creation boom and values shift'''

Recent years have witnessed a boom of fan productions: fan fiction, fan videos, fan arts, fan edits, etc. Jenkins believed that the reason why more and more people are participating in this creation is that the network provides them with a safe place where they can experiment with new passions or activities (Henry Jenkins, 2018, 11-26). The massive online community offers fans the audience no matter whether their creation is good or bad. Many fans with specialties in a particular area even give instructions to rookies by using social media or making instruction videos. Through social media, each fan could find a way to participate in content creation and feel a sense of belonging and achievement. The advent of social media has also enabled people to voice their opinions in an unimpeded way. Information and knowledge could no longer be cut off from the public; public opinion is free from control and manipulation. Thus, independent of the traditional media, fans have come together to break the mould of society. Their strong voice, in turn, exerts influence on traditional media (Cai Qi, 2009, 86-90). Fans question the values held by most people, for example, the definition of beauty. Wang Ju, a participant in one of the most popular variety shows in China, Produce 101, has dark skin and a strong body contrary to the typical appearance of female idols who are usually slim with light skin color. At the beginning of the show, netizens criticized her harshly, making fun of her skin and exaggerated expressions. However, as the show went on, Wang Ju expressed her respect for the independence of females and demonstrated her candid and ambitious personality, which gained her a lot of fans, many of whom were against her before. Her fans did their utmost to promote her and vote for her, contributing to her rising popularity. People began to recognize this different definition of beauty. Global Times wrote: “The personality Wang displays coincides with the shifting attitudes of China’s younger generations (Zhang Yiqian, 2018).”

'''Social Influence: Public Welfare'''

As mentioned before, China has a large fan base, which can play an important role in donation and relief. Fans can deliver what they appeal for online (Cai Qi, 2009, 86-90). Many fan bases continue to make donations to international and domestic organizations such as Whale and Dolphin Conservation, WWF and participate in various projects to help advance the cause of animal, environmental protection, and human welfare. After the coronavirus outbreak in Wuhan at the end of 2019, many fan bases and organizations in China rallied to raise funds for the epicenter of the epidemic. By February 2020, there were more than 300 fan groups in the joint force that has obtained face masks, protective gowns, and other crucial supplies to donate to medical practitioners fighting in Wuhan. Among the deeply concerned fan groups, Lun Deng’s fan club stood out. More than 3000 members of Deng, a famous actor with more than 39 million followers on Weibo, contributed to the donation effort by raising more than 230,000 yuan ($32,752) in 12 hours (Chen Nan, 2020). By doing their utmost to support Wuhan, fans show care and compassion for their compatriots and a sense of social responsibility.

===7.The “Clear and Bright ” campaign===

The campaign, called “Clear and Bright,” started in June, with the Cyberspace Administration of China (CAC) saying in a statement that it would put an end to cyberbullying and rumor-spreading. Some of the behaviors being targeted include inducing minors to raise funds, vote rigging, and agitating fans to flaunt their wealth and extravagant lives.

The celebrity-ranking ban follows the CAC’s removal of 150,000 pieces of “harmful online content” and punishment of more than 4,000 accounts related to fan clubs, according to a recent Xinhua report.

The campaign was originally launched after an incident in May that came to be known as the “milk waste” scandal. The popular talent show Youth With You 3 encouraged viewers to buy milk and scan the QR code inside the bottle caps to support their favorite stars on the show. Videos of people opening bottles of dairy products and dumping the contents into drains went viral. Some calculated that 270,000 bottles of dairy products were poured directly into the sewage. Intense online backlash caused the show to be suspended by the Beijing Municipal Radio and Television Bureau.

===8.Conclusion===

Fandom culture emerges as a subculture; it is a cultural phenomenon formed by the interplay between the network and social media. Its emergence and development are an important transformation of niche culture in the era of new media and big data. In the network society, the development of network technology makes interaction possible, and the media is no longer compulsory. Fandom culture is created by fan groups and its characteristics of the organization and circle-based groups, and full participation exert a significant impact on the mainstream culture, the spread of media information, people's behavior and the progress of society. Fandom culture is a double-edged sword and its future development needs to be properly guided by the government.

===References===

Henry Jenkins, Fandom, negotiation, and participatory culture, in: P. Booth (Eds.), A companion to media fandom and fan studies, John Wiley & Sons, Inc., Oxford, 2018, pp. 11-26. DOI: https://doi.org/10.1002/9781119237211

Guo Shuojia, Charging Fandom in the Digital Age: The Rise of Social Media, in: C. Wang (Eds.), Exploring the Rise of Fandom in Contemporary Consumer Culture, IGI Global, Hershey, 2018, pp. 147-162. DOI: https://doi.org/10.4018/978-1-5225-3220-0

Lucy Bennett, Fan/celebrity interactions and social media: Connectivity and engagement in Lady Gaga fandom, in: L. Duits, K. Zwaan, S. Reijnders (Eds.), The Ashgate Research Companion to Fan Cultures, Ashgate Publishing, Ltd., London, 2014, pp. 109-120. DOI: https://doi.org/10.4324/9781315612959

Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture, Routledge, New York, 1992. DOI: https://doi.org/10.4324/9780203361917

John Fiske, The Cultural Economy of Fandom, in: L.A. Lewis (Eds.), The Adoring Audience: Fan Culture and Popular Media, Routledge, London, 1992, pp. 30-49. DOI: https://doi.org/10.4324/9780203181539

Cai Qi, The Internet and the Development of Fan Culture, in: X. Liu, J. Chen, Y. Wang (Eds.), Chinese Journal of Journalism & Communication, Renmin University of China, Beijing, 2009 (7), pp. 86-90.

Cai Qi, Huang Yaoyin, New Media Communication and the Development of Audiences' Participatory Culture, in: P. Liu, Q. Wang (Eds.), Shanghai Journalism Review, Shanghai United Media Group, Shanghai, 2011 (8), pp. 28-33. DOI: https://doi.org/10.16057/j.cnki.31-1171/g2.2011.08.009

L. Li, Fan culture under consumerism, in: C. Jing (Eds), Youth Journalist, Dazhong Press Group, Jinan, 2012 (14), pp. 25-26. DOI: https://doi.org/10.15997/j.cnki.qnjz.2012.14.009

Zhang Yiqian, 2018, Woman not slim and fair shoots to phenomenal stardom with LGBT, feminist fan base, [Online] Retrieved May, 25, 2021, from https://www.globaltimes.cn/page/201806/1105683.shtml

Chen Nan, 2020, Pop fans rally to raise funds for Wuhan, [Online] Retrieved May, 20, 2021, from http://www.chinadaily.com.cn/a/202002/05/WS5e3a1ecca310128217274fd2_6.html

===Terms and expressions===

Fandom/Fan circle 饭圈

Fansumer 粉丝消费

Stalker fans 私生饭

Paparazzi 狗仔

China Internet Network Information Center 中国互联网络信息中心

Idol Producer 偶像练习生

live-streaming 直播

iResearch Consulting Group 艾瑞咨询集团

fan economy 粉丝经济

Diba expedition 帝吧出征

fan girls 饭圈女孩

participatory culture 参与文化

we media 自媒体

Produce 101 创造101

Whale and Dolphin Conservation 鲸豚保育协会

WWF 世界自然基金会

emotional capital 情感资本

===Questions===
1. What has led to the remarkable transformation and development of fandom culture?

A.Fans

B.Network

C.Social media

D.Idol

2. What are the fan circle members mostly believed to be?

A.Boomers

B.Generation X

C.Generation Y

D.Generation Z

3. What does “Diba expedition” show?

A.online fandom communities’ potential for political expression

B.a large group of fandom members

C.a journey to a remote area

D.an online platform that focuses on an expedition

===Answers===

1. Social media

2. Generation Z

3. online fandom communities’ potential for political expression

==英语口译徐舞 Xu Wu 202170081629==
<center>'''The Analysis Of "Chi+O"'''</center>

<center>Xu Wu</center>

===Abstract===
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
typical significance to choose the verb "Chi" with object as the research object. Based
on the research results, this paper attempts to make a comprehensive and multi angle
investigation and research on the phenomenon of "eat" with object through corpus data
statistics. This paper mainly discusses the phonetic distribution, semantic types and
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
the perspective of word meaning, food objects are the first; From the perspective of
deep semantic structure, patient object is still the most typical type of object. Secondly,
by summarizing the diachronic changes of "Chi" with object, we find that the types of
object increase after "Chi". The reasons include the change of word meanings, cultural
influence, network development and so on.

===Key words===
Chi; Object

===Introduction===
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

===Literature Review===
Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

===Research Significance and Corpus Sources===

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

===The syllable distribution of "Chi" with object in modern Chinese===

1.Syllables
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage
Monosyllable 7128 54.43%
Two-syllable 4736 36.16%
Three-syllable 1006 7.68%
Four-syllable 144 1.24%
Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

===The word meaning distribution of "Chi" with object in modern Chinese===

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage
Tool 440 3.37%
Food 10736 81.99%
Place 24 0.19%
Abstract noun 1680 12.84%
Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

===The semantic structure of "Chi" with object in modern Chinese===

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage
Recipient object 10792 82.41%
Object of place 212 1.62%
Result object 1472 11.24%
Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

===Reasons===
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

===Conclusion===

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

===References===
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

===Terms ans Expressions===
Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语 metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

===Questions===
Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

===Answers===
It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

==英语口译张静芝 Zhang Jingzhi 202170081630==

<center>''' The Chinese Cheongsam Culture'''</center>
<center>Zhang Jingzhi</center>
===Abstract===
This paper will show the beauty of cheongsam from its shape, color, pattern and material, and explain the influence of social ideology on cheongsam, one of the traditional Chinese clothes by connecting the evolution of cheongsam with the development of Chinese society in recent hundreds of years.

===Key words===
Cheongsam,culture,social ideology

===1.Introduction===
Clothing is not only the product of human material civilization, but also the crystallization of human spiritual civilization. Throughout the development history of human civilization, the clothing characteristics of any nation contain profound cultural heritages of a nation, which has been deposited for thousands of years. Since the day of the origin of clothing, human beings have blend their living customs, aesthetic tastes, color interests, as well as various cultural attitudes and religious concepts into clothing, and built the spiritual civilization connotation of clothing culture.
As an exotic costume of China,Cheongsam’s material choice and the change of style and design and colour collocation not only record the productivity, science and technology level of the specific historical period, but also have close relations with the social ideology, political background, economic environment, as well as the national culture psychology.so to speak, Each evolution of Cheongsam is an "inflection point" in the development of the whole Chinese costume and even the whole modern Chinese history, whose significance directly indicates the profound changes of ideology, social economy and superstructure in modern Chinese society.

===2.Cheongsam-A representative of Chinese Clothing===

'''2.1 Comparison of Chinese and Western Costume'''

'''2.2.1 The Comparison of Modeling'''

In the design of clothing structure, due to the selection of different human body posture, Chinese and Western clothing are different in clothing style. The static posture of the human body when standing is the structural design standard of Chinese clothing. The structural form of the standing posture of the human body with natural flat arms and easy legs has become the structural form of Chinese traditional clothing since the ancient clothing system. Therefore, Chinese traditional clothing has the characteristics of straight line, whole piece and plane type. People are convenient to raise a hand or lift a leg and squat or sit with such costume. Chinese dress usually has the features of simple and plain,as well as is conducive to labor.
The pursuit of perfect combination with individual shape is the top priority in the structural design of Western clothing, so the structure of clothing is more complex than that of Chinese clothing. In the design and modeling of western clothing, each special feature of the human body structure is designed respectively. For example, according to the torso, upper limbs, lower limbs and other parts, the collar, garment body, sleeve, trouser tube and other major parts are designed respectively, then some other accessory parts are added to form the whole garment and pants. And each main component is irregular tubular shape or tubular formit according to the human body outline with different length, wideth, size . In terms of external surface, western classical clothing often adopts the horizontal expanding shoulder outline, expanded sleeve shape, huge skirt and overlapping lace to emphasize the horizontal style, so that the clothing produce exaggerated and radiating effect. The undulating facial contour, tall and straight body shape and passionate temperament of westerners all determine these modeling characteristics of Western clothing.

'''2.1.2 The Comparison of Colour'''

Color is another major factor in the composition of clothing, Chinese clothing has always paid more attention to the choice and collocation of color. In ancient China, the costume color is divided into two kinds: normal color and secondary color. The normal color is cyan, yellow, red, white and black, and the other is secondary color. In ancient times, the choice of clothing color in China was a phenomenon with social connotation: once a certain color was favored by the royal and noble, it was forbidden to use it among the folk, otherwise, it was a crime of deceiving the king. In most dynasties, the normal color was reserved for the superior society, indicating nobility. In the folk, normal color is also the color that people like and pursue when designing clothes. On the one hand, this shows that ancient China attaches great importance to dress color, on the other hand, it also shows that the use of dress color has obvious class nature.
Like the eastern culture, the western people attach great importance to the choice of clothing color, but they pay more attention to the emotion contained in the color. Western people believe that any kind of color is endowed with profound meaning, any kind of color can represent a sublimed spirit. When people see red, which gives people a kind of passion, romance and strong feelings, they will associate with blood, sun and flame and other related things. However, westerners attach great importance to the choice and collocation of clothing colors in close coordination with the age, skin color, body shape and figure of the wearer, as well as with the purpose and environment of wearing the costume, it mainly because that the above various colors can produce different emotional changes and symbols to people. Westerners often choose clothing colors according to their own specific characteristics. Therefore, the choice and collocation of clothing color appear to be very personalized, and there sre rarely blind imitation phenomenons, people's wearing appears featured.

'''2.1.3 The Comparison of Dermatoglyphic Pattern'''

Chinese and Western clothes have their own preferences in the choice of patterns. Chinese style clothing preferences using pattern to express auspicious wishes. Due to China's textile industry has been leading in the world, and is able to use heavy machinery and exquisite workmanship to weave a variety of complex auspicious patterns,so through the ages, whether it is noble silk or folk prints, auspicious patterns are widely used, which reflects people's expectations and hopes for a better life. The patterns of dragon flying and dancing, the Dragon and Phoenix and the Nine Dragons playing with pearls not only symbolize totem worship, but also express the emotions of "Descendants of the Dragon".
Western European clothing has always been known as the representative of western clothing, and the patterns on its clothing are constantly changing and updating with the vicissitudes of history, incorporating new elements and cultures from time to time. In ancient times, western European costumes were mainly flowers and patterns, especially in the Italian Renaissance, gorgeous flower patterns were more popular. In modern times, with the development of science and technology, it became popular to use geometric principles to design the Op patterns and so on. With the continuous progress of science and technology and the maturity of textile and dyeing technology, the patterns of western mainstream clothing are becoming more and more delicate, and all kinds of clear and distinctive patterns are slowly becoming a popular costume theme in the world.

'''2.1.4 The Comparison of Material'''

Due to the influence of history, culture, geography and other aspects, there are huge differences in the materials of Chinese and Western clothes. China, the once famous "Silk Kingdom", is rich in silk goods, so the traditional Chinese clothes are mainly made of silk. Silk products have the characteristics of soft and smooth, good air permeability.They are cool and comfortable in summer while light and warm in winter, so they are widely used in the clothing industry and are gradually popular in the world market. The silk pattern is delicate and exquisite, the cloth color is bright, the silk cloth is chosen to make the clothing, rich in national characteristics, and can be decorated with various crafts, after wearing, it gives a person with elegant and noble, graceful and charming feeling.
Different from the Eastern countries whose civilization developed earlier, most western countries were nomadic people who were mainly hunting and nomadic in the early development period. Therefore, in the primitive society, they were good at making clothes with the animal fur to achieve the purpose of heating, protection and decoration. With the rapid development of woolen spinning and woolen weaving technology in western countries, especially the exquisite woolen spinning technology in Britain and Italy, after the Middle Ages, the wearing of woolen cloth became increasingly common. In western countries at that time, the men's clothing is mostly made from woolen. Because the distinctive characteristics of the cwoolen materials are solid, crisp, high plasticity, so clothes made from it can make the garment appearance with neat, modesty, full of vigor and vitality.

'''2.2 The Beatuty of Cheongsam'''

'''2.2.1 The Beauty of Modeling'''

As we all know, Cheongsam is the representative of Traditional Chinese national dress. However, the reason why Cheongsam can be called one of the most dazzling pearl among many Chinese clothes is due to its shape.
The silhouette can best reflect the modeling of Cheongsam. Cheongsam has rigorous structure and smooth lines. This kind of implicit curve shape fully shows the natural curvaceous beauty of the human body, which is in line with the Asian people's physique, especially suitable for the petite and exquisite Southerners in China. At the same time, it also reflects the "people-oriented" design concept and embodies the traditional cultural characteristics of "unity of heaven and man" in China. After centuries of evolution, the s-shaped contour structure and oriental style have become the most stable elements of Cheongsam, deeply influencing designers at home and abroad and making people unforgettable.

'''2.2.2 The Beauty of Colour'''

The color of clothing is regarded as the soul of beauty of clothing. The use of cheongsam in color can be said to be a classic image of Chinese clothing, which fully expressed the significance of color. Each color has different characteristics and implication, in different seasons, occasions, through the combination of color collocation, color can give people enthusiastic,elegant, warm and romantic even sedate and sad aesthetic feelings.
Since ancient times, China has had the custom of wearing red. Chinese red is the theme color that Chinese people like to use in the Spring Festival and wedding celebrations. Red is a color with rich emotions and is a symbol of happiness. The red Cheongsam can be the best expression of warm, bold, happy emotions, but also make people appear vigorous, full of youth and vitality.
Yellow is the traditional color of our country. In history, yellow is a symbol of dignity and power. Yellow is rich in layers and is widely used in Cheongsam, which is loved by women. The green cheongsam symbolizes nature, growth, hope, freshness and tranquility. It reminds people of plants in nature and brings people a sense of comfort, suppleness and gentleness. Blue cheongsam can well show the pure, rational, serious and honest personality of women.
Purple is a kind of color full of mystery, it is mixed by red and blue. Purple is regarded as a symbol of nobility and luxury, and is often chosen as a dress color by princes and nobles. Purple cheongsam full of luxurious, rich, elegant feeling. Black is a dual color, symbolizing darkness and silence on the one hand, while maturity, solemnity and mystery on the other hand.
White symbolizing purity and holiness. White Cheongsam can best reflect people's nobility, elegance. The Manchus of the Qing Dynasty believed that white was auspicious, and they often wore red or other colors of Cheongsam with white lace, or paired with a white veil.
In conclusion,different colors show different connotations of Cheongsam, but it is these gorgeous colors that makes Cheongsam a bright visual symbol in Chinese culture.

'''2.2.3 The Beauty of Dermatoglyphic Pattern'''

In costume decoration, pattern is an essential element in Chinese costume culture. It has a long history and is the embodiment of traditional symbols. Every pattern has a deep meaning. Cheongsam patterns are mainly animal patterns, plant patterns, landscape patterns, and geometric patterns，and different categories of patterns have different meanings.
Animal patterns often have profound meanings, such as joy, longevity, auspice, happiness and health. Common patterns include dragon, phoenix, pheasant, crane, mandarin duck, butterfly, peacock, magpie and auspicious fish. Plant decoration is endowed with a lot of auspicious meaning, showing people's yearning for beautiful things. Cheongsams with landscape patterns are relatively rare. Landscape patterns mainly include landscape rural residence, pavilions and pastoral scenery with strong freehand brushwork. Landscape patterns mostly contain clear meaning, that is appreciating landscape. The Ten Views of the West Lake and the scenery of the four seasons are often chosen as themes. The geometric patterns on the Cheongsam give people a fresh and elegant aesthetic feeling. They look orderly, rhythmical, and have a lasting appeal.

'''2.2.4 The Beauty of Material'''

Fabric is the material basis on which shape and color depend. The fabric of Cheongsam is very exquisite, and the fabric of Cheongsam is also different in different periods. The cheongsam made of different fabrics also has different styles and charm. They can be simple, elegant, luxurious, or even gorgeous.
Cheongsam made of dark high-grade velvet or cashmere fabrics can reflect the elegance; Woolen Cheongsam reveals maturity and the beauty of intelligence; The Cheongsam made from high-quality silk or gauze is light and soft, showing the elegance and quietness of ladies. As a formal dress, the floral velvet Cheongsam usually are decorated by bright patterns and colors, giving people a sense of elegance and luxury. Cheongsam made of cotton, usually are decorated with plaid, stripes and other patterns, or flowers with pure color, giving people a gentle and comfortable feeling. With the development of the times, now the choices of Cheongsam fabric are also very wide, so people generally choose Cheongsam according to their own needs or the seasons. Cheongsam made of these high-quality fabrics can fully express the beauty of women's body shape.

===3. 3. The Evolution of Cheongsam and the Development of Chinese Society ===

'''3.1 The Origin of Cheongsam'''

Cheongsam is a kind of robe, and its history can be traced back to the ancient Chinese robe of the Spring and Autumn period and the Warring States Period.The ancient Chinese robe is one of the most important forms of clothing in ancient China. During the Yuan and Ming dynasties, the ancestors of the Manchu, called Nuzhen, lived outside the north of Liaoning Province under the Changbai Mountain, Songhua River and Heilongjiang River. As the fishing and hunting economy occupied an important position, men, women and children were skilled in riding and shooting. Not only men are good at shooting and riding, but women are no less skilled at shooting and riding than men. When riding and shooting, men wear the "horse-hoof-shaped cuff" type of gown. The gowns cuffs are narrow and cover the back of the hand, the sides of the gown open, cloth bags tied in the waist. Women wore a long gown with narrow sleeves and corset,which is also for the convenience of riding and shooting activities on horseback. In 1601, Nurhaci unified the Nuzhen tribes and established the Eight Banners. The people who were incorporated into the banners were called Banners, and the robes worn by Banners were called Qipao.
In 1635, Huang Taiji renamed Nuzhen as Manchu. In the process of frequent campaigns, the people of Manzhou gradually formed a kind of Qipao with wide waist and straight cylinder. At this time, not only the people who were drafted into the banners wore Qipao, but also men, women and children wore Qipao. The men's Qipao were called long gowns, and the women's gowns were called big robes. In 1644, after Emperor Shizu entered the central China and moved to Beijing, Qipao became popular in the Central China. In the late Qing Dynasty, when the colonial rule began,because the western and political influence on people's life style and concept, the manchu and Han women's clothing was integrated.

'''3.2 Cheongsam during Qing Dynasty'''

'''3.2.1 The Influence of the Establishment of Qing Dynasty on Cheongsam'''

After Nurhachi established the later Jin regime, he carried out the Eight Banners system. Therefore, the Manchu people were also called the Banners, and the clothes they wore were collectively called Qi Dress. When Qing regime charged the central China, a huge wave of shave hair clothing started. The Qing regime began to enforce clothing system reform, people who violated the law may loss their life. To the late Qing dynasty, the Chinese women's dress style quietly blended and the difference between both costumes increasingly reduced, which became the prelude of Qipao popular throughout the country.

'''3.2.2 The Influence of Change in Economy Form of Qing Dynasty on Cheongsam'''

The economic development of the early and middle Qing Dynasty made great progress on the basis of the Ming Dynasty.The arable land area of the Qing Dynasty was far more than that of the previous historical period, and the crops of the Qing Dynasty increased greatly. On this basis, all sectors of the economic field presented a prosperous situation, and gave birth to the embryo of capitalism. At the same time of the domestic economic prosperity, the foreign trade of the Qing Dynasty also increased rapidly. Until the outbreak of the Opium War, the Qing Dynasty kept a trade surplus in foreign trade, which played a very significant role in the development of Chinese economy. The development of industry and commerce further stimulated the prosperity of the city.The economic development and the prosperity of the city reflected in the design of Qipao. From the Opium War in 1840 to the Revolution of 1911, due to the imperialist aggression, China's economy suffered a great impact.As a result of internal and external difficulties, people's way of life and dress concept are also changed a lot, showing an "open" character. Cheongsam at this time, though mostly retreated into Manchu noble families, its design still keep the Mid-qing Dynasty modelling.But under the influence of western society at that time, the Chinese dress also quietly changed, including tightening and shortening the sleeves,reducing robe length is and purer colors. In the decoration of the robes, its integral style tends to be contracted, simple but elegant.

'''3.3 Cheongsam during the Republican Period'''

'''3.3.1 The Influence of the Revolution of 1911 on Cheongsam'''

In 1911, the Revolution overthrew the Manchu QingDynasty and abolished the feudal monarchy that had existed in China for thousands of years. As regimes changed, so did the dress culture,which is a mirror of the politics. With the establishment of the Republic of China, the biggest change in the history of Chinese national costume was the abolition of the costume hierarchy that had been followed for thousands of years. The monopolistic position of traditional costumes was greatly impacted, and with the decrease of the social status of the Manchu, fewer and fewer people wore Cheongsams.The Manchu began to wear it like the Han people. The formal costumes of Manchu and the political rule of the Qing Dynasty became history.

'''3.3.2 The Influence of the Unbalanced Economy on Cheongsam'''

Dring the Revolution of 1911, China was in a period of historical transition with ups and downs. Due to the imbalance of economic development caused by political turmoil, the change of clothing also appeared imbalanced. In general, change was seen at the upper class, whilel with little change at the lower class. With the frequent exchanges with the West, the styles and materials of clothing changed rapidly, which also accelerated the change of Cheongsam. At this time, the fabric of Cheongsam is various. With the western-style textiles poured in, Cheongsam become a new clothe of women. These foreign fabrics are soft and elastic, making Cheongsams fit well and elegant, so they are very popular. At that time, Shanghai women have begun to perm hair, wearing close-fitting Cheongsam and walking high heels, while women in Sanhe county in Hebei Province still wear the crowns three or four hundred years ago, and wrapped in "three -inche golden lotuses".

'''3.3.3 The Influence of the Collision between the Chinese and Western Cultures'''

The Westernization Movement in the late 19th century proposed that "Middle school for physical, Western learning for use", which greatly impacted the social dress concept at that time. In addition to breaking the old dress system, the Nationalist Government also actively advocated the people to learn from the West and in line with the world trend. Western life and customs in the 20th century were not only novel things to Chinese people at that time, but also were connected with western scientific and technological civilization. It is precisely because of the latter that western customs have revolutionary significance for the change of Chinese traditional customs. By the end of 1920s, the style of Cheongsam had changed significantly under the influence of Western culture, such as waist tightening, length shortening, and so on. In the 1920s and 1930s, under the influence of western women's skirts, the waist began to tighten, the cuffs began to shrink, and the hem of the skirt was raised, which was similar to the western straight waist skirt. Under the intense collision of this culture, the new Cheongsam absorbs the advantages of other costumes, and quickly becomes a "fashion". On the eve of the founding of the People's Republic of China in 1949, Cheongsam was very popular in China,and almost every urban woman had one or two Cheongsams, which had become a very popular daily dress for urban women.

'''3.4 Cheongsam after the the founding of the people's Republic of China'''

'''3.4.1 The Influence of the Great Cultural Revolution on Cheongsam'''

For quite a period of time after the founding of the People's Republic of China, opposing imperialist cultural aggression, decadent bourgeois culture and feudal cultural became an important part of Chinese cultural ideology. Under the background of continuous radicalization, "a revolution that touches people's soul" broke out, and one of whose main objectives was to carry out a "cultural" "revolution". With the launch of the Great Cultural Revolution, Cheongam was regarded as the life style of feudalism, the landlord class and the exploiting class,and became the revolution object. Not only the Cheongsam, but also the long gown, mandarin jacket and cloak were once the target of boycott. Since then, Chinese traditional clothes have almost completely disappeared. It can be said that the Cultural Revolution is exactly a revolution of traditional clothes. As a result,Cheongsam gradually declined and was replaced by a simple popular dresS. Throughout the 1960s and 1970s, the Cheongsam, along with other ornaments, disappeared on the Chinese mainland.
In the 1980s, under the historical background of reform and opening up, Cheongsam made a comeback quietly. Although it did not recover its position in the 1930s and 1940s, it again influenced the world's clothing industry as a symbol of Chinese clothing.

'''3.4.2 The Influence of the Reform and Openning-up on Cheongsam'''

Politically, reform and opening-up have promoted institutional building and innovation, stimulated the creative vitality of society, and achieved the historic transformation from a traditional society to a modern one. In terms of foreign relations, China has expanded its development and made a historic change from self-seclusion to openness.
With the development of economy and the improvement of people's living standard, Great changes have taken place in Chinese clothing.People have begun to get rid of the monotonous dress system. Fine texture, rich colors and novel style gradually become the standard to measure clothing, and clothing styles at this time are also multifarious. At this time, cheongsam was no longer regarded as a feudal, bourgeois dress and reappeared in people's vision. Due to the improvement of production technology and the enrichment of material life, Cheongsam has became a kind of fashion coustume, and various fabrics were also applied to make Cheongsama solid foundation for the popularity of cheongsam.
Culturally, after the reform and opening up, in addition to maintaining China's own dress culture, modern western dress culture concepts also entered China with the trend of reform and opening up. People's clothes not only focused on keeping warm, people began to realize that clothes is also a kind of culture.Although China's clothing culture has a long history, but years of isolation from the outside world, young people know little about their own country's rich clothing culture and foreign things. Once the country door was opened, our clothing culture began to connected with foreign clothing culture. Foreign clothing culture, advanced technology and clothing materials enrich our own clothing culture. A new Chinese clothing culture with the characteristics of that times has been formed, which has played a revolutionary role in people's dressing concept and made the clothing style keep pace with the times.Today, the various elements of Cheongsam are basically stable, and it has become a classic women's dress.

===4.Conclusion===

Since the reform and opening-up, with the continuous improvement of China's status, China has increasingly frequent exchanges with other countries in the world. Chinese costume culture has attracted worldwide attention. Not only in the international market,but also on the fashion t-shaped stage, it arouses great reflection and propagates, popularizes and promotes Chinese costume culture to the world. International fashion master Pierre Cardin said: "In my evening dress design, a large part of the dresses are inspired by the Chinese cheongsam." At the awards gala of the Oscars and Cannes, Gong Li's Chinese Cheongsam sparked the "Cheongsam hot" again. "Since then, even many foreign stars have worn Chinese Cheongsam to attend the world's top cultural and social occasions, thus breaking the dominance of western evening dress and becoming a representative of national clothing culture brand that transcends national boundaries."
"The significance of the existence of Chinese Cheongsam is not only a" dress "but also a symbol, a pride, a sign, a symbol. In terms of dress, Cheongsam always seems to represent the quintessence of China."

===References===

[1]Yuan Yingjie:The History of Chinese Costumes[M].Beijing:Higher Education Press,1994:217.

[2]Gao Weihong:On Cheongsam Culture and Charm[J].Modern Science,2009,3:103.

[3]Wang Lihua:Costume Culture[M].Hohhot:Inner Mongolia Press,2005:157.

[4]Tomie Yamauchi:A Study on Costume Culture of Han in the 20th century[M].Lanzhou：
Northwest University Press，2008：44-45.

[5]Tong Zhijun: Cheongsam and Women[J].Beijing:Costume Designer,2007:137

[6]Qianmin: Chengsam: The Model of Traditional Chinese Culture[J].Nanjing:The Art,2005:202.

===Terms and expressions===

Cheongsam/Qipao旗袍

Oscars 奥斯卡奖

Cannes 戛纳电影节

Feudalism 封建主义

Capitalis资本主义

The “Eight Banners” 八旗

Huang Taiji 皇太极

The Revolution in 1911 辛亥革命

the Spring and Autumn period and the Warring States Period 春秋战国时期

Manchu 满族

Op patterns 欧普图案

Phoenix 凤凰

===Questions===
1.Which nationality did Cheongsam originate from?

A.Han

B.Manchu

C.Miao

2.Which color is the symbol of dignity and power?

A.Red

B.Yellow

C.Black

3.Is Cheongsam always popular with the Chinese people?

A.Yes

B.No

===Answers===

1.B

2.B

3.B

==英语口译张旻丰 Zhang Minfeng 202170081631==
<center>'''Chinese Chess Culture'''</center>

<center>Zhang Minfeng</center>

===Abstract===
As an abstract picture of ancient battlefield and the wisdom of people in old ages, together with the most typical representative of ancient civilization and culture, chess has been developing and famous for a long history. Up to now, the chess game has become a competitive match and is increasingly popular with chess fans both in China and overseas, at the same time, the chess has a great impact on every country where the chess covers.

After proposing the Sapir-Whorf Hypothesis which raised how languages affect human thought, the connection between the nationality of language and the nationality of culture have become the final study intention for scholars. And that also proves there must exist close connection between language and culture. Thus, if people want to acquaint one kind of national culture, they require to study its language in advance,vice versa.

In this thesis, the research object Chinese chess or the international chess is actually one kind of representative of its own local culture. Perhaps, both of them have been invaded by other cultures, or have been affected by exchange of local various societies and institutions, in some degree. And finally, only illustrating their language phenomenon reflected by this kind of culture performance, its cultural connotation can be found out.

This thesis focuses the cultural meaning on the study of Chinese chess and the international chess, which includes the study of chess and chessboard's origin, chess piece terms meaning betweeen cultural view and meaning view.

===Key words===
Chinese chess, international chess, cultural meaning

===Introduction===
Chess, as a popular game with the fans all around the world, represents not only the history of battlefields but also the wisdom of the ancient folks. It also reveals the lasting development of the real society, especially, in terms of social institution and cultural changes.

As for a crucial carrier of society and culture, language plays an vital role for it. And the language, certainly, is also used to convey the messages and information of society and culture.(Wu Guohua,1994) To some extent, language and chess have something in common.

Chinese chess has a long history and is an important part of Chinese traditional culture.It is a high traditional intellectual competition game. The nine palaces on the chessboard symbolize the imperial palace.帅/将 representing the emperor and士/仕representing the guards around the emperor can only walk in the nine palaces, and 相representing ministers can only walk around the nine palaces.兵/卒 representing pwans can only move forward and not retreat. This layout is a true portrayal of life in feudal society, the chess game process has the meaning of teaching and learning ancient warfare.

Chinese chess is simple and easy to learn, but also easy to learn but difficult to master because of its endless changes. It has cultural, educational, competitive and entertainment value and many other aspects has been loved by people since ancient times. With time going by, the Chinese chess, which carries Chinese traditional cultural genes, occupies a place in the world culture with its distinctive competitive characteristics.

===Origin of Chinese Chess and Its Chessboard===
When it comes to the origin of Chinese chess, also called as Xiang Qi, there are a great number of arguments about it. One of the arguments holds that the Chinese chessis derived from Shen Nong, a legendary ancient Patron of Agriculture. One of them holds that Chinese chess comes from Huang Di, a legendary ruler. However, according to Bo Wu Zhi of Zhang Hua in West Jin Dynasty, which holds Chinese chess derives from Shang Dynasty. In his book, he thinks the Chinese chess is created by King Wu, and the chess is made of ivory.

There are a lot of information contained in the Chinese chess, such as the ancient strategies of battlement, layout of troops, astrology and so on. More scholars consider the Chinese chess as a fabulous production created by Han Xin during the time between Qin Dynasty and Han Dynasty. At that time, Chinese chess is applied by Han Xin for training formation of soldiers against Qin Dynasty. The evidence is that "River Chu and Border Han" are carved in the middle of every Chinese chess chessboard. While some groups of the scholars, especially the Ming Dynasty Luo Xin, holds that Chinese chess is made by Wu Emperor in Northern Zhou Dynasty due to an old history book which has written it down. But up to now, there is no specific evidence that can prove when the Chinese chess is created.

As for the Chinese chess piece, some historians claim that there are only four kinds of pieces in the Chinese chess before Tang Dynasty, which are“将，车，马，卒”.During Tang Dynasty, the pieces are increased to six which are“上将，车，马，卒，军师，王”and Bao Ying Chinese chess is the typical one which can prove this officially. And
some historians also think that the piece“砲”possibly appears during Song Dynasty because“炮”referring to artillery is used in battles at that time. Since then, the shape of Chinese chess is becoming similar to what we play nowadays, and it consists of seven pieces including“车，马，砲，象，士，将，卒”.No matter when the Chinese chess originates from, there is one definite perspective that the rules and pieces of the Chinese chess are changing all the time with the developing process of social culture and are effected by the increasingly advanced weapons.

If it was concerned from the point of literature, Chinese chess is designed in early Song Dynasty and developed in Southern Song Dynasty. During that time, one poet named Liu Kezhuang portrays the chessboard, all kinds of pieces and even their rules. To Chinese chess, there are obvious differences in each dynasty, and some scholars think that the Chinese chess is the experiential conclusion of the development of each Chinese dynasty. From the point of Chinese chess itself, it is not easy to find out its cultural tradition and conservation. And people can also hardly understand the nature of Chinese chess only if understand the connotation of the piece term and rules in advance.

As for the chessboard, the Chinese chess chessboard is composed of nine straight lines and eight horizontal lines with the "River Chu and Border Han"(楚河汉界)in the middle of it, which shows such a scene of two troops opposing each other on both sides of a river. Pieces need to put on the intersections. In real history, "River Chu and Border Han"(楚河汉界)is located in the middle between King of Chu city and its opponent King of Han city. These two cities are regarded on the chessboard as two Imperial Palace areas. The number of "nine" lines and "eight" lines refer to the utmost number in ancient China, thus they stand for the length and breadth of land which equals to the whole country. In ancient China, the intention of war is to gain more land and unite other countries into the most powerful country, and the chessboard just stands for the whole land.

===Contrast between Chinese Chess Piece Terms and International Chess Piece Terms in Meaning===
In this part of thesis, the author begin to discuss the meaning of every piece term in both Chinese chess and international chess, and then to conclude their differences and similarities to search for their inner link. Seven groups of piece terms are list as follows:马and Knight,車and Rook，卒(兵)and Pawn, 仕(士)and Queen，相(象)and Bishop，将(帅)and King，炮(砲)

'''Meanig Contrast between piece马and Knight'''
Both piece马and Knight are important pieces in those two sorts of chess, and they are perfectly acceptable that these pieces are widely used as cavalry. Why? According to Ancient Chinese Dictionary (2005), the Chinese character马just has two ancient meanings, the first one means a kind of beast and the second one is chip which is also written as码in Chinese. Unfortunately, there is no ideal meaning referring to cavalry from those two meanings. Through categorization, some words and expressions are classified into several groups. The characteristic of马is seen as the basic category, after classifying, the related words and expressions of马in battle, in temper, in relationship with people, status and others are regarded as subordinate categories. Adding mental analysis to these subordinate categories groups, one of those showing up the similar meaning to the symbolic meaning on chessboard, namely cavalry, is picked up. These words and expressions in the group are list as follows:金戈铁马，马革裹尸，厉兵袜马，单枪匹马，千军万马，兵荒马乱，戎马控惚，戎马生涯，招兵买马，兵强马壮，马军，战马.From these Chinese words and expressions, it is clear when the piece term马is used as cavalry. However about the international chess piece
Knight?

In the Longman Dictionary of Contemporary English Knight has four definitions:first up, it means a man with a high rank in former times who was trained to fight with riding a horse. The second meaning is a man who has received a knighthood and has the title SIR; the next one means the chess piece with a horse's head on it; and the forth one is used as a verb, to give someone the rank of knight. From above definitions, the reason can be easily come out that on the chessboard the piece of horse's head signifies the piece Knight, which is the third definition, but in fact it refers to the first definition which means cavalry in real battlefield.

From the meaning of piece马and piece knight, the author have found that as to the Chinese character马，the meaning of it just stands for a kind of beast or animal and a chip. And only if the Chinese character马is used in one word or expression related to army, weapon or war, the meaning of character马here will be more detail as cavalry. Meanwhile, the piece knight can directly refer to cavalry by definition, because knight has already to be a kind of term of cavalry in Europe at that time.

'''Meaning Contrast between 車and Rook'''
Both of the piece車and the Rook are the most effective and direct type of piece on chessboard. But what do they stand for in battlefield? As the matter of fact, they are respectively regarded as chariot in the Chinese chess and siege tower in the international chess. Let's take a look at the definition of these two piece terms. In Ancient Chinese Dictionary, 車has three meanings. The first one means vehicle, then the second one represents windlass, and the last one is a verb which means to use windlass to do something. Obviously, in the international chess, the piece shape of piece Rook signifies the chariot, but in fact, the piece Rook signifies another kind of chariot, that is siege tower according to records, and that shape is just what the piece Rook stands for in real battlefield. As to the Chinese chess, the first definition of車is supposed to be used on the chessboard. But what kind of vehicle does車stand for? Through the categorizing, the words and expressions of車are divided into several groups which are seen as subordinate categories, the function of vehicle, the carrying capacity of vehicle, the value of vehicle, the prosperity of some place and so on. Since the Chinese chessboard is seen as a battlefield, the piece車should be regarded as the chariot which belongs to the subordinate category which is the function of vehicle including战车，兵车，马车，炮车，独轮车，敞篷车and so on. While, in Longman Dictionary, Rook only refers to itself which equals to Chinese chess車which means a kind of chariot for attacking, and as WIKIPEDIA says the piece Rook signifies siege tower initially.

To sum up, the meaning of Chinese chess piece term車can describe the symbolic meaning on the chessboard only through putting some Chinese characters before車，and these Chinese characters must be available to describe the function or characteristic of vehicle. While, the meaning of international chess piece term Rook can directly express the piece's symbolic meaning on the chessboard.

'''Meaning Contrast between piece 卒/兵and pawn'''
The piece卒/兵and piece Pawn are the largest number of pieces in the Chinese chess and international chess, and their symbolic meaning of both denote soldiers on the chessboard. In Ancient Chinese Dictionary，兵just means weapons, meanwhile，卒
has three definitions which are infantry or soldier, the second is a unit and the last one
refers to death as a verb. From the categorization of the words and expressions of兵/卒，adding the analysis to those words and idioms, which is related to the meaning of soldier or army are listed as follows:无名小卒，贩夫走卒，瓦合之卒，轻卒锐兵，调兵遣将，按兵不动

The author find out that in the words and expressions of卒，large part of which are used with the first definition of卒as a soldier. As to the meaning of兵，except for some words and expressions referring to weapon, the meaning in most part of them is extended as the same as solider.

And as to the piece Pawn, in Longman Dictionary, there are two meanings of pawn, the first means a piece in chess equals to Chinese chess piece term兵/卒，and the second denotes someone who is used by a more powerful person or group. Right here, the second meanings is its origin.

Through comparison between these two kinds of chess in meanings, some findings show that the Chinese chess piece卒，it can also directly describe its symbolic meaning on the chessboard. But the original meaning of the piece term兵can not express its symbolic meaning until the original meaning of the piece兵is extended, while the international chess piece Pawn can directly express its symbolic meaning on chessboard as the same as its second definition indicates.

'''Meaning Contrast between piece 相/象and Bishop'''
In Ancient Chinese Dictionary，the piece term相owns five meanings and the first two meanings are verbs, the first means to examine something carefully in order to find out more about it, such as相风水，the second one means to assist or help somebody such as，管仲相桓公，and then the third one stands for a person who masters the ceremonies, and the fourth one refers to song as a noun and the last one which is a adverb stands for doing or experiencing something by two people, such as互相.At the same time,the other piece term象has four meanings, the first one refers to elephant, the second means scene, such as景象，the next signifies portrait such as肖像，and the last meaning is a verb referring to imitation.

Although the piece相and piece象have many different meanings, in fact they signify the same definition in Chinese chess which refers to prime minister, a civil official with highest level, namely宰相in Chinese. Here宰is a official title which means master or ruler, and相denotes to help somebody thus宰相is equal to the person who assist the ruler to master the whole matters.

As to the piece term Bishop, according to Longman Dictionary of Contemporary English, the piece term Bishop has two meanings, the first one means a piece like Chinese chess piece term相/象，the second one is a priest with a high Christian religion, who is the head of all the churches and priests in a large rank in the area. Right here, the second meaning priest is seen as the prototype of the first meaning and the it is also used on chessboard according to WIKIPEDIA.

After the comparison between the meanings of the piece term相/象and piece term Bishop, it is necessary for the piece term相/象to pick up one group of subordinate category words related to its symbolic meaning on chessboard. After that, the words referring to helping somebody are list as follows, they are宰相，相国，首相，辅相. Right here, the word class of相turns out from verb to noun, at the same time, the meaning of it turns into a high level title, namely primary minister. As for the piece term象，some of the scholars believe that it is equal to the piece term相，but some others support a distinct proposal that piece term象stands for a kind of corps, namely elephant. Because the development of Chinese chess has been influenced by spreading of elephant from India. Although the record of elephant for fighting is rare, but elephant actually appears in ancient Chinese war, especially is taken advantage of ethnic minorities in South China.

As to the meaning of piece term Bishop, namely priest with high level title, it can directly stand for its symbolic meaning on chessboard.

Between the meanings of piece相/象and piece Bishop, the author find out that it is obvious that different kinds of chess pieces can reveal different civilizations. The piece term相/象refers to the feudal official with highest level who assists the ruler of country to manage the whole civilians and other crucial matters. And the piece term Bishop stands for the highest rank priest of Orthodox or Catholicism in medieval Europe.

'''Meaning Contrast between 将/帅and King'''
As an ancient chess with long-term history, the Chinese chess has two similar and important pieces, the piece将and piece帅.And the meaning of piece term将is equal to the piece term帅in Chinese chess，but they belong to opposite side.

In Ancient Chinese Dictionary, as to the meanings of piece term将，it has nine meanings, but only one of them is relevant to leading army. Although this is a verb which denotes to lead somebody to do something, its nominalized meaning signifies general that is phenomenon widely used at that time. This is a kind of verbal nominalization which results from the metaphor conceptualization. Metaphor conceptualization is a common cognitive competence for human people. Lakoff(1999) and Johnson believe that metaphor conceptualization is mainly realized by conceptual metaphor. Hu Zhuanglin(2000) figured out that in the process of conceptual metaphor, one object can turn into another object due to the change of lexical level inside them, however, there also must exist the similar basic attribute in them. As for the piece term帅，there are three definitions found out in total. The first definition as a noun means emperor similar to the meaning of piece term King, and the second one as a verb means to lead somebody to do something which is just like the meaning of the verb of piece term将discussed above, and the last one refers to obey someone or something else. Thus the first definition of piece term帅is used to describe its symbolic meaning on chessboard. From the categorization of the words and expressions of piece term将\帅，the subordinate categories words similar to the meaning of general are listed as follows:王侯将相，将遇良才，调兵遣将，将门虎子，精兵强将，丢车保帅。

And, as to the piece King, it is also an essential one which plays a decisive role in the international chess. In Longman Dictionary, the basic meaning of king signifies a man who is a ruler of a country because he is from a royal family and of course, it represents the most important piece in chess.

In contrast to the piece term King, the meaning of the piece term将/帅all represent the general or emperor nowadays which is different from king. In the matter of fact, before Song Dynasty, instead of piece将/帅，the piece王is used on chessboard. Since Song Dynasty, the piece将/帅are added and limited in Imperial Palace area. The reason arises from the different history background, that is since Song Dynasty, both将and帅prefer to stay in palace or military camp rather than lead army against enemy.But for piece King, it can directly express its symbolic meaning on chessboard and tend to be the meaning of ruler of country and can move everywhere on chessboard, that is because in medieval Europe, kings always lead their lords and armies to fight against enemies on battlefield.

'''Meaning Contrast between 仕/士and Queen'''
As for the piece term仕/士，these two Chinese characters stand for the same meaning, and just used for different sides. From the views of some scholars, these two pieces are admitted as the similar ones as the piece queen, but not totally identical due to different cultural and social backgrounds. In Ancient Chinese Dictionary the piece term士has five meanings, the first one means the laudatory title of man, the second refers to the lowest nobility, the third one denotes intellectuals, the forth one signifies the office of jail and the final one means soldier who is used to be on the chariot to fight against enemies which is different from卒，because卒refers to the soldier who used to fight on foot. At the same time, the piece term仕only has three meanings, the first meaning is equal to that of piece term士，namely intellectuals, and the second denotes officer, then the third one represents maid in a imperial palace.

The piece term Queen is the most powerful piece in the international chess, in Longman Dictionary queen has several meanings, one of which means a piece in chess, and in fact, this piece refers to the female ruler of a country. Besides it, the piece term Queen can also denote a related meaning which is a transferred one of it. For example, Tammy Whnette is the queen of country music(queen here means the woman who is regarded as the best at a particular activity or in a particular field). This meaning of the piece term Queen is showing the metaphorical attribute transference of it.

Through comparison between meanings of piece term仕or piece term士，there are not any related meaning as similar as the piece term Queen. In this case, scholars have proposed three different point views about it to illustrate what the piece term仕/士 really stands for. Some scholars believe that the piece term仕/士stands for guard of emperor, another scholars hold that it represents military counselor of emperor. These two point views can be achieved in the subordinate category of仕/士as follows:身先士卒，将士，悬车致仕，学而优则仕.And the other scholars suppose that it signifies wife of king, because the Chinese chess is seen as epitome of Chu-Han Contention, the piece term仕and piece term士refer to the wife of King of Chu and the wife of King of Han. Although these three point views are not similar at all, they have two common characteristics which are that all of what they signify are always working in imperial palace and accompany with emperor. Thus no matter what the most accurate meaning of the piece term仕/士stands for, there is only one major responsibility for guard, officer and maid to do, that is to protect or service their emperor, even if losing their lives.

To sum up, the piece term仕/士possibly stand for guard, military counselor and wife of the emperor. While the piece term Queen refers to its symbolic meaning on chessboard which is just one female ruler of a country. Right here, the third meaning of term仕/士，namely wife of king, is similar to queen, so in some degree, the meaning of piece term仕/士can equal to that of piece term Queen.

'''Meaning of piece炮/砲'''
The meaning of piece term炮is equal to piece term 砲which is the particular piece for Chinese chess in contrast to international chess. In Ancient Chinese Dictionary炮/砲only has one meaning which means artillery which can be used to express its symbolic meaning on chessboard.

According to definite research, the piece炮/砲is added to the Chinese chess during Tang and Song dynasty. Because at the time of that dynasty, gunpowder is applied to shell, and that is what we called as炮in Chinese. However, before Tang dynasty, stone is the only material used as shell, and we call it as砲in Chinese. So Chinese chess use炮and砲to represent ancient Chinese artillery for different sides.

===Conclusion===
This study is about the Chinese chess and the international chess with the view of cultural meaning, which is closed linked with combination between language culture and language meaning, and both of them can not be separated, but depend on each other closely. In this study, the origins and chessboards of Chinese chess and international chess are explained and compared through the view of culture, and then the meanings of these kinds of chess piece terms are analyzed and compared by semantic view or rather cognitive metaphor. Through the combination of culture and meaning, each piece of them can be illustrated accurately and elaborately.

From the superficial aspect of Chinese chess and the international chess, the most evident findings are that in Chinese chess there are seven kinds of pieces which are車，马，象/相，卒/兵，将/帅，仕/士，炮/砲，while for international chess there are only six kinds of pieces which are Rook, Knight, Bishop, Pawn, King and Queen. In order to contrast them clearly, the pieces with similar meanings can be classified as follows:马and Knight, 車and Rook，象/相and Bishop，卒/兵and Pawn，将/帅and King，仕/士and Queen, and炮/砲.From final results of contrast, some scholars raise a hypothesis that most of the pieces between Chinese chess and international chess are much similar, so they may be derived from the same original chess which people have not known yet. As related investigations show that, the earliest ancient Chinese chess is discovered in Spring-Autumn Dynasty about during the 7th BC to 4th century BC. While, the modern international chess is derived from shatranj which is an ancient Persia chess, and this Persia chess comes from an ancient India chess named Chaturanga which appeared ranging from the 4th century BC to 3rd century BC according to reliable records. By the comparison of their appearance time, the Chaturanga spread from Chinese chess could be deduced but lack of provable evidence.Another similar points are that as the oldest edition of modern international chess, the Chaturanga also has six kinds of pieces which are king, Counselor, Elephant, Knight, Rook and Pawn. Right here the piece Counselor is much similar to the piece仕/士，and the piece Elephant resembles Chinese piece象/相. But from the definite discoveries of study, there are only some connections proved between them in culture, but not confirming that this kind of chess comes from Chinese chess.

Through the comparison about the meanings of corresponding piece terms between Chinese chess and international chess, some findings are discovered: for the meanings of Chinese chess piece terms, always they can not describe the symbolic meaning on chessboard directly. Because some of them are with many different meanings, namely, polysemies,such as piece马，piece車，piece仕/士，piece卒/兵;some original meaning of Chinese chess piece terms are derived from verb, among the groups of将/帅，相/象，the original meanings of将and相are verbs. And there is only one piece term which can describe the symbolic meaning on chessboard directly, that is piece炮/砲.
While for the international chess piece terms, almost all of them are able to describe the symbolic meanings on chessboard with their original meanings directly.

On balance, in describing the meanings between Chinese chess piece terms and international chess piece terms on chessboards, the meaning of Chinese chess piece terms are not as concrete as international chess pieces terms. That is to say, international chess piece terms can express the symbolic meaning of what the piece stands for on chessboard directly, but it always doesn't go for the Chinese piece terms. Such as the piece象，people can not regard it as primary minister at the first sight, maybe just an elephant instead (although this kind of thought is supported by some people, it is still lack of some evidence). But for its counterpart,the international chess piece term Bishop, people could image a picture of priest easily in their mind, because its original and unique meaning is its symbolic meaning on chessboard. And this phenomenon is also a performance that the Chinese character is usually more abstract than English word.

===References===
*[1]Fillmore,C.J. 1975. An alternative to checklist theories of meaning [C]// C. Cogen,H. Thompson,GThurgood,K.Whistler&J.Wright. Proceedings of the First Annual Meeting of the Berkeley Linguistics Society. Berkeley; Berkeley Linguistics Society:123一131.
*[2]Lakoff, G Women, Fire, and Dangerous Things What Categories Reveal about the Mind[M].Chicago and London: University of Chicago Press,1987.
*[3]Langacker, R. W. Concept, Image, and Symbol[M]. Berlin: Mouton de Gruyter,1990
*[4]Liu Shilan刘适兰.从国际象棋与中国象棋的异同看中西方文化差异[J](The Cultural Diferrences between China and Western Countries from the Perspective of International Chess and Chinese Chess).武汉体育学院（Wuhan Sports University），第37卷，第5期，2003.
*[5]Li Xiaoyi李潇逸.从国际象棋看欧洲中世纪父权制（ Patriarchy in Medieval Europe from the Perspective of International Chess）[J].中国会议(Chinese Conference).2011.06.
*[6]Wang Xiaopeng王晓鹏.中国象棋与国际象棋比较分析(A Comparative Study between Chinese Chess and International chess)[J].沈阳:东北大学(Northeastern University)，2007.
*[7]Zhang Zaihong张再红.词汇文化语义的认知研究(A cognitive Research on semantic lexical culture)[D].南京:华东科技大学(East China University of Science and Technology)，2009

==日语笔译曹梦然 Cao Mengran 202170081632==
<center>'''Chinese Wedding Costumes'''</center>
<center>曹梦然</center>
===Abstract===
In Chinese history, the embroidered red dresses, the phoenix coronet & colorful embroidered capes and the red head kerchiefs that Han people wore on their wedding ceremony were customized-made in Qing dynasty and early Minguo. The wedding dresses in Ming dynasty made the phoenix coronet & colorful embroidered capes and the red head kerchiefs, etc. popular in Han dynasty for 500 years. But the New Cultural revolution, the Cultural Revolution and the opening reform in recent and contemporary ages made the Chinese traditional wedding culture change a lot, and some are almost disappeared. Today, the Chinese traditional wedding and traditional wedding dresses became popular, but the confusion is which dynasty that the Chinese traditional wedding dresses of Han nationality can be dated. To study the evolution of Chinese traditional wedding dresses from Ming dynasty to today is to make modern people know more about Chinese traditional wedding dresses of Han nationality, to enlighten the designers today and make them creative and thoughtful to design Chinese traditional wedding dresses .

===Key words===
Traditional wedding dresses in Han nationality; The phoenix coronet& colorful
embroidered cape; wedding accessories

===Introduction===
When it comes to Chinese wedding dresses, not only foreigners but also most Chinese people are believed to be very unfamiliar with it. What should Chinese wedding dresses look like? Why is the Chinese wedding dress worn by modern people different from the feudal era? What is the "phoenix coronet & colorful embroidered capes" that is mentioned in the book? The wedding dress is a microcosm of the entire Chinese culture. As China's internal turmoil and various cultures spread and developed in the modern era, the wedding dress has changed its look, introduced different elements, been abandoned, and has been rediscovered in modern times. To understand the look of wedding dress, we must look at it from a historical perspective.

===The History of Chinese Wedding Dress===
Wedding dress in China has regional differences, as well as differences in time and ethnicity, but there are still some distinctive features that distinguish it from other countries. Historically speaking, the wedding clothes of the Tang and Song dynasties laid the foundation for Chinese wedding clothes, and after the Ming dynasty, Chinese wedding clothes took shape and have been used ever since. Let's talk about the characteristics of the Ming Dynasty wedding clothes.
The most familiar Han wedding dresses today are the colorful embroidered dragon and phoenix, phoenix coronet and colorful embroidered capes, big red capes, A few people know that more than 3,000 years ago in the Zhou Dynasty, the color of wedding dresses was black and red, and this mainstream wedding dress color system lasted until before the Sui and Tang Dynasties. The development to the North and South Dynasties also once appeared white dresses, to the Song Dynasty, the court nymphs of the six dresses, the wedding dress is cyan. By the Ming Dynasty, the big red wedding dresses we are familiar with only had a clear shape.
The Ming Dynasty established the custom of celebrating in red. When getting married, the bride usually wore a large red blouse with a long green skirt underneath. The bridegroom theoretically wore a ninth-ranking official's uniform, a hairpin wusha hat and long boots, and a red silk belt. Below are cartoon drawings that visually reflect the image of wedding costumes at that time.

===6.3.1 The phoenix coronet===
During the 400 years from the Ming Dynasty to the modern era, men could wear ninth-grade official uniforms when they married, while new brides used phoenix coronet and colorful embroidered capes. The phoenix coronet, as the name implies, is a cap in the shape of a phoenix, usually made of iron or silver. The rich use gold and Kingfisher feather art. It is decorated with pearls and precious stones. It is shown in the picture below.

===6.3.2 colorful embroidered capes===
The phoenix coronet and colorful embroidered capes appeared as a set of ornaments, originally meaning a gorgeous silk fabric that women used to drape over their bodies. "The colorful embroidered capes were used by Taoist masters as their vestments. The custom gradually evolved, and in the Song Dynasty, colorful embroidered capes became an accessory to the consort's regular clothes and the dresses of the princesses, with different embroidery patterns depending on the rank. In the Ming Dynasty, the wives of consorts and officials all wore colorful embroidered capes, but the consorts used vermilion and gold threads to embroider dragon and phoenix patterns, while other women could only use capes in dark blue without embroidery patterns. For the marriage of common people, women could wear phoenix coronet colorful embroidered capes.

===6.3.3 head covering===
The prototype of the cover is the ancient veil, which is a red cloth over the bride's head. The cover is covered from the time the bride leaves the boudoir until the male family enters the bridal chamber, when the groom picks it off or uncovers it with a scale. The material of the barrier surface is mostly silk gauze, silk gauze net of things, its thin and transparent does not obstruct the bride's vision. But also with a slightly thicker fabric made, the form of more square scarf or cap type. Covered in the head, long to between the ears, neck, chest and even to the feet a few feet, and vary with the times, different regions. The color is mostly red. There are two kinds of head coverings: round and square, sometimes with colorful embroidery on the head coverings.
6.4 Evolution of wedding clothes in Qing Dynasty
The Qing dynasty dress system changed dramatically, and men used robes and mandarin jacket as formal wedding dresses due to Manchu policies. But in general the first and middle of the Qing Dynasty women's wedding clothes still continued the style of the Ming Dynasty. In the late Qing Dynasty, influenced by men's mandarin jacket, women began to commonly use black mandarin jacket and red skirts as wedding dresses. The waistcoat was embroidered with gold and silver threads with dragon and phoenix patterns, as shown in the picture below.

Women's skirts still follow the popular "horse face dress" of the Ming Dynasty. This skirt has two light surfaces in front and behind the body without pleating, and it was popular in the Qing Dynasty to decorate the light surfaces in front and behind with gorgeous embroidery.

===6.5 Chinese Wedding Dresses Since Modern Times===
The mandarin jacket and skirt were still the main wedding clothes at the beginning of the Republic of China, initially black gown and red skirt with the wedding clothes at the end of the Qing Dynasty, and then gradually became popular to red gown and red skirt, whose color was more bright and eye-catching. Until now, the color of the coat and skirt still retains the form of red coat and red skirt. The collar of the gown is "Chinese style" stand-up collar, no slit and sash, the length of the sleeve is also different from the cheongsam, the gown is long-sleeved, but the Republican period gown sleeve length is shorter than the Qing Dynasty, the cuffs are also small. The sleeve length of the dress in the Republic of China period was about 5 cm above the wrist, in order to allow the bride to display the bracelets, bangles and other accessories worn. The skirt coat is relatively loose, with only a small waist, which is different from the cheongsam's emphasis on the female figure. The dress coat must also be worn inside a long coat and pants worn inside.
The westernization of wedding clothes also took place at the same time. The westernization of wedding clothes began in the late Qing Dynasty, and flourished in the middle of the Republic. In the late Qing Dynasty, the Qing court was in internal and external difficulties, and the country was in decline. In order to save the peril, a large number of foreign students were sent to study abroad, and the army also changed to train a new army. Among the Chinese students and soldiers, western-style student's drill clothes, drill caps and western-style military uniforms and caps first appeared. The importation of foreign clothes provided another reference system for judging beauty and directly influenced the change of social dress concept. In this context, it is not surprising that the fundamental changes in Han wedding costumes were understood and accepted by people. Thus, in Shanghai from the 1920s to the 1940s, both the style and the shape of clothing were Western in style. Women's clothing gradually became more and more fitted from wide clothes and sleeves. It was at this time that wedding dresses combining East and West began to appear. In this period in China, centered on Shanghai and other major cities, women wore Chinese cheongsam with western veil, and men wore suits or long shirts and hats, and Chinese wedding dresses did not have a uniform standard and blossomed, following the owner's preference. The picture below shows the popular wedding dresses at that time.

===6.6 Chinese wedding clothes exit the stage of history===
For economic and political reasons, one of the phenomena that occurred between the early days of liberation and the Cultural Revolution was the disappearance of traditional wedding clothes.
The special nature of wedding clothes no longer existed, and the so-called acquisition of wedding clothes was nothing more than making a new dress. In this era of extreme material scarcity, the purchase of a new dress became a great luxury. The period from the founding of the People's Republic of China to the Cultural Revolution The period between the founding of the People's Republic of China and the Cultural Revolution was a time of hardship and simplicity. Since the country's economy was at a low level of development, hardship and simplicity became the common fashion of the times, and people mostly wore blue, army green or gray clothes. At a time when the standard of living was quite low, there was no The standard of living was quite low, there was no extra income to buy extra clothes, so the traditional wedding costume was replaced by regular clothes. dress. This practice also embodied the proletarian spirit of hardship and simplicity and was advocated by people at that time. At the same time At the same time, in those times of class struggle, wearing wedding dresses and western clothes to get married was feared to be described as aspiring to a bourgeois lifestyle. The need to get married as a matter of human nature took a back seat to the needs of the revolution and the need to work.
In the early years of the founding of New China, China's politics, economy, military and culture were all modeled on the Soviet Union, and Soviet clothing became a symbol of the revolution.
Soviet clothing became a symbol of the revolution, and Soviet dresses instantly swept across China, Lenin's dress and the Bragi being two distinct examples.
The Lenin suit was a typical costume for female cadres in the late 1950s, and was actually a modification of the suit, which was worn by Lenin before and after the October Revolution.
After the October Revolution, Lenin often wore this style of clothing, the revolutionary enthusiasm of people in order to completely separate it from the suit, so it was given It was given the name "Lenin Suit", which was full of proletarian colors, as a proof of the revolutionary determination to follow the Soviet Union's example. This was a testament to the determination to follow the Soviet Union's example. The Lenin suit was once popular among women, and the fashionable dress for women was to wear the Lenin suit and have short hair to show their heroic The revolutionary style of heroism.
In the late 1950s, when a leader of the former Soviet Union visited China, he suggested that Chinese clothing did not fit the image of a large socialist country and that women should all wear flowery clothes.
Women should all wear flowery clothes to reflect the thriving face of socialism. At one time, the floral bragi became fashionable. Bragi is the Russian translation of the dress, the style is extremely simple: loose short-sleeved, bubble pleated skirt, simple round collar, and The fabric color pattern was mainly floral, plaid and stripes. This style is healthy and lively, not pretentious, and has been popular for a long time. This style was also used in the summer to wear when getting married.
It can be said that after the founding of New China until the eve of reform and opening up, Chinese wedding dresses and even weddings were basically extinct in mainland China.
6.7 Chinese wedding clothes after the reform and opening up
With the reform and opening up, with the emancipation of the mind, people's dressing style also began to become more and more diversified. While more and more young people are choosing Western-style weddings, traditional Chinese weddings are also favored by many tradition-loving Chinese people. Due to the long break in generation, there is a lack of craftsmen who can make traditional wedding clothes in mainland China, so people imitate the clothes of the previous generation and adapt them into the Chinese wedding clothes that are now popular in mainland China. This is the so-called "xiuhe dress".

This wedding dress is still part of the Chinese wedding costume, but its structure and cut are very different from its predecessors. The traditional Chinese cut was abandoned in favor of a more body-hugging Western cut. Since the horse-faced skirt was lost, the skirt was commonly made into a straight skirt with a piece of cloth sewn on the skirt to make it look like a horse-faced skirt. The body of the dress is embroidered with gold and silver threads with dragon and phoenix designs.
In recent years, more and more people are calling for wedding dresses should be from ancient times, and young people are trying to imitate the wedding customs of various Chinese feudal dynasties, including wedding dresses. As for what exactly Chinese wedding clothes should look like, there is actually no definite conclusion today.

===Conclusion===
There is no exact definition or form of Chinese wedding dress. It has a long history and is rich in variations of forms, but had been transformed and abandoned for economic and ideological reasons, among others. Nowadays, more and more people are taking Chinese traditions seriously, and it has become a modern Chinese trend to keep digging into the marriage customs of ancient feudal dynasties. I believe different people will have different answers as to what Chinese wedding clothes should look like. Perhaps in the near future, traditional Chinese wedding dresses will still shine in China.
===References===
[1] 王宏付.民国时期上海婚礼服中的“西化”元素[J].装饰，2006，（5）

[2] 徐莉.试论婚礼服饰的变迁[J].北京城市学院学报，2006，（3）

[3] 姚君洲.论女性婚礼服在中国的发展趋势[J]，徐州教育学院学报，2001，16（01）

[4]许星.苏州地区民间传统婚礼仪俗及衣着饰物探析[J].装饰，2006，（3）：97

[5]史林.对白色婚礼服流行的几点思考[J].苏州丝绸工学院学报，1996，3（1）

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（6）

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[11] 周锡保．中国古代服饰史．中国戏剧出版社[M]，1984

===Terms and Expressions===
凤冠 phoenix coronet

霞帔 colorful embroidered capes

点翠 Kingfisher feather art

马褂 mandarin jacket

马面裙 horse face dress

秀禾服 xiuhe dress

===Questions===
When did Chinese wedding dresses start to revere red?

What led to the extinction of Chinese wedding dresses in China itself?

What are the origins of modern wedding dresses?

===Answers===
1. The beginning of the Ming Dynasty

2. Changes in the dominant ideology and the constraints of productivity level

3. The popular mandarin jacket and skirt of the Qing Dynasty

20220630 Culture 14

2022-09-18T17:56:05Z

Zhang Minfeng: /* 英语口译张旻丰 Zhang Minfeng 202170081631 */

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

==英语口译向望 Xiang Wang 202170081628==
<center>'''Fandom Culture in China'''</center>

<center>Xiang Wang</center>

===1.Introduction===

A fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity. Fandom culture, or the so-called "fanquan" culture, refers to online youth communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.

===2.Fandom===

'''History'''

Although early fandom was strongly perceived as a fandom culture involving a few fanatic people, it has recently brought about a shift in perception that can be accessed in a variety of ways only by the name of a star or related search terms on portal sites, which is largely due to the development of the Internet and media.

Among the numerous fandoms in cyberspace, especially the nation’s “idol” fandom has steadily expanded its influence in various ways to date. In the past, idol fandom culture was called “girl culture” or “teenage culture” and was considered primarily an immature culture for teenage girls, while the third-generation idol fandom has recently expanded to men and over 40s, exerting an influence on cultural consumption aspects for all generations.

'''Fan relationship'''

Parasocial relationship is a one-sided relationship as a result of constant exposure to a media persona that a celebrity demonstrates. This then causes fans to develop an illusion of an intimate relationship or friendship. Idols are typically trained to have and form close connections with their fans which leads to this close-knit connection becoming a parasocial relationship. Idols do this through parasocial interaction. Parasocial interaction between fans and idol(s) is a start at explaining fandom culture. The idol(s) become a “parasocial-kin”, an object of consumption and parasocial interaction; such as a family member or a friend. This “parasocial kinship” is defined by how an individual would treat an extended family member, allowing for further understanding of the positive and negative aspects of the idol/fan parasocial relationship.

Celebrities are icons that are driven by their presence in majorly media-driven societies. As time, society, and culture progress, the idols must change and form along with it. The best way that this is represented is through social media.

'''Fansumer'''

“Fansumer” is a compound word of “fan” and “consumer.” This means consumers who participate in production, in other words, productive consumers. Then, the fan base, which was classified as a fandom, turned into a very active fan who focused on the interaction of planning, investing and checking while participating in the overall production and production process for products or entertainers, not just one-sided love and purchase for one-sidedly.

Fansumer’s sphere of activity is very wide. As mentioned above, they invest in startup idea products, engage in corporate product development, engage in marketing activities as supporters, and support or criticize celebrities or influencers, not to mention fostering celebrities before their debut. The driving force behind these Fansumer’s activities is the pride that ‘it was made by me.’ It’s called Byme Syndrome, noting the efficacy of being created by me.

'''Fan behavior'''

'''Positive'''

Members of idol fandoms may better themselves in the pursuit of their obsession, such as by studying to enter the same university as their idols, learning foreign languages to follow their idol’s career abroad, or learning image-processing techniques to edit photos of the idol. Fans’ role in creating their own fan content allows for idol groups to gain mainstream exposure in the west, and have tours abroad.

'''Negative'''

Stalker fans are considered to have become overly obsessed with a public figure and engaged in behavior that constitutes an invasion of privacy. Stalker fans may disguise themselves as a stage hand or manager to approach the star or pretend to be reporters in order to gain entry to a press conference. Many fans use the Internet and social media to find and track the location of their idols. Some of the fans came to the group’s hostel, stole the members’ underwear, took pictures of them sleeping, and later sent the pictures to the members by text message. Many normal fans have an unpleasant feeling about such fans’ actions.
Paparazzi also exist in China and Zhuo Wei is one of the most famous ones. They report on the private lives of celebrities in the Chinese entertainment industry and have violated privacy by exposing secrets and illicitly taken photos.

===3. Fandom culture===

'''Overview'''

Fandom culture is not new. Long before the internet, fan clubs were organizing gatherings, publishing magazines, and writing fan fiction. But in the early 2000s, the rise of social networks fundamentally changed the face of fandom, turning it from a pleasant communal activity into something competitive, chaotic, and even abusive.

In China, the main driving force behind this evolution of fandom is Sina Weibo, the largest social media platform in the country. In addition to helping enthusiasts find their communities, Weibo also brought celebrities and their supporters closer together by breaking down the wall between them.
At its core, the way Weibo operates in the world of fandom is no different than its global counterparts like Twitter and Instagram. But if in the West the relationship between stars and their fans can be called one-sided — fans just follow, consume content, or copy the lavish lifestyles on display — in China the relationship is more co-dependent.

The fan circle members are believed to be mostly Generation Zers born after 1995, and their number has grown significantly in recent years. In 2020, about 8 percent of China’s 183 million underage netizens engaged in reputation-boosting activities for their idols, according to a recent report from the China Internet Network Information Center.

'''The status quo of fandom culture in China'''

For many young people in China, particularly those born after the 1990s, fandom culture—which can be traced back to the idol worship of the 1980s and 1990s—has offered a rare avenue for identity formation and community building in society. As networked and often highly organized communities of fans rallying around their beloved idols, “fandoms” have enabled close parasocial interactions in which fans feel a kind of intimacy with the object of their shared interest, as well as a sense of active participation that can be empowering and identity-forming.

Examples of fandom culture include the hit show “Idol Producer,” which launched in January 2018 on the online video platform iQiyi and empowered fans to select and promote their favored contestants from among 100 aspiring performers. The ultimate goal of the program was to select nine performers to form a brand-new male idol group. As fans organized to promote their favored idols through social media platforms, their interactions were fueled by Gen Z-focused services like live-streaming and live commerce.

Fandoms have become big business in China. A report published by iResearch Consulting Group put the market value of the fan economy in China at close to $620 billion in 2019 and estimated that the fan economy would grow a further 50 percent by 2023.

It would be easy to dismiss fandoms as shallow and celebrity-obsessed, but the highly organized online communities forming around China’s fandoms have already demonstrated their potential for both social activism and political organization. Perhaps the most prominent example of online fandom communities’ potential for political expression came in 2016, when the so-called “Diba expedition” saw thousands of highly organized cyber-nationalists, mostly “fan girls,” mob the Facebook account of Taiwan’s newly elected leader, Tsai Ing-wen.

Fandoms and their capacity for collective action were also one of the largely untold stories of China’s fight against the COVID-19 epidemic in its early stage. In January 2020, as it became clear that an epidemic had emerged in Wuhan and surrounding areas, the government response was far too slow in many key areas, including the provision of protective equipment. By contrast, the networks already formed within fandom culture—the same that allowed mobilization in support of chosen idols—enabled the rapid marshalling of resources. On Jan. 21, 2020, one day after China confirmed human transmission of COVID-19, the fan network of Zhu Yilong, a young actor originally from the city of Wuhan, mobilized funds to purchase more than 200,000 protective masks. These and other supplies were delivered to Wuhan within 24 hours, offering much-needed support for medical personnel and others on the front lines. The aid offered by the Zhu Yilong network is just one of many examples of how online groups provided a crucial means of support amid a rapidly unfolding crisis.

===4. Fandom culture in the wave of social media===

Fandom culture has been around for centuries. However, it is the emergence of social media in recent decades that has led to the remarkable transformation and development of fandom culture. Most obviously, fans play a more active role. They are not like completely passive receivers in the past but participate in the production process of cultural products on their own initiative. All these phenomena show that fandom culture profoundly impacts the economy, culture, society, and other fields.

'''The impacts of digital networks'''

Many processes, such as forming fan groups and creating fandom culture, require communication and interaction. However, due to the limited means of communication, in the pre-Internet era, communication between fans was always hindered in various ways, either by long distances or inconvenient schedules. Henry Jenkins argues that the emergence of digital networks has made it possible for fans who might not otherwise have met to have meaningful conversations and has created a new context that fans can share. It is reasonable to declare that those barriers mentioned above have been broken in a digital network environment where the degree of fan interaction is much higher than in the pre-Internet era, as is the degree of fandom culture development.

'''The interaction between social media and fan engagement'''

In the first 10 years of the new century, the world Internet gradually developed from Web1.0 to Web2.0. Compared with Web 1.0, Web 2.0 emphasizes more on interactivity. This feature has laid the foundation for the emergence of social media platforms and thus promoted the new development of fandom culture. Guo Shuojia points out that the rise of social media has greatly broadened the scale of fan groups and promoted communication within fan groups. Because the fans can communicate and discuss on social media in real-time, which all result in the prosperity of the immediacy and participation of the current fan culture (Guo Shuojia, 2018,147-162).

In the second decade of the 21st century, fandom culture has seen a new boom around the world, which is related to the continuous upgrading of social media. All the efforts that social media make to increase users’ stickiness and activity objectively help fandom culture grow. Take Weibo for example, China’s largest entertainment social media platform. When a user chooses to follow a celebrity, the user is immediately notified of the celebrity’s tag, channel, and fan group. Further, through big data technology, the user will be frequently recommended content related to or similar to the celebrity, including entertainment news, commercial advertisements, and other content, when browsing information.

'''Celebrities’ active participation in social media'''

Moreover, the growth of fandom culture is not the result of the rise of social media alone. Celebrities also choose to use social media to enhance the sense of intimacy and provide greater possibilities for interaction (Guo Shuojia, 2018). In other words, it’s not just fans who are discovering the power of social media. Celebrities and the business communities behind them are also noticing the value that social media can bring. Since she joined Twitter in 2008, Lady Gaga has insisted on interacting with her fans as a publicity hot spot. Lucy Bennett has summarized this kind of phenomenon as “the emergence and widespread use of social media by celebrities are trying to reconfigure the contact level and participation depth between both fans and celebrities” (Lucy Bennett, 2014, 109-120). Since its establishment in 2009, Weibo has also attracted a large number of celebrities to come here to share their daily life and communicate with their fans, which attracts more fans and improves their business value. With the expansion of fans, fandom culture and fan economy have entered the mainstream of society.

'''Brief summary'''

The growth of fandom culture results from a multi-faceted effort by social media, fans, and celebrities. The emergence and development of social media have narrowed the distance between celebrities and fans, creating a new environment for real-time comments and feedback from fans. At the same time, the development of fandom culture has promoted the development of the fan economy. In the context of the double prosperity of fan culture and fan economy, fans have become an indispensable group in the social scene, and their influence soared.

===5.The role change of fans===

'''From receiver to producer'''

Firstly, the exchange of traditional media to emerging social media promotes the development of the participatory culture of fandom, which makes their role change from the receiver to the producer. According to Henry Jenkins, participatory culture is a notion to describe how media fandom operates, and it is known as spectator culture (Henry Jenkins, 1992). And we consider participatory culture important to fandom culture because fandom was participatory in so far as fans formed alternative interpretations that were often expressed through unauthorized cultural productions. Before the 2010s, the mainstream media was still traditional media, making the fans only receive information from official sites, and there is not enough space or suitable platform for fandom to expand. However, John Fiske pointed out that fans are the producers and consumers of popular culture capital, and fandom culture has two cores, chatting and derivative creation (John Fiske, 1992, 30-49). Under the control of traditional media, although fans at that time do not have enough space to communicate with each other, there are still platforms like Tieba (in 2009, the Tieba of Li Yuchun already had over a billion) for them to exchange commands and show their derivative creative productions. Therefore, after 10 years, we media emerged, newly developed platforms like Weibo, Bilibili, and the developed technology promote the progress of the social media revolution, producing more alternative spaces for fandom and participatory culture to grow. According to Cai Qi, fans are always the first user and promoter of new media techniques, and the most direct driver of a true communication revolution is, as always, technology (Cai Qi, 2009, 86-90). In the generation of we media, fans have taken the best advantage of social media platforms to promote their fandom. A place like Chaohua (community of Weibo) is now a community for fans to exchange the dynamics of the idol, communicate feelings, and produce artworks. Along with the revolution of social media these years, the role of fans is not only receiver and consumer of information, but also producer and participants of derivative creations.

'''From passive to active'''

The revolution of social media also changes the mindset of fans from passive to active. As mentioned above, the essence of fandom culture is participatory culture. Fans need to have communication in the fandom. The change of mindset can be considered a willingness to communicate with other people and enlarge their fandom. According to Cai Qi and Huang Yaoying, based on the technology development, from traditional media to emerging we media, information spreading is also changed from node to surface to multiple nodes exchange (Cai Qi, Huang Yaoyin, 2011, 28-33). In the age of traditional media, the role of fans on the internet is more like the audience. They receive information from media and form concepts but lack the platform for expression and comments. People can only communicate their ideas with their surroundings which is very limited under the condition of traditional media, and it is also hard for them to form a circle to share a common hobby. While under the condition of we media, people can send out their fragment information through the Internet to everyone and receive the information they are interested in immediately. Fans in this generation can make use of these conditions and form their fandom quickly. Like in Douban, you can choose to join different groups and find a few people with common interests, which stimulates the willingness of expression quite a lot. Therefore, it can be concluded that the social media revolution encourages expression and different voices, which makes fans braver to share their ideas, and the mindset change from passive to active.

===6.The impact of fandom culture===

Thanks to social media, fans have gained so much power compared to the past. As an integral part of society, being such a powerful group allows them to have a strong influence that cannot be neglected on our society. The influence is multi-dimensional and impressive.

'''Economic influence: fan economy'''

Among the most followed celebrities on Weibo, Xie Na, who ranked first, has 129 million followers. The figure shows how enormous the fan base is in China, which is also targeted by companies as their potential market. In his 1992 book Textual Poachers, Jenkins described fandom as a base for consumer activism among five core dimensions (Henry Jenkins, 1992). Indeed, many product producers seek the endorsement of famous actors or singers to boost sales. Combining a celebrity’s advertising post on his or her social media and other forms of advertisement is now considered a reliable marketing strategy by big companies. Fans’ purchase power is also demonstrated when their object of admiration makes a new production, whether it is music, a film or other forms of achievement. For example, when a singer or a band releases a new album, fan bases will immediately devote themselves to negotiation with the publisher to get the lowest price possible and design special merchandises like slogans, canvas bags, bottles, etc. These merchandises, with beautiful pictures of the singer or band on them, must be purchased with the album, which serves to attract as many fans as possible to purchase the album. Baidu Jeon Jungkook Bar, a fan base for the K-pop sensation BTS’ member Jungkook, purchased a total of 166,200 Map of the Soul: Persona albums after its release. As Li put it, when fans’ need is met and they are excited about what will come next, they will be willing to spend more money; when the consumption is interactive, it lasts longer (L. Li, 2012, 25-26).

The fan economy in China is driven mostly by minors. An average online fan club has millions of young (mostly female) followers ready to support their idols by contributing money or actively buying the idol’s advertised products. Often, they go beyond spending money. For example, fans can raise an idol’s commercial rating and help him or her get even more endorsement deals if they took a screenshot of the purchase, tagged it with both their own username and the brand’s social account, and uploaded it to social media.

Cooperation with Chinese idols is a proven method for brands to grow their reputation. In 2019, Estee Lauder announced Xiao Zhan, a popular Chinese singer and actor, as its brand ambassador just before Singles’ Day, the world’s largest online shopping festival, held on November 11 every year. As a result, sales exceeded 40 million yuan ($6.2 million) in one hour. U.S. cosmetic brand Origins reported similar results. Its collection, made in collaboration with Wang Yibo, surpassed 30 million yuan ($4.6 million) in one hour. Last year, Chinese actor, singer, and dancer Jackson Yee became a global makeup and skin care ambassador for Armani Beauty and an Emporio Armani global ambassador.

Some studies show that of the estimated 500 million “idol chasers” (defined as anyone ready to spend money on an idol) in China, 36% are willing to spend 100 to 500 RMB ($15 to $75) per month. What do they get in return? Emotional satisfaction, an academic analysis of the fan economy says, is like having a good conversation with a friend. This feeling is the key element of the so-called “emotional capital” of the star. The more people feel that a celebrity can understand and satisfy their emotional needs, the more emotional capital they get.

'''Cultural influence: creation boom and values shift'''

Recent years have witnessed a boom of fan productions: fan fiction, fan videos, fan arts, fan edits, etc. Jenkins believed that the reason why more and more people are participating in this creation is that the network provides them with a safe place where they can experiment with new passions or activities (Henry Jenkins, 2018, 11-26). The massive online community offers fans the audience no matter whether their creation is good or bad. Many fans with specialties in a particular area even give instructions to rookies by using social media or making instruction videos. Through social media, each fan could find a way to participate in content creation and feel a sense of belonging and achievement. The advent of social media has also enabled people to voice their opinions in an unimpeded way. Information and knowledge could no longer be cut off from the public; public opinion is free from control and manipulation. Thus, independent of the traditional media, fans have come together to break the mould of society. Their strong voice, in turn, exerts influence on traditional media (Cai Qi, 2009, 86-90). Fans question the values held by most people, for example, the definition of beauty. Wang Ju, a participant in one of the most popular variety shows in China, Produce 101, has dark skin and a strong body contrary to the typical appearance of female idols who are usually slim with light skin color. At the beginning of the show, netizens criticized her harshly, making fun of her skin and exaggerated expressions. However, as the show went on, Wang Ju expressed her respect for the independence of females and demonstrated her candid and ambitious personality, which gained her a lot of fans, many of whom were against her before. Her fans did their utmost to promote her and vote for her, contributing to her rising popularity. People began to recognize this different definition of beauty. Global Times wrote: “The personality Wang displays coincides with the shifting attitudes of China’s younger generations (Zhang Yiqian, 2018).”

'''Social Influence: Public Welfare'''

As mentioned before, China has a large fan base, which can play an important role in donation and relief. Fans can deliver what they appeal for online (Cai Qi, 2009, 86-90). Many fan bases continue to make donations to international and domestic organizations such as Whale and Dolphin Conservation, WWF and participate in various projects to help advance the cause of animal, environmental protection, and human welfare. After the coronavirus outbreak in Wuhan at the end of 2019, many fan bases and organizations in China rallied to raise funds for the epicenter of the epidemic. By February 2020, there were more than 300 fan groups in the joint force that has obtained face masks, protective gowns, and other crucial supplies to donate to medical practitioners fighting in Wuhan. Among the deeply concerned fan groups, Lun Deng’s fan club stood out. More than 3000 members of Deng, a famous actor with more than 39 million followers on Weibo, contributed to the donation effort by raising more than 230,000 yuan ($32,752) in 12 hours (Chen Nan, 2020). By doing their utmost to support Wuhan, fans show care and compassion for their compatriots and a sense of social responsibility.

===7.The “Clear and Bright ” campaign===

The campaign, called “Clear and Bright,” started in June, with the Cyberspace Administration of China (CAC) saying in a statement that it would put an end to cyberbullying and rumor-spreading. Some of the behaviors being targeted include inducing minors to raise funds, vote rigging, and agitating fans to flaunt their wealth and extravagant lives.

The celebrity-ranking ban follows the CAC’s removal of 150,000 pieces of “harmful online content” and punishment of more than 4,000 accounts related to fan clubs, according to a recent Xinhua report.

The campaign was originally launched after an incident in May that came to be known as the “milk waste” scandal. The popular talent show Youth With You 3 encouraged viewers to buy milk and scan the QR code inside the bottle caps to support their favorite stars on the show. Videos of people opening bottles of dairy products and dumping the contents into drains went viral. Some calculated that 270,000 bottles of dairy products were poured directly into the sewage. Intense online backlash caused the show to be suspended by the Beijing Municipal Radio and Television Bureau.

===8.Conclusion===

Fandom culture emerges as a subculture; it is a cultural phenomenon formed by the interplay between the network and social media. Its emergence and development are an important transformation of niche culture in the era of new media and big data. In the network society, the development of network technology makes interaction possible, and the media is no longer compulsory. Fandom culture is created by fan groups and its characteristics of the organization and circle-based groups, and full participation exert a significant impact on the mainstream culture, the spread of media information, people's behavior and the progress of society. Fandom culture is a double-edged sword and its future development needs to be properly guided by the government.

===References===

Henry Jenkins, Fandom, negotiation, and participatory culture, in: P. Booth (Eds.), A companion to media fandom and fan studies, John Wiley & Sons, Inc., Oxford, 2018, pp. 11-26. DOI: https://doi.org/10.1002/9781119237211

Guo Shuojia, Charging Fandom in the Digital Age: The Rise of Social Media, in: C. Wang (Eds.), Exploring the Rise of Fandom in Contemporary Consumer Culture, IGI Global, Hershey, 2018, pp. 147-162. DOI: https://doi.org/10.4018/978-1-5225-3220-0

Lucy Bennett, Fan/celebrity interactions and social media: Connectivity and engagement in Lady Gaga fandom, in: L. Duits, K. Zwaan, S. Reijnders (Eds.), The Ashgate Research Companion to Fan Cultures, Ashgate Publishing, Ltd., London, 2014, pp. 109-120. DOI: https://doi.org/10.4324/9781315612959

Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture, Routledge, New York, 1992. DOI: https://doi.org/10.4324/9780203361917

John Fiske, The Cultural Economy of Fandom, in: L.A. Lewis (Eds.), The Adoring Audience: Fan Culture and Popular Media, Routledge, London, 1992, pp. 30-49. DOI: https://doi.org/10.4324/9780203181539

Cai Qi, The Internet and the Development of Fan Culture, in: X. Liu, J. Chen, Y. Wang (Eds.), Chinese Journal of Journalism & Communication, Renmin University of China, Beijing, 2009 (7), pp. 86-90.

Cai Qi, Huang Yaoyin, New Media Communication and the Development of Audiences' Participatory Culture, in: P. Liu, Q. Wang (Eds.), Shanghai Journalism Review, Shanghai United Media Group, Shanghai, 2011 (8), pp. 28-33. DOI: https://doi.org/10.16057/j.cnki.31-1171/g2.2011.08.009

L. Li, Fan culture under consumerism, in: C. Jing (Eds), Youth Journalist, Dazhong Press Group, Jinan, 2012 (14), pp. 25-26. DOI: https://doi.org/10.15997/j.cnki.qnjz.2012.14.009

Zhang Yiqian, 2018, Woman not slim and fair shoots to phenomenal stardom with LGBT, feminist fan base, [Online] Retrieved May, 25, 2021, from https://www.globaltimes.cn/page/201806/1105683.shtml

Chen Nan, 2020, Pop fans rally to raise funds for Wuhan, [Online] Retrieved May, 20, 2021, from http://www.chinadaily.com.cn/a/202002/05/WS5e3a1ecca310128217274fd2_6.html

===Terms and expressions===

Fandom/Fan circle 饭圈

Fansumer 粉丝消费

Stalker fans 私生饭

Paparazzi 狗仔

China Internet Network Information Center 中国互联网络信息中心

Idol Producer 偶像练习生

live-streaming 直播

iResearch Consulting Group 艾瑞咨询集团

fan economy 粉丝经济

Diba expedition 帝吧出征

fan girls 饭圈女孩

participatory culture 参与文化

we media 自媒体

Produce 101 创造101

Whale and Dolphin Conservation 鲸豚保育协会

WWF 世界自然基金会

emotional capital 情感资本

===Questions===
1. What has led to the remarkable transformation and development of fandom culture?

A.Fans

B.Network

C.Social media

D.Idol

2. What are the fan circle members mostly believed to be?

A.Boomers

B.Generation X

C.Generation Y

D.Generation Z

3. What does “Diba expedition” show?

A.online fandom communities’ potential for political expression

B.a large group of fandom members

C.a journey to a remote area

D.an online platform that focuses on an expedition

===Answers===

1. Social media

2. Generation Z

3. online fandom communities’ potential for political expression

==英语口译徐舞 Xu Wu 202170081629==
<center>'''The Analysis Of "Chi+O"'''</center>

<center>Xu Wu</center>

===Abstract===
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
typical significance to choose the verb "Chi" with object as the research object. Based
on the research results, this paper attempts to make a comprehensive and multi angle
investigation and research on the phenomenon of "eat" with object through corpus data
statistics. This paper mainly discusses the phonetic distribution, semantic types and
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
the perspective of word meaning, food objects are the first; From the perspective of
deep semantic structure, patient object is still the most typical type of object. Secondly,
by summarizing the diachronic changes of "Chi" with object, we find that the types of
object increase after "Chi". The reasons include the change of word meanings, cultural
influence, network development and so on.

===Key words===
Chi; Object

===Introduction===
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

===Literature Review===
Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

===Research Significance and Corpus Sources===

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

===The syllable distribution of "Chi" with object in modern Chinese===

1.Syllables
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage
Monosyllable 7128 54.43%
Two-syllable 4736 36.16%
Three-syllable 1006 7.68%
Four-syllable 144 1.24%
Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

===The word meaning distribution of "Chi" with object in modern Chinese===

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage
Tool 440 3.37%
Food 10736 81.99%
Place 24 0.19%
Abstract noun 1680 12.84%
Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

===The semantic structure of "Chi" with object in modern Chinese===

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage
Recipient object 10792 82.41%
Object of place 212 1.62%
Result object 1472 11.24%
Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

===Reasons===
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

===Conclusion===

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

===References===
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

===Terms ans Expressions===
Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语 metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

===Questions===
Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

===Answers===
It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

==英语口译张静芝 Zhang Jingzhi 202170081630==

<center>''' The Chinese Cheongsam Culture'''</center>
<center>Zhang Jingzhi</center>
===Abstract===
This paper will show the beauty of cheongsam from its shape, color, pattern and material, and explain the influence of social ideology on cheongsam, one of the traditional Chinese clothes by connecting the evolution of cheongsam with the development of Chinese society in recent hundreds of years.

===Key words===
Cheongsam,culture,social ideology

===1.Introduction===
Clothing is not only the product of human material civilization, but also the crystallization of human spiritual civilization. Throughout the development history of human civilization, the clothing characteristics of any nation contain profound cultural heritages of a nation, which has been deposited for thousands of years. Since the day of the origin of clothing, human beings have blend their living customs, aesthetic tastes, color interests, as well as various cultural attitudes and religious concepts into clothing, and built the spiritual civilization connotation of clothing culture.
As an exotic costume of China,Cheongsam’s material choice and the change of style and design and colour collocation not only record the productivity, science and technology level of the specific historical period, but also have close relations with the social ideology, political background, economic environment, as well as the national culture psychology.so to speak, Each evolution of Cheongsam is an "inflection point" in the development of the whole Chinese costume and even the whole modern Chinese history, whose significance directly indicates the profound changes of ideology, social economy and superstructure in modern Chinese society.

===2.Cheongsam-A representative of Chinese Clothing===

'''2.1 Comparison of Chinese and Western Costume'''

'''2.2.1 The Comparison of Modeling'''

In the design of clothing structure, due to the selection of different human body posture, Chinese and Western clothing are different in clothing style. The static posture of the human body when standing is the structural design standard of Chinese clothing. The structural form of the standing posture of the human body with natural flat arms and easy legs has become the structural form of Chinese traditional clothing since the ancient clothing system. Therefore, Chinese traditional clothing has the characteristics of straight line, whole piece and plane type. People are convenient to raise a hand or lift a leg and squat or sit with such costume. Chinese dress usually has the features of simple and plain,as well as is conducive to labor.
The pursuit of perfect combination with individual shape is the top priority in the structural design of Western clothing, so the structure of clothing is more complex than that of Chinese clothing. In the design and modeling of western clothing, each special feature of the human body structure is designed respectively. For example, according to the torso, upper limbs, lower limbs and other parts, the collar, garment body, sleeve, trouser tube and other major parts are designed respectively, then some other accessory parts are added to form the whole garment and pants. And each main component is irregular tubular shape or tubular formit according to the human body outline with different length, wideth, size . In terms of external surface, western classical clothing often adopts the horizontal expanding shoulder outline, expanded sleeve shape, huge skirt and overlapping lace to emphasize the horizontal style, so that the clothing produce exaggerated and radiating effect. The undulating facial contour, tall and straight body shape and passionate temperament of westerners all determine these modeling characteristics of Western clothing.

'''2.1.2 The Comparison of Colour'''

Color is another major factor in the composition of clothing, Chinese clothing has always paid more attention to the choice and collocation of color. In ancient China, the costume color is divided into two kinds: normal color and secondary color. The normal color is cyan, yellow, red, white and black, and the other is secondary color. In ancient times, the choice of clothing color in China was a phenomenon with social connotation: once a certain color was favored by the royal and noble, it was forbidden to use it among the folk, otherwise, it was a crime of deceiving the king. In most dynasties, the normal color was reserved for the superior society, indicating nobility. In the folk, normal color is also the color that people like and pursue when designing clothes. On the one hand, this shows that ancient China attaches great importance to dress color, on the other hand, it also shows that the use of dress color has obvious class nature.
Like the eastern culture, the western people attach great importance to the choice of clothing color, but they pay more attention to the emotion contained in the color. Western people believe that any kind of color is endowed with profound meaning, any kind of color can represent a sublimed spirit. When people see red, which gives people a kind of passion, romance and strong feelings, they will associate with blood, sun and flame and other related things. However, westerners attach great importance to the choice and collocation of clothing colors in close coordination with the age, skin color, body shape and figure of the wearer, as well as with the purpose and environment of wearing the costume, it mainly because that the above various colors can produce different emotional changes and symbols to people. Westerners often choose clothing colors according to their own specific characteristics. Therefore, the choice and collocation of clothing color appear to be very personalized, and there sre rarely blind imitation phenomenons, people's wearing appears featured.

'''2.1.3 The Comparison of Dermatoglyphic Pattern'''

Chinese and Western clothes have their own preferences in the choice of patterns. Chinese style clothing preferences using pattern to express auspicious wishes. Due to China's textile industry has been leading in the world, and is able to use heavy machinery and exquisite workmanship to weave a variety of complex auspicious patterns,so through the ages, whether it is noble silk or folk prints, auspicious patterns are widely used, which reflects people's expectations and hopes for a better life. The patterns of dragon flying and dancing, the Dragon and Phoenix and the Nine Dragons playing with pearls not only symbolize totem worship, but also express the emotions of "Descendants of the Dragon".
Western European clothing has always been known as the representative of western clothing, and the patterns on its clothing are constantly changing and updating with the vicissitudes of history, incorporating new elements and cultures from time to time. In ancient times, western European costumes were mainly flowers and patterns, especially in the Italian Renaissance, gorgeous flower patterns were more popular. In modern times, with the development of science and technology, it became popular to use geometric principles to design the Op patterns and so on. With the continuous progress of science and technology and the maturity of textile and dyeing technology, the patterns of western mainstream clothing are becoming more and more delicate, and all kinds of clear and distinctive patterns are slowly becoming a popular costume theme in the world.

'''2.1.4 The Comparison of Material'''

Due to the influence of history, culture, geography and other aspects, there are huge differences in the materials of Chinese and Western clothes. China, the once famous "Silk Kingdom", is rich in silk goods, so the traditional Chinese clothes are mainly made of silk. Silk products have the characteristics of soft and smooth, good air permeability.They are cool and comfortable in summer while light and warm in winter, so they are widely used in the clothing industry and are gradually popular in the world market. The silk pattern is delicate and exquisite, the cloth color is bright, the silk cloth is chosen to make the clothing, rich in national characteristics, and can be decorated with various crafts, after wearing, it gives a person with elegant and noble, graceful and charming feeling.
Different from the Eastern countries whose civilization developed earlier, most western countries were nomadic people who were mainly hunting and nomadic in the early development period. Therefore, in the primitive society, they were good at making clothes with the animal fur to achieve the purpose of heating, protection and decoration. With the rapid development of woolen spinning and woolen weaving technology in western countries, especially the exquisite woolen spinning technology in Britain and Italy, after the Middle Ages, the wearing of woolen cloth became increasingly common. In western countries at that time, the men's clothing is mostly made from woolen. Because the distinctive characteristics of the cwoolen materials are solid, crisp, high plasticity, so clothes made from it can make the garment appearance with neat, modesty, full of vigor and vitality.

'''2.2 The Beatuty of Cheongsam'''

'''2.2.1 The Beauty of Modeling'''

As we all know, Cheongsam is the representative of Traditional Chinese national dress. However, the reason why Cheongsam can be called one of the most dazzling pearl among many Chinese clothes is due to its shape.
The silhouette can best reflect the modeling of Cheongsam. Cheongsam has rigorous structure and smooth lines. This kind of implicit curve shape fully shows the natural curvaceous beauty of the human body, which is in line with the Asian people's physique, especially suitable for the petite and exquisite Southerners in China. At the same time, it also reflects the "people-oriented" design concept and embodies the traditional cultural characteristics of "unity of heaven and man" in China. After centuries of evolution, the s-shaped contour structure and oriental style have become the most stable elements of Cheongsam, deeply influencing designers at home and abroad and making people unforgettable.

'''2.2.2 The Beauty of Colour'''

The color of clothing is regarded as the soul of beauty of clothing. The use of cheongsam in color can be said to be a classic image of Chinese clothing, which fully expressed the significance of color. Each color has different characteristics and implication, in different seasons, occasions, through the combination of color collocation, color can give people enthusiastic,elegant, warm and romantic even sedate and sad aesthetic feelings.
Since ancient times, China has had the custom of wearing red. Chinese red is the theme color that Chinese people like to use in the Spring Festival and wedding celebrations. Red is a color with rich emotions and is a symbol of happiness. The red Cheongsam can be the best expression of warm, bold, happy emotions, but also make people appear vigorous, full of youth and vitality.
Yellow is the traditional color of our country. In history, yellow is a symbol of dignity and power. Yellow is rich in layers and is widely used in Cheongsam, which is loved by women. The green cheongsam symbolizes nature, growth, hope, freshness and tranquility. It reminds people of plants in nature and brings people a sense of comfort, suppleness and gentleness. Blue cheongsam can well show the pure, rational, serious and honest personality of women.
Purple is a kind of color full of mystery, it is mixed by red and blue. Purple is regarded as a symbol of nobility and luxury, and is often chosen as a dress color by princes and nobles. Purple cheongsam full of luxurious, rich, elegant feeling. Black is a dual color, symbolizing darkness and silence on the one hand, while maturity, solemnity and mystery on the other hand.
White symbolizing purity and holiness. White Cheongsam can best reflect people's nobility, elegance. The Manchus of the Qing Dynasty believed that white was auspicious, and they often wore red or other colors of Cheongsam with white lace, or paired with a white veil.
In conclusion,different colors show different connotations of Cheongsam, but it is these gorgeous colors that makes Cheongsam a bright visual symbol in Chinese culture.

'''2.2.3 The Beauty of Dermatoglyphic Pattern'''

In costume decoration, pattern is an essential element in Chinese costume culture. It has a long history and is the embodiment of traditional symbols. Every pattern has a deep meaning. Cheongsam patterns are mainly animal patterns, plant patterns, landscape patterns, and geometric patterns，and different categories of patterns have different meanings.
Animal patterns often have profound meanings, such as joy, longevity, auspice, happiness and health. Common patterns include dragon, phoenix, pheasant, crane, mandarin duck, butterfly, peacock, magpie and auspicious fish. Plant decoration is endowed with a lot of auspicious meaning, showing people's yearning for beautiful things. Cheongsams with landscape patterns are relatively rare. Landscape patterns mainly include landscape rural residence, pavilions and pastoral scenery with strong freehand brushwork. Landscape patterns mostly contain clear meaning, that is appreciating landscape. The Ten Views of the West Lake and the scenery of the four seasons are often chosen as themes. The geometric patterns on the Cheongsam give people a fresh and elegant aesthetic feeling. They look orderly, rhythmical, and have a lasting appeal.

'''2.2.4 The Beauty of Material'''

Fabric is the material basis on which shape and color depend. The fabric of Cheongsam is very exquisite, and the fabric of Cheongsam is also different in different periods. The cheongsam made of different fabrics also has different styles and charm. They can be simple, elegant, luxurious, or even gorgeous.
Cheongsam made of dark high-grade velvet or cashmere fabrics can reflect the elegance; Woolen Cheongsam reveals maturity and the beauty of intelligence; The Cheongsam made from high-quality silk or gauze is light and soft, showing the elegance and quietness of ladies. As a formal dress, the floral velvet Cheongsam usually are decorated by bright patterns and colors, giving people a sense of elegance and luxury. Cheongsam made of cotton, usually are decorated with plaid, stripes and other patterns, or flowers with pure color, giving people a gentle and comfortable feeling. With the development of the times, now the choices of Cheongsam fabric are also very wide, so people generally choose Cheongsam according to their own needs or the seasons. Cheongsam made of these high-quality fabrics can fully express the beauty of women's body shape.

===3. 3. The Evolution of Cheongsam and the Development of Chinese Society ===

'''3.1 The Origin of Cheongsam'''

Cheongsam is a kind of robe, and its history can be traced back to the ancient Chinese robe of the Spring and Autumn period and the Warring States Period.The ancient Chinese robe is one of the most important forms of clothing in ancient China. During the Yuan and Ming dynasties, the ancestors of the Manchu, called Nuzhen, lived outside the north of Liaoning Province under the Changbai Mountain, Songhua River and Heilongjiang River. As the fishing and hunting economy occupied an important position, men, women and children were skilled in riding and shooting. Not only men are good at shooting and riding, but women are no less skilled at shooting and riding than men. When riding and shooting, men wear the "horse-hoof-shaped cuff" type of gown. The gowns cuffs are narrow and cover the back of the hand, the sides of the gown open, cloth bags tied in the waist. Women wore a long gown with narrow sleeves and corset,which is also for the convenience of riding and shooting activities on horseback. In 1601, Nurhaci unified the Nuzhen tribes and established the Eight Banners. The people who were incorporated into the banners were called Banners, and the robes worn by Banners were called Qipao.
In 1635, Huang Taiji renamed Nuzhen as Manchu. In the process of frequent campaigns, the people of Manzhou gradually formed a kind of Qipao with wide waist and straight cylinder. At this time, not only the people who were drafted into the banners wore Qipao, but also men, women and children wore Qipao. The men's Qipao were called long gowns, and the women's gowns were called big robes. In 1644, after Emperor Shizu entered the central China and moved to Beijing, Qipao became popular in the Central China. In the late Qing Dynasty, when the colonial rule began,because the western and political influence on people's life style and concept, the manchu and Han women's clothing was integrated.

'''3.2 Cheongsam during Qing Dynasty'''

'''3.2.1 The Influence of the Establishment of Qing Dynasty on Cheongsam'''

After Nurhachi established the later Jin regime, he carried out the Eight Banners system. Therefore, the Manchu people were also called the Banners, and the clothes they wore were collectively called Qi Dress. When Qing regime charged the central China, a huge wave of shave hair clothing started. The Qing regime began to enforce clothing system reform, people who violated the law may loss their life. To the late Qing dynasty, the Chinese women's dress style quietly blended and the difference between both costumes increasingly reduced, which became the prelude of Qipao popular throughout the country.

'''3.2.2 The Influence of Change in Economy Form of Qing Dynasty on Cheongsam'''

The economic development of the early and middle Qing Dynasty made great progress on the basis of the Ming Dynasty.The arable land area of the Qing Dynasty was far more than that of the previous historical period, and the crops of the Qing Dynasty increased greatly. On this basis, all sectors of the economic field presented a prosperous situation, and gave birth to the embryo of capitalism. At the same time of the domestic economic prosperity, the foreign trade of the Qing Dynasty also increased rapidly. Until the outbreak of the Opium War, the Qing Dynasty kept a trade surplus in foreign trade, which played a very significant role in the development of Chinese economy. The development of industry and commerce further stimulated the prosperity of the city.The economic development and the prosperity of the city reflected in the design of Qipao. From the Opium War in 1840 to the Revolution of 1911, due to the imperialist aggression, China's economy suffered a great impact.As a result of internal and external difficulties, people's way of life and dress concept are also changed a lot, showing an "open" character. Cheongsam at this time, though mostly retreated into Manchu noble families, its design still keep the Mid-qing Dynasty modelling.But under the influence of western society at that time, the Chinese dress also quietly changed, including tightening and shortening the sleeves,reducing robe length is and purer colors. In the decoration of the robes, its integral style tends to be contracted, simple but elegant.

'''3.3 Cheongsam during the Republican Period'''

'''3.3.1 The Influence of the Revolution of 1911 on Cheongsam'''

In 1911, the Revolution overthrew the Manchu QingDynasty and abolished the feudal monarchy that had existed in China for thousands of years. As regimes changed, so did the dress culture,which is a mirror of the politics. With the establishment of the Republic of China, the biggest change in the history of Chinese national costume was the abolition of the costume hierarchy that had been followed for thousands of years. The monopolistic position of traditional costumes was greatly impacted, and with the decrease of the social status of the Manchu, fewer and fewer people wore Cheongsams.The Manchu began to wear it like the Han people. The formal costumes of Manchu and the political rule of the Qing Dynasty became history.

'''3.3.2 The Influence of the Unbalanced Economy on Cheongsam'''

Dring the Revolution of 1911, China was in a period of historical transition with ups and downs. Due to the imbalance of economic development caused by political turmoil, the change of clothing also appeared imbalanced. In general, change was seen at the upper class, whilel with little change at the lower class. With the frequent exchanges with the West, the styles and materials of clothing changed rapidly, which also accelerated the change of Cheongsam. At this time, the fabric of Cheongsam is various. With the western-style textiles poured in, Cheongsam become a new clothe of women. These foreign fabrics are soft and elastic, making Cheongsams fit well and elegant, so they are very popular. At that time, Shanghai women have begun to perm hair, wearing close-fitting Cheongsam and walking high heels, while women in Sanhe county in Hebei Province still wear the crowns three or four hundred years ago, and wrapped in "three -inche golden lotuses".

'''3.3.3 The Influence of the Collision between the Chinese and Western Cultures'''

The Westernization Movement in the late 19th century proposed that "Middle school for physical, Western learning for use", which greatly impacted the social dress concept at that time. In addition to breaking the old dress system, the Nationalist Government also actively advocated the people to learn from the West and in line with the world trend. Western life and customs in the 20th century were not only novel things to Chinese people at that time, but also were connected with western scientific and technological civilization. It is precisely because of the latter that western customs have revolutionary significance for the change of Chinese traditional customs. By the end of 1920s, the style of Cheongsam had changed significantly under the influence of Western culture, such as waist tightening, length shortening, and so on. In the 1920s and 1930s, under the influence of western women's skirts, the waist began to tighten, the cuffs began to shrink, and the hem of the skirt was raised, which was similar to the western straight waist skirt. Under the intense collision of this culture, the new Cheongsam absorbs the advantages of other costumes, and quickly becomes a "fashion". On the eve of the founding of the People's Republic of China in 1949, Cheongsam was very popular in China,and almost every urban woman had one or two Cheongsams, which had become a very popular daily dress for urban women.

'''3.4 Cheongsam after the the founding of the people's Republic of China'''

'''3.4.1 The Influence of the Great Cultural Revolution on Cheongsam'''

For quite a period of time after the founding of the People's Republic of China, opposing imperialist cultural aggression, decadent bourgeois culture and feudal cultural became an important part of Chinese cultural ideology. Under the background of continuous radicalization, "a revolution that touches people's soul" broke out, and one of whose main objectives was to carry out a "cultural" "revolution". With the launch of the Great Cultural Revolution, Cheongam was regarded as the life style of feudalism, the landlord class and the exploiting class,and became the revolution object. Not only the Cheongsam, but also the long gown, mandarin jacket and cloak were once the target of boycott. Since then, Chinese traditional clothes have almost completely disappeared. It can be said that the Cultural Revolution is exactly a revolution of traditional clothes. As a result,Cheongsam gradually declined and was replaced by a simple popular dresS. Throughout the 1960s and 1970s, the Cheongsam, along with other ornaments, disappeared on the Chinese mainland.
In the 1980s, under the historical background of reform and opening up, Cheongsam made a comeback quietly. Although it did not recover its position in the 1930s and 1940s, it again influenced the world's clothing industry as a symbol of Chinese clothing.

'''3.4.2 The Influence of the Reform and Openning-up on Cheongsam'''

Politically, reform and opening-up have promoted institutional building and innovation, stimulated the creative vitality of society, and achieved the historic transformation from a traditional society to a modern one. In terms of foreign relations, China has expanded its development and made a historic change from self-seclusion to openness.
With the development of economy and the improvement of people's living standard, Great changes have taken place in Chinese clothing.People have begun to get rid of the monotonous dress system. Fine texture, rich colors and novel style gradually become the standard to measure clothing, and clothing styles at this time are also multifarious. At this time, cheongsam was no longer regarded as a feudal, bourgeois dress and reappeared in people's vision. Due to the improvement of production technology and the enrichment of material life, Cheongsam has became a kind of fashion coustume, and various fabrics were also applied to make Cheongsama solid foundation for the popularity of cheongsam.
Culturally, after the reform and opening up, in addition to maintaining China's own dress culture, modern western dress culture concepts also entered China with the trend of reform and opening up. People's clothes not only focused on keeping warm, people began to realize that clothes is also a kind of culture.Although China's clothing culture has a long history, but years of isolation from the outside world, young people know little about their own country's rich clothing culture and foreign things. Once the country door was opened, our clothing culture began to connected with foreign clothing culture. Foreign clothing culture, advanced technology and clothing materials enrich our own clothing culture. A new Chinese clothing culture with the characteristics of that times has been formed, which has played a revolutionary role in people's dressing concept and made the clothing style keep pace with the times.Today, the various elements of Cheongsam are basically stable, and it has become a classic women's dress.

===4.Conclusion===

Since the reform and opening-up, with the continuous improvement of China's status, China has increasingly frequent exchanges with other countries in the world. Chinese costume culture has attracted worldwide attention. Not only in the international market,but also on the fashion t-shaped stage, it arouses great reflection and propagates, popularizes and promotes Chinese costume culture to the world. International fashion master Pierre Cardin said: "In my evening dress design, a large part of the dresses are inspired by the Chinese cheongsam." At the awards gala of the Oscars and Cannes, Gong Li's Chinese Cheongsam sparked the "Cheongsam hot" again. "Since then, even many foreign stars have worn Chinese Cheongsam to attend the world's top cultural and social occasions, thus breaking the dominance of western evening dress and becoming a representative of national clothing culture brand that transcends national boundaries."
"The significance of the existence of Chinese Cheongsam is not only a" dress "but also a symbol, a pride, a sign, a symbol. In terms of dress, Cheongsam always seems to represent the quintessence of China."

===References===

[1]Yuan Yingjie:The History of Chinese Costumes[M].Beijing:Higher Education Press,1994:217.

[2]Gao Weihong:On Cheongsam Culture and Charm[J].Modern Science,2009,3:103.

[3]Wang Lihua:Costume Culture[M].Hohhot:Inner Mongolia Press,2005:157.

[4]Tomie Yamauchi:A Study on Costume Culture of Han in the 20th century[M].Lanzhou：
Northwest University Press，2008：44-45.

[5]Tong Zhijun: Cheongsam and Women[J].Beijing:Costume Designer,2007:137

[6]Qianmin: Chengsam: The Model of Traditional Chinese Culture[J].Nanjing:The Art,2005:202.

===Terms and expressions===

Cheongsam/Qipao旗袍

Oscars 奥斯卡奖

Cannes 戛纳电影节

Feudalism 封建主义

Capitalis资本主义

The “Eight Banners” 八旗

Huang Taiji 皇太极

The Revolution in 1911 辛亥革命

the Spring and Autumn period and the Warring States Period 春秋战国时期

Manchu 满族

Op patterns 欧普图案

Phoenix 凤凰

===Questions===
1.Which nationality did Cheongsam originate from?

A.Han

B.Manchu

C.Miao

2.Which color is the symbol of dignity and power?

A.Red

B.Yellow

C.Black

3.Is Cheongsam always popular with the Chinese people?

A.Yes

B.No

===Answers===

1.B

2.B

3.B

==英语口译张旻丰 Zhang Minfeng 202170081631==
<center>'''Chinese Chess Culture'''</center>

<center>Zhang Minfeng</center>

===Abstract===
As an abstract picture of ancient battlefield and the wisdom of people in old ages, together with the most typical representative of ancient civilization and culture, chess has been developing and famous for a long history. Up to now, the chess game has become a competitive match and is increasingly popular with chess fans both in China and overseas, at the same time, the chess has a great impact on every country where the chess covers.
After proposing the Sapir-Whorf Hypothesis which raised how languages affect human thought, the connection between the nationality of language and the nationality of culture have become the final study intention for scholars. And that also proves there must exist close connection between language and culture. Thus, if people want to acquaint one kind of national culture, they require to study its language in advance,vice versa.
In this thesis, the research object Chinese chess or the international chess is actually one kind of representative of its own local culture. Perhaps, both of them have been invaded by other cultures, or have been affected by exchange of local various societies and institutions, in some degree. And finally, only illustrating their language phenomenon reflected by this kind of culture performance, its cultural connotation can be found out.
This thesis focuses the cultural meaning on the study of Chinese chess and the international chess, which includes the study of chess and chessboard's origin, chess piece terms meaning betweeen cultural view and meaning view.

===Key words===
Chinese chess, international chess, cultural meaning

===Introduction===
Chess, as a popular game with the fans all around the world, represents not only the history of battlefields but also the wisdom of the ancient folks. It also reveals the lasting development of the real society, especially, in terms of social institution and cultural changes.
As for a crucial carrier of society and culture, language plays an vital role for it. And the language, certainly, is also used to convey the messages and information of society and culture.(Wu Guohua,1994) To some extent, language and chess have something in common.
Chinese chess has a long history and is an important part of Chinese traditional culture.It is a high traditional intellectual competition game. The nine palaces on the chessboard symbolize the imperial palace.帅/将 representing the emperor and士/仕representing the guards around the emperor can only walk in the nine palaces, and 相representing ministers can only walk around the nine palaces.兵/卒 representing pwans can only move forward and not retreat. This layout is a true portrayal of life in feudal society, the chess game process has the meaning of teaching and learning ancient warfare.
Chinese chess is simple and easy to learn, but also easy to learn but difficult to master because of its endless changes. It has cultural, educational, competitive and entertainment value and many other aspects has been loved by people since ancient times. With time going by, the Chinese chess, which carries Chinese traditional cultural genes, occupies a place in the world culture with its distinctive competitive characteristics.

===Origin of Chinese Chess and Its Chessboard===
When it comes to the origin of Chinese chess, also called as Xiang Qi, there are a great number of arguments about it. One of the arguments holds that the Chinese chessis derived from Shen Nong, a legendary ancient Patron of Agriculture. One of them holds that Chinese chess comes from Huang Di, a legendary ruler. However, according to Bo Wu Zhi of Zhang Hua in West Jin Dynasty, which holds Chinese chess derives from Shang Dynasty. In his book, he thinks the Chinese chess is created by King Wu, and the chess is made of ivory.
There are a lot of information contained in the Chinese chess, such as the ancient strategies of battlement, layout of troops, astrology and so on. More scholars consider the Chinese chess as a fabulous production created by Han Xin during the time between Qin Dynasty and Han Dynasty. At that time, Chinese chess is applied by Han Xin for training formation of soldiers against Qin Dynasty. The evidence is that "River Chu and Border Han" are carved in the middle of every Chinese chess chessboard. While some groups of the scholars, especially the Ming Dynasty Luo Xin, holds that Chinese chess is made by Wu Emperor in Northern Zhou Dynasty due to an old history book which has written it down. But up to now, there is no specific evidence that can prove when the Chinese chess is created.
As for the Chinese chess piece, some historians claim that there are only four kinds of pieces in the Chinese chess before Tang Dynasty, which are“将，车，马，卒”.During Tang Dynasty, the pieces are increased to six which are“上将，车，马，卒，军师，王”and Bao Ying Chinese chess is the typical one which can prove this officially. And
some historians also think that the piece“砲”possibly appears during Song Dynasty because“炮”referring to artillery is used in battles at that time. Since then, the shape of Chinese chess is becoming similar to what we play nowadays, and it consists of seven pieces including“车，马，砲，象，士，将，卒”.No matter when the Chinese chess originates from, there is one definite perspective that the rules and pieces of the Chinese chess are changing all the time with the developing process of social culture and are effected by the increasingly advanced weapons.
If it was concerned from the point of literature, Chinese chess is designed in early Song Dynasty and developed in Southern Song Dynasty. During that time, one poet named Liu Kezhuang portrays the chessboard, all kinds of pieces and even their rules. To Chinese chess, there are obvious differences in each dynasty, and some scholars think that the Chinese chess is the experiential conclusion of the development of each Chinese dynasty. From the point of Chinese chess itself, it is not easy to find out its cultural tradition and conservation. And people can also hardly understand the nature of Chinese chess only if understand the connotation of the piece term and rules in advance.
As for the chessboard, the Chinese chess chessboard is composed of nine straight lines and eight horizontal lines with the "River Chu and Border Han"(楚河汉界)in the
middle of it, which shows such a scene of two troops opposing each other on both sides of a river. Pieces need to put on the intersections. In real history, "River Chu and Border Han"(楚河汉界)is located in the middle between King of Chu city and its opponent King of Han city. These two cities are regarded on the chessboard as two Imperial Palace areas. The number of "nine" lines and "eight" lines refer to the utmost number in ancient China, thus they stand for the length and breadth of land which equals to the whole country. In ancient China, the intention of war is to gain more land and unite other countries into the most powerful country, and the chessboard just stands for the whole land.

===Contrast between Chinese Chess Piece Terms and International Chess Piece Terms in Meaning===
In this part of thesis, the author begin to discuss the meaning of every piece term in both Chinese chess and international chess, and then to conclude their differences and similarities to search for their inner link. Seven groups of piece terms are list as follows:马and Knight,車and Rook，卒(兵)and Pawn, 仕(士)and Queen，相(象)and Bishop，将(帅)and King，炮(砲)

'''Meanig Contrast between piece马and Knight'''
Both piece马and Knight are important pieces in those two sorts of chess, and they are perfectly acceptable that these pieces are widely used as cavalry. Why? According to Ancient Chinese Dictionary (2005), the Chinese character马just has two ancient meanings, the first one means a kind of beast and the second one is chip which is also written as码in Chinese. Unfortunately, there is no ideal meaning referring to cavalry from those two meanings. Through categorization, some words and expressions are classified into several groups. The characteristic of马is seen as the basic category, after classifying, the related words and expressions of马in battle, in temper, in relationship with people, status and others are regarded as subordinate categories. Adding mental analysis to these subordinate categories groups, one of those showing up the similar meaning to the symbolic meaning on chessboard, namely cavalry, is picked up. These words and expressions in the group are list as follows:金戈铁马，马革裹尸，厉兵袜马，单枪匹马，千军万马，兵荒马乱，戎马控惚，戎马生涯，招兵买马，兵强马壮，马军，战马.From these Chinese words and expressions, it is clear when the piece term马is used as cavalry. However about the international chess piece
Knight?
In the Longman Dictionary of Contemporary English Knight has four definitions:first up, it means a man with a high rank in former times who was trained to fight with riding a horse. The second meaning is a man who has received a knighthood and has the title SIR; the next one means the chess piece with a horse's head on it; and the forth one is used as a verb, to give someone the rank of knight. From above definitions, the reason can be easily come out that on the chessboard the piece of horse's head signifies the piece Knight, which is the third definition, but in fact it refers to the first definition which means cavalry in real battlefield.
From the meaning of piece马and piece knight, the author have found that as to the Chinese character马，the meaning of it just stands for a kind of beast or animal and a chip. And only if the Chinese character马is used in one word or expression related to army, weapon or war, the meaning of character马here will be more detail as cavalry. Meanwhile, the piece knight can directly refer to cavalry by definition, because knight has already to be a kind of term of cavalry in Europe at that time.

'''Meaning Contrast between 車and Rook'''
Both of the piece車and the Rook are the most effective and direct type of piece on chessboard. But what do they stand for in battlefield? As the matter of fact, they are respectively regarded as chariot in the Chinese chess and siege tower in the international chess. Let's take a look at the definition of these two piece terms. In Ancient Chinese Dictionary, 車has three meanings. The first one means vehicle, then the second one represents windlass, and the last one is a verb which means to use windlass to do something. Obviously, in the international chess, the piece shape of piece Rook signifies the chariot, but in fact, the piece Rook signifies another kind of chariot, that is siege tower according to records, and that shape is just what the piece Rook stands for in real battlefield. As to the Chinese chess, the first definition of車is supposed to be used on the chessboard. But what kind of vehicle does車stand for? Through the categorizing, the words and expressions of車are divided into several groups which are seen as subordinate categories, the function of vehicle, the carrying capacity of vehicle, the value of vehicle, the prosperity of some place and so on. Since the Chinese chessboard is seen as a battlefield, the piece車should be regarded as the chariot which belongs to the subordinate category which is the function of vehicle including战车，兵车，马车，炮车，独轮车，敞篷车and so on. While, in Longman Dictionary, Rook only refers to itself which equals to Chinese chess車which means a kind of chariot for attacking, and as WIKIPEDIA says the piece Rook signifies siege tower initially.
To sum up, the meaning of Chinese chess piece term車can describe the symbolic meaning on the chessboard only through putting some Chinese characters before車，and these Chinese characters must be available to describe the function or characteristic of vehicle. While, the meaning of international chess piece term Rook can directly express the piece's symbolic meaning on the chessboard.

'''Meaning Contrast between piece 卒/兵and pawn'''
The piece卒/兵and piece Pawn are the largest number of pieces in the Chinese chess and international chess, and their symbolic meaning of both denote soldiers on the chessboard. In Ancient Chinese Dictionary，兵just means weapons, meanwhile，卒
has three definitions which are infantry or soldier, the second is a unit and the last one
refers to death as a verb. From the categorization of the words and expressions of兵/卒，adding the analysis to those words and idioms, which is related to the meaning of soldier or army are listed as follows:无名小卒，贩夫走卒，瓦合之卒，轻卒锐兵，调兵遣将，按兵不动
The author find out that in the words and expressions of卒，large part of which are used with the first definition of卒as a soldier. As to the meaning of兵，except for some words and expressions referring to weapon, the meaning in most part of them is extended as the same as solider.
And as to the piece Pawn, in Longman Dictionary, there are two meanings of pawn, the first means a piece in chess equals to Chinese chess piece term兵/卒，and the second denotes someone who is used by a more powerful person or group. Right here, the second meanings is its origin.
Through comparison between these two kinds of chess in meanings, some findings show that the Chinese chess piece卒，it can also directly describe its symbolic meaning on the chessboard. But the original meaning of the piece term兵can not express its symbolic meaning until the original meaning of the piece兵is extended, while the international chess piece Pawn can directly express its symbolic meaning on chessboard as the same as its second definition indicates.

'''Meaning Contrast between piece 相/象and Bishop'''
In Ancient Chinese Dictionary，the piece term相owns five meanings and the first two meanings are verbs, the first means to examine something carefully in order to find out more about it, such as相风水，the second one means to assist or help somebody such as，管仲相桓公，and then the third one stands for a person who masters the ceremonies, and the fourth one refers to song as a noun and the last one which is a adverb stands for doing or experiencing something by two people, such as互相.At the same time,the other piece term象has four meanings, the first one refers to elephant, the second means scene, such as景象，the next signifies portrait such as肖像，and the last meaning is a verb referring to imitation.
Although the piece相and piece象have many different meanings, in fact they signify the same definition in Chinese chess which refers to prime minister, a civil official with highest level, namely宰相in Chinese. Here宰is a official title which means master or ruler, and相denotes to help somebody thus宰相is equal to the person who assist the ruler to master the whole matters.
As to the piece term Bishop, according to Longman Dictionary of Contemporary English, the piece term Bishop has two meanings, the first one means a piece like Chinese chess piece term相/象，the second one is a priest with a high Christian religion, who is the head of all the churches and priests in a large rank in the area. Right here, the second meaning priest is seen as the prototype of the first meaning and the it is also used on chessboard according to WIKIPEDIA.
After the comparison between the meanings of the piece term相/象and piece term Bishop, it is necessary for the piece term相/象to pick up one group of subordinate category words related to its symbolic meaning on chessboard. After that, the words referring to helping somebody are list as follows, they are宰相，相国，首相，辅相. Right here, the word class of相turns out from verb to noun, at the same time, the meaning of it turns into a high level title, namely primary minister. As for the piece term象，some of the scholars believe that it is equal to the piece term相，but some others support a distinct proposal that piece term象stands for a kind of corps, namely elephant. Because the development of Chinese chess has been influenced by spreading of elephant from India. Although the record of elephant for fighting is rare, but elephant actually appears in ancient Chinese war, especially is taken advantage of ethnic minorities in South China.
As to the meaning of piece term Bishop, namely priest with high level title, it can directly stand for its symbolic meaning on chessboard.
Between the meanings of piece相/象and piece Bishop, the author find out that it is obvious that different kinds of chess pieces can reveal different civilizations. The piece term相/象refers to the feudal official with highest level who assists the ruler of country to manage the whole civilians and other crucial matters. And the piece term Bishop stands for the highest rank priest of Orthodox or Catholicism in medieval Europe.

'''Meaning Contrast between 将/帅and King'''
As an ancient chess with long-term history, the Chinese chess has two similar and important pieces, the piece将and piece帅.And the meaning of piece term将is equal to the piece term帅in Chinese chess，but they belong to opposite side.
In Ancient Chinese Dictionary, as to the meanings of piece term将，it has nine meanings, but only one of them is relevant to leading army. Although this is a verb which denotes to lead somebody to do something, its nominalized meaning signifies general that is phenomenon widely used at that time. This is a kind of verbal nominalization which results from the metaphor conceptualization. Metaphor conceptualization is a common cognitive competence for human people. Lakoff(1999) and Johnson believe that metaphor conceptualization is mainly realized by conceptual metaphor. Hu Zhuanglin(2000) figured out that in the process of conceptual metaphor, one object can turn into another object due to the change of lexical level inside them, however, there also must exist the similar basic attribute in them. As for the piece term帅，there are three definitions found out in total. The first definition as a noun means emperor similar to the meaning of piece term King, and the second one as a verb means to lead somebody to do something which is just like the meaning of the verb of piece term将discussed above, and the last one refers to obey someone or something else. Thus the first definition of piece term帅is used to describe its symbolic meaning on chessboard. From the categorization of the words and expressions of piece term将\帅，the subordinate categories words similar to the meaning of general are listed as follows:王侯将相，将遇良才，调兵遣将，将门虎子，精兵强将，丢车保帅。
And, as to the piece King, it is also an essential one which plays a decisive role in the international chess. In Longman Dictionary, the basic meaning of king signifies a man who is a ruler of a country because he is from a royal family and of course, it represents the most important piece in chess.
In contrast to the piece term King, the meaning of the piece term将/帅all represent the general or emperor nowadays which is different from king. In the matter of fact, before Song Dynasty, instead of piece将/帅，the piece王is used on chessboard. Since Song Dynasty, the piece将/帅are added and limited in Imperial Palace area. The reason arises from the different history background, that is since Song Dynasty, both将and帅prefer to stay in palace or military camp rather than lead army against enemy.But for piece King, it can directly express its symbolic meaning on chessboard and tend to be the meaning of ruler of country and can move everywhere on chessboard, that is because in medieval Europe, kings always lead their lords and armies to fight against enemies on battlefield.

'''Meaning Contrast between 仕/士and Queen'''
As for the piece term仕/士，these two Chinese characters stand for the same meaning, and just used for different sides. From the views of some scholars, these two pieces are admitted as the similar ones as the piece queen, but not totally identical due to different cultural and social backgrounds. In Ancient Chinese Dictionary the piece term士has five meanings, the first one means the laudatory title of man, the second refers to the lowest nobility, the third one denotes intellectuals, the forth one signifies the office of jail and the final one means soldier who is used to be on the chariot to fight against enemies which is different from卒，because卒refers to the soldier who used to fight on foot. At the same time, the piece term仕only has three meanings, the first meaning is equal to that of piece term士，namely intellectuals, and the second denotes officer, then the third one represents maid in a imperial palace.
The piece term Queen is the most powerful piece in the international chess, in Longman Dictionary queen has several meanings, one of which means a piece in chess, and in fact, this piece refers to the female ruler of a country. Besides it, the piece term Queen can also denote a related meaning which is a transferred one of it. For example, Tammy Whnette is the queen of country music(queen here means the woman who is regarded as the best at a particular activity or in a particular field). This meaning of the piece term Queen is showing the metaphorical attribute transference of it.
Through comparison between meanings of piece term仕or piece term士，there are not any related meaning as similar as the piece term Queen. In this case, scholars have proposed three different point views about it to illustrate what the piece term仕/士 really stands for. Some scholars believe that the piece term仕/士stands for guard of emperor, another scholars hold that it represents military counselor of emperor. These two point views can be achieved in the subordinate category of仕/士as follows:身先士卒，将士，悬车致仕，学而优则仕.And the other scholars suppose that it signifies wife of king, because the Chinese chess is seen as epitome of Chu-Han Contention, the piece term仕and piece term士refer to the wife of King of Chu and the wife of King of Han. Although these three point views are not similar at all, they have two common characteristics which are that all of what they signify are always working in imperial palace and accompany with emperor. Thus no matter what the most accurate meaning of the piece term仕/士stands for, there is only one major responsibility for guard, officer and maid to do, that is to protect or service their emperor, even if losing their lives.
To sum up, the piece term仕/士possibly stand for guard, military counselor and wife of the emperor. While the piece term Queen refers to its symbolic meaning on chessboard which is just one female ruler of a country. Right here, the third meaning of term仕/士，namely wife of king, is similar to queen, so in some degree, the meaning of piece term仕/士can equal to that of piece term Queen.

'''Meaning of piece炮/砲'''
The meaning of piece term炮is equal to piece term 砲which is the particular piece for Chinese chess in contrast to international chess. In Ancient Chinese Dictionary炮/砲only has one meaning which means artillery which can be used to express its symbolic meaning on chessboard.
According to definite research, the piece炮/砲is added to the Chinese chess during Tang and Song dynasty. Because at the time of that dynasty, gunpowder is applied to shell, and that is what we called as炮in Chinese. However, before Tang dynasty, stone is the only material used as shell, and we call it as砲in Chinese. So Chinese chess use炮and砲to represent ancient Chinese artillery for different sides.

===Conclusion===
This study is about the Chinese chess and the international chess with the view of cultural meaning, which is closed linked with combination between language culture and language meaning, and both of them can not be separated, but depend on each other closely. In this study, the origins and chessboards of Chinese chess and international chess are explained and compared through the view of culture, and then the meanings of these kinds of chess piece terms are analyzed and compared by semantic view or rather cognitive metaphor. Through the combination of culture and meaning, each piece of them can be illustrated accurately and elaborately.
From the superficial aspect of Chinese chess and the international chess, the most evident findings are that in Chinese chess there are seven kinds of pieces which are車，马，象/相，卒/兵，将/帅，仕/士，炮/砲，while for international chess there are only six kinds of pieces which are Rook, Knight, Bishop, Pawn, King and Queen. In order to contrast them clearly, the pieces with similar meanings can be classified as follows:马and Knight, 車and Rook，象/相and Bishop，卒/兵and Pawn，将/帅and King，仕/士and Queen, and炮/砲.From final results of contrast, some scholars raise a hypothesis that most of the pieces between Chinese chess and international chess are much similar, so they may be derived from the same original chess which people have not known yet. As related investigations show that, the earliest ancient Chinese chess is discovered in Spring-Autumn Dynasty about during the 7th BC to 4th century BC. While, the modern international chess is derived from shatranj which is an ancient Persia chess, and this Persia chess comes from an ancient India chess named Chaturanga which appeared ranging from the 4th century BC to 3rd century BC according to reliable records. By the comparison of their appearance time, the Chaturanga spread from Chinese chess could be deduced but lack of provable evidence.Another similar points are that as the oldest edition of modern international chess, the Chaturanga also has six kinds of pieces which are king, Counselor, Elephant, Knight, Rook and Pawn. Right here the piece Counselor is much similar to the piece仕/士，and the piece Elephant resembles Chinese piece象/相. But from the definite discoveries of study, there are only some connections proved between them in culture, but not confirming that this kind of chess comes from Chinese chess.
Through the comparison about the meanings of corresponding piece terms between Chinese chess and international chess, some findings are discovered: for the meanings of Chinese chess piece terms, always they can not describe the symbolic meaning on chessboard directly. Because some of them are with many different meanings, namely, polysemies,such as piece马，piece車，piece仕/士，piece卒/兵;some original meaning of Chinese chess piece terms are derived from verb, among the groups of将/帅，相/象，the original meanings of将and相are verbs. And there is only one piece term which can describe the symbolic meaning on chessboard directly, that is piece炮/砲.
While for the international chess piece terms, almost all of them are able to describe the symbolic meanings on chessboard with their original meanings directly.
On balance, in describing the meanings between Chinese chess piece terms and international chess piece terms on chessboards, the meaning of Chinese chess piece terms are not as concrete as international chess pieces terms. That is to say, international chess piece terms can express the symbolic meaning of what the piece stands for on chessboard directly, but it always doesn't go for the Chinese piece terms. Such as the piece象，people can not regard it as primary minister at the first sight, maybe just an elephant instead (although this kind of thought is supported by some people, it is still lack of some evidence). But for its counterpart,the international chess piece term Bishop, people could image a picture of priest easily in their mind, because its original and unique meaning is its symbolic meaning on chessboard. And this phenomenon is also a performance that the Chinese character is usually more abstract than English word.

===References===
*[1]Fillmore,C.J. 1975. An alternative to checklist theories of meaning [C]// C. Cogen,H. Thompson,GThurgood,K.Whistler&J.Wright. Proceedings of the First Annual Meeting of the Berkeley Linguistics Society. Berkeley; Berkeley Linguistics Society:123一131.
*[2]Lakoff, G Women, Fire, and Dangerous Things What Categories Reveal about the Mind[M].Chicago and London: University of Chicago Press,1987.
*[3]Langacker, R. W. Concept, Image, and Symbol[M]. Berlin: Mouton de Gruyter,1990
*[4]Liu Shilan刘适兰.从国际象棋与中国象棋的异同看中西方文化差异[J](The Cultural Diferrences between China and Western Countries from the Perspective of International Chess and Chinese Chess).武汉体育学院（Wuhan Sports University），第37卷，第5期，2003.
*[5]Li Xiaoyi李潇逸.从国际象棋看欧洲中世纪父权制（ Patriarchy in Medieval Europe from the Perspective of International Chess）[J].中国会议(Chinese Conference).2011.06.
*[6]Wang Xiaopeng王晓鹏.中国象棋与国际象棋比较分析(A Comparative Study between Chinese Chess and International chess)[J].沈阳:东北大学(Northeastern University)，2007.
*[7]Zhang Zaihong张再红.词汇文化语义的认知研究(A cognitive Research on semantic lexical culture)[D].南京:华东科技大学(East China University of Science and Technology)，2009

==日语笔译曹梦然 Cao Mengran 202170081632==
<center>'''Chinese Wedding Costumes'''</center>
<center>曹梦然</center>
===Abstract===
In Chinese history, the embroidered red dresses, the phoenix coronet & colorful embroidered capes and the red head kerchiefs that Han people wore on their wedding ceremony were customized-made in Qing dynasty and early Minguo. The wedding dresses in Ming dynasty made the phoenix coronet & colorful embroidered capes and the red head kerchiefs, etc. popular in Han dynasty for 500 years. But the New Cultural revolution, the Cultural Revolution and the opening reform in recent and contemporary ages made the Chinese traditional wedding culture change a lot, and some are almost disappeared. Today, the Chinese traditional wedding and traditional wedding dresses became popular, but the confusion is which dynasty that the Chinese traditional wedding dresses of Han nationality can be dated. To study the evolution of Chinese traditional wedding dresses from Ming dynasty to today is to make modern people know more about Chinese traditional wedding dresses of Han nationality, to enlighten the designers today and make them creative and thoughtful to design Chinese traditional wedding dresses .

===Key words===
Traditional wedding dresses in Han nationality; The phoenix coronet& colorful
embroidered cape; wedding accessories

===Introduction===
When it comes to Chinese wedding dresses, not only foreigners but also most Chinese people are believed to be very unfamiliar with it. What should Chinese wedding dresses look like? Why is the Chinese wedding dress worn by modern people different from the feudal era? What is the "phoenix coronet & colorful embroidered capes" that is mentioned in the book? The wedding dress is a microcosm of the entire Chinese culture. As China's internal turmoil and various cultures spread and developed in the modern era, the wedding dress has changed its look, introduced different elements, been abandoned, and has been rediscovered in modern times. To understand the look of wedding dress, we must look at it from a historical perspective.

===The History of Chinese Wedding Dress===
Wedding dress in China has regional differences, as well as differences in time and ethnicity, but there are still some distinctive features that distinguish it from other countries. Historically speaking, the wedding clothes of the Tang and Song dynasties laid the foundation for Chinese wedding clothes, and after the Ming dynasty, Chinese wedding clothes took shape and have been used ever since. Let's talk about the characteristics of the Ming Dynasty wedding clothes.
The most familiar Han wedding dresses today are the colorful embroidered dragon and phoenix, phoenix coronet and colorful embroidered capes, big red capes, A few people know that more than 3,000 years ago in the Zhou Dynasty, the color of wedding dresses was black and red, and this mainstream wedding dress color system lasted until before the Sui and Tang Dynasties. The development to the North and South Dynasties also once appeared white dresses, to the Song Dynasty, the court nymphs of the six dresses, the wedding dress is cyan. By the Ming Dynasty, the big red wedding dresses we are familiar with only had a clear shape.
The Ming Dynasty established the custom of celebrating in red. When getting married, the bride usually wore a large red blouse with a long green skirt underneath. The bridegroom theoretically wore a ninth-ranking official's uniform, a hairpin wusha hat and long boots, and a red silk belt. Below are cartoon drawings that visually reflect the image of wedding costumes at that time.

===6.3.1 The phoenix coronet===
During the 400 years from the Ming Dynasty to the modern era, men could wear ninth-grade official uniforms when they married, while new brides used phoenix coronet and colorful embroidered capes. The phoenix coronet, as the name implies, is a cap in the shape of a phoenix, usually made of iron or silver. The rich use gold and Kingfisher feather art. It is decorated with pearls and precious stones. It is shown in the picture below.

===6.3.2 colorful embroidered capes===
The phoenix coronet and colorful embroidered capes appeared as a set of ornaments, originally meaning a gorgeous silk fabric that women used to drape over their bodies. "The colorful embroidered capes were used by Taoist masters as their vestments. The custom gradually evolved, and in the Song Dynasty, colorful embroidered capes became an accessory to the consort's regular clothes and the dresses of the princesses, with different embroidery patterns depending on the rank. In the Ming Dynasty, the wives of consorts and officials all wore colorful embroidered capes, but the consorts used vermilion and gold threads to embroider dragon and phoenix patterns, while other women could only use capes in dark blue without embroidery patterns. For the marriage of common people, women could wear phoenix coronet colorful embroidered capes.

===6.3.3 head covering===
The prototype of the cover is the ancient veil, which is a red cloth over the bride's head. The cover is covered from the time the bride leaves the boudoir until the male family enters the bridal chamber, when the groom picks it off or uncovers it with a scale. The material of the barrier surface is mostly silk gauze, silk gauze net of things, its thin and transparent does not obstruct the bride's vision. But also with a slightly thicker fabric made, the form of more square scarf or cap type. Covered in the head, long to between the ears, neck, chest and even to the feet a few feet, and vary with the times, different regions. The color is mostly red. There are two kinds of head coverings: round and square, sometimes with colorful embroidery on the head coverings.
6.4 Evolution of wedding clothes in Qing Dynasty
The Qing dynasty dress system changed dramatically, and men used robes and mandarin jacket as formal wedding dresses due to Manchu policies. But in general the first and middle of the Qing Dynasty women's wedding clothes still continued the style of the Ming Dynasty. In the late Qing Dynasty, influenced by men's mandarin jacket, women began to commonly use black mandarin jacket and red skirts as wedding dresses. The waistcoat was embroidered with gold and silver threads with dragon and phoenix patterns, as shown in the picture below.

Women's skirts still follow the popular "horse face dress" of the Ming Dynasty. This skirt has two light surfaces in front and behind the body without pleating, and it was popular in the Qing Dynasty to decorate the light surfaces in front and behind with gorgeous embroidery.

===6.5 Chinese Wedding Dresses Since Modern Times===
The mandarin jacket and skirt were still the main wedding clothes at the beginning of the Republic of China, initially black gown and red skirt with the wedding clothes at the end of the Qing Dynasty, and then gradually became popular to red gown and red skirt, whose color was more bright and eye-catching. Until now, the color of the coat and skirt still retains the form of red coat and red skirt. The collar of the gown is "Chinese style" stand-up collar, no slit and sash, the length of the sleeve is also different from the cheongsam, the gown is long-sleeved, but the Republican period gown sleeve length is shorter than the Qing Dynasty, the cuffs are also small. The sleeve length of the dress in the Republic of China period was about 5 cm above the wrist, in order to allow the bride to display the bracelets, bangles and other accessories worn. The skirt coat is relatively loose, with only a small waist, which is different from the cheongsam's emphasis on the female figure. The dress coat must also be worn inside a long coat and pants worn inside.
The westernization of wedding clothes also took place at the same time. The westernization of wedding clothes began in the late Qing Dynasty, and flourished in the middle of the Republic. In the late Qing Dynasty, the Qing court was in internal and external difficulties, and the country was in decline. In order to save the peril, a large number of foreign students were sent to study abroad, and the army also changed to train a new army. Among the Chinese students and soldiers, western-style student's drill clothes, drill caps and western-style military uniforms and caps first appeared. The importation of foreign clothes provided another reference system for judging beauty and directly influenced the change of social dress concept. In this context, it is not surprising that the fundamental changes in Han wedding costumes were understood and accepted by people. Thus, in Shanghai from the 1920s to the 1940s, both the style and the shape of clothing were Western in style. Women's clothing gradually became more and more fitted from wide clothes and sleeves. It was at this time that wedding dresses combining East and West began to appear. In this period in China, centered on Shanghai and other major cities, women wore Chinese cheongsam with western veil, and men wore suits or long shirts and hats, and Chinese wedding dresses did not have a uniform standard and blossomed, following the owner's preference. The picture below shows the popular wedding dresses at that time.

===6.6 Chinese wedding clothes exit the stage of history===
For economic and political reasons, one of the phenomena that occurred between the early days of liberation and the Cultural Revolution was the disappearance of traditional wedding clothes.
The special nature of wedding clothes no longer existed, and the so-called acquisition of wedding clothes was nothing more than making a new dress. In this era of extreme material scarcity, the purchase of a new dress became a great luxury. The period from the founding of the People's Republic of China to the Cultural Revolution The period between the founding of the People's Republic of China and the Cultural Revolution was a time of hardship and simplicity. Since the country's economy was at a low level of development, hardship and simplicity became the common fashion of the times, and people mostly wore blue, army green or gray clothes. At a time when the standard of living was quite low, there was no The standard of living was quite low, there was no extra income to buy extra clothes, so the traditional wedding costume was replaced by regular clothes. dress. This practice also embodied the proletarian spirit of hardship and simplicity and was advocated by people at that time. At the same time At the same time, in those times of class struggle, wearing wedding dresses and western clothes to get married was feared to be described as aspiring to a bourgeois lifestyle. The need to get married as a matter of human nature took a back seat to the needs of the revolution and the need to work.
In the early years of the founding of New China, China's politics, economy, military and culture were all modeled on the Soviet Union, and Soviet clothing became a symbol of the revolution.
Soviet clothing became a symbol of the revolution, and Soviet dresses instantly swept across China, Lenin's dress and the Bragi being two distinct examples.
The Lenin suit was a typical costume for female cadres in the late 1950s, and was actually a modification of the suit, which was worn by Lenin before and after the October Revolution.
After the October Revolution, Lenin often wore this style of clothing, the revolutionary enthusiasm of people in order to completely separate it from the suit, so it was given It was given the name "Lenin Suit", which was full of proletarian colors, as a proof of the revolutionary determination to follow the Soviet Union's example. This was a testament to the determination to follow the Soviet Union's example. The Lenin suit was once popular among women, and the fashionable dress for women was to wear the Lenin suit and have short hair to show their heroic The revolutionary style of heroism.
In the late 1950s, when a leader of the former Soviet Union visited China, he suggested that Chinese clothing did not fit the image of a large socialist country and that women should all wear flowery clothes.
Women should all wear flowery clothes to reflect the thriving face of socialism. At one time, the floral bragi became fashionable. Bragi is the Russian translation of the dress, the style is extremely simple: loose short-sleeved, bubble pleated skirt, simple round collar, and The fabric color pattern was mainly floral, plaid and stripes. This style is healthy and lively, not pretentious, and has been popular for a long time. This style was also used in the summer to wear when getting married.
It can be said that after the founding of New China until the eve of reform and opening up, Chinese wedding dresses and even weddings were basically extinct in mainland China.
6.7 Chinese wedding clothes after the reform and opening up
With the reform and opening up, with the emancipation of the mind, people's dressing style also began to become more and more diversified. While more and more young people are choosing Western-style weddings, traditional Chinese weddings are also favored by many tradition-loving Chinese people. Due to the long break in generation, there is a lack of craftsmen who can make traditional wedding clothes in mainland China, so people imitate the clothes of the previous generation and adapt them into the Chinese wedding clothes that are now popular in mainland China. This is the so-called "xiuhe dress".

This wedding dress is still part of the Chinese wedding costume, but its structure and cut are very different from its predecessors. The traditional Chinese cut was abandoned in favor of a more body-hugging Western cut. Since the horse-faced skirt was lost, the skirt was commonly made into a straight skirt with a piece of cloth sewn on the skirt to make it look like a horse-faced skirt. The body of the dress is embroidered with gold and silver threads with dragon and phoenix designs.
In recent years, more and more people are calling for wedding dresses should be from ancient times, and young people are trying to imitate the wedding customs of various Chinese feudal dynasties, including wedding dresses. As for what exactly Chinese wedding clothes should look like, there is actually no definite conclusion today.

===Conclusion===
There is no exact definition or form of Chinese wedding dress. It has a long history and is rich in variations of forms, but had been transformed and abandoned for economic and ideological reasons, among others. Nowadays, more and more people are taking Chinese traditions seriously, and it has become a modern Chinese trend to keep digging into the marriage customs of ancient feudal dynasties. I believe different people will have different answers as to what Chinese wedding clothes should look like. Perhaps in the near future, traditional Chinese wedding dresses will still shine in China.
===References===
[1] 王宏付.民国时期上海婚礼服中的“西化”元素[J].装饰，2006，（5）

[2] 徐莉.试论婚礼服饰的变迁[J].北京城市学院学报，2006，（3）

[3] 姚君洲.论女性婚礼服在中国的发展趋势[J]，徐州教育学院学报，2001，16（01）

[4]许星.苏州地区民间传统婚礼仪俗及衣着饰物探析[J].装饰，2006，（3）：97

[5]史林.对白色婚礼服流行的几点思考[J].苏州丝绸工学院学报，1996，3（1）

[6] 邓雅，梁惠娥.探源中华婚礼服饰[J].辽宁丝绸，2007，（4）

[7] 孟萍萍.中国传统婚礼服民族特性的表现[J].广西轻工业，2007，23（5）

[8] 许星.中国古代民间婚礼仪俗中的着装风格初探[J].苏州丝绸工学院学报，1998，18
（6）

[9] 陈莉娴，林柏芯，唐诗韵等．香港都市人之古今婚俗[R]．中国文化考察报告，1999

[10] 香港博物館．本地华人传统婚礼．香港市政局．1986

[11] 周锡保．中国古代服饰史．中国戏剧出版社[M]，1984

===Terms and Expressions===
凤冠 phoenix coronet

霞帔 colorful embroidered capes

点翠 Kingfisher feather art

马褂 mandarin jacket

马面裙 horse face dress

秀禾服 xiuhe dress

===Questions===
When did Chinese wedding dresses start to revere red?

What led to the extinction of Chinese wedding dresses in China itself?

What are the origins of modern wedding dresses?

===Answers===
1. The beginning of the Ming Dynasty

2. Changes in the dominant ideology and the constraints of productivity level

3. The popular mandarin jacket and skirt of the Qing Dynasty

20220630 Culture 1

2022-07-05T06:51:45Z

Zhang Minfeng:

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

<center>卞王倩</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Example 5 昨天捉着的嫌疑犯，经警察局证明无罪，已被释放了。

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

There are many other similar examples:

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

a.Be murdered or killed b.被害 c.遇害

Be buried 被埋葬下葬

Be regarded as 被视为算是、算得上

Be guided 被领着有人领着

Be passed 被通过予以通过

Be protected 被保护受到保护

Be entrusted 被委托受人之托、受到委托

Be reduced 被处于……（某种不好的境地）沦为

Be reported 被报道据报道

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

'''(4)Longer Sentences'''

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

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

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

'''(5)Noun Plague'''

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

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

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

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

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

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

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

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

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

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

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

有钱的单身汉总想要娶位太太，这是一条举世公认的真理。

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

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

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

但人要写他最心爱的对象，不论是人是地，是多么使他为难的工作？

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

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

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

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

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

我不知道他们给了我多少日子，但我的手确乎是渐渐空虚了。

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

'''(9)Abuse of “的”'''

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

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

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

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

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

a. 她是厚道的、乐观的、温柔的、和蔼的以及大度的。

b. 她心地厚道，为人乐观，性情温柔，待人和蔼，气量又大。

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

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

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

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

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

Benign Europeanization can be seen from such aspects as follows:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* Lin Yanmei林燕媚.(2011).从接受理论看清末民初翻译[Translation in the Late Qing and the Early Republic of China from the Perspective of Reception Theory]. 吉林省教育学院学报Journal of Educational Institute of Jilin Province,(03): 51.

* Liu Zhengbing, Dingyuanyuan刘正兵、丁媛媛.(2020).当代汉语语法的欧化现象分析[Analysis of the Europeanization of Contemporary Chinese Grammar]. 温州大学学报（社会科学版）Journal of Wenzhou University(Philosophy and Social Science)，(02):21.

* Peng Xuan彭炫.(2003). “欧化”与翻译——读王力先生《欧化的语法》有感[“Europeanization” and Translation-On Wang Li's The Europeanized Chinese]. 广西大学学报， Journal of Guangxi University (Philosophy and Social Science),(02): 88.

* Si Guo思果.(2002).''译道微探''[On Translation]. 北京：中国对外翻译出版公司 Beijing: China Translation Corporation，第88、90、209页；''翻译新究''[On Translation Anew] 北京：中国对外翻译出版公司 Beijing: China Translation Corporation,第99页.

* Wang Hongzhi王宏志.(2000).''翻译与创作：中国近代翻译小说论''[Translation and Creation: Treatise on Modern Chinese Fiction in Translation]. 北京大学出版社 Peking University Press，第43页.

* Wang Li王力.(1954).''中国语法理论''[The Europeanized Chinese] 上海：中华书局出版 Shanghai: Chung Hwa Book Company,第309、340、352、378页.

* Yu Guangzhong余光中.(2014).''翻译乃大道''[On Translation]. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press,第60、129页.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'''2.On headgear'''

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

'''2.1 Zan'''

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

'''2.2 Chai'''

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

'''2.3 Buyao'''

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

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

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

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

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

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

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

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

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

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

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

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

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

Some scholars (especially literary researchers) have questioned the approach of mutual verification of poetry and history. In many cases, actually, the poet can exaggerate and imagine the narrative material according to the needs of artistic expression, creating a new version of the historical facts that will greatly enhance the artistic impact of the poem and further deepen the impression and understanding of the artistic recipient of the historical events described. In this sense, it would be too harsh and unfair to poetry as a work of art to examine the poems in a completely historiographical way, or to trace whether the time, people and geography narrated in the poems are faithful to historical truth. In ''The Everlasting Regret'', in addition to revealing information about "special historical facts" such as time, place and people, the poem also contains "universal historical facts" such as the characteristics of the Tang people's lifestyle, the distinctive aesthetic colours of the Tang period and the sentimental feelings towards the prosperous world. These are currently new areas of research on ''The Everlasting Regret'', and need to be studied in depth in conjunction with historical sources. Only in this way can we get a clearer insight into and a deeper appreciation of the "splendor of the Tang Dynasty" as outlined in ''The Everlasting Regret''.

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

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

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

<center>Chen Luyao</center>

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

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

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

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

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

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

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

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

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

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

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

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

===Contents in Different Periods===

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

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

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

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

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

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

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

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

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

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

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

The first is the value of interpersonal communication: benevolence.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

matriarchal society 母系社会

improve virtues 敬德修德

benevolence 仁

harmony between heaven and man 天人合一

ideal personality 理想人格

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

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

Be filial to elders and friendly to others 孝亲泛爱

individualism 个人主义

collectivism 集体主义

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

patriotism 爱国

be dedicated to work 敬业

be honest 诚信

be friendly 友善

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

2.What is the overall direction of these values?

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

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

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

3.Yes.

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

<center>Cui Xiaofan</center>

===Introduction===

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

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

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

===Nine Main Parts of the China Central Plain Culture===

The China Central culture is a combination of the material and spiritual culture of the Central plain region, covering all aspects, and many of which have been passed on as the mainstream culture of the Chinese nation to this day. In terms of content, this kind of culture can be roughly divided into the following categories.
2.1 Prehistoric Culture
Prehistoric culture. Prehistoric culture refers to the human culture before the emergence of writing. The prehistoric culture in the Central Plains region is very rich, with a large number of sites related to the Peiligang culture of the middle and late Neolithic period 8,000 years ago, the Yangshao culture of 7,000 years ago, the Longshan culture of 5,000 years ago, and the Erlitou culture of 4,000 years ago, all found in Henan. The continuous and large-scale occurrence of these prehistoric sites in Henan fully proves that Henan has always been in the leading position in China's prehistoric civilization.
The Pei Ligang culture, Yangshao culture and Longshan cultural sites in the Neolithic era of the primitive society were found archaeological achievements here. The earliest record of these cultures were seen in 1324 BC, and the Book of Songs, the Analects of Confucius, the Classic of Mountains and Seas and other works have recorded this place. In 526 BC, Confucius and Lord Ye discussed the policy of governing the country here, leaving a famous saying that “those who are near will be pleased, those who are far will come”.
Since the middle and late period of Yangshao culture, the number and scale of settlements in various places had expanded steadily and finally reached its peak until the period of Longshan and Erlitou culture. With the growth of settlements and population, agriculture and livestock breeding had also developed rapidly. Animal and plant archaeological research shows that the mature rice and millet mixed agricultural economic form and pig-based livestock breeding industry had developed since Yangshao culture in the Central Plain.
From the late stage of Yangshao culture, urban sites began to appear in some regional center settlements. By the Longshan culture period, the discovery of prehistoric city sites was quite common in all parts of the Central Plain. According to the archaeological inference, the construction of such a city site requires the organization and mobilization of several settlements to complete together. It can be seen that the central settlement already has a considerable degree of social organization and management functions.
2.2 Totem Culture
Dragon is the symbol of China, signifying qualities such as auspiciousness, wisdom, courage, dignity and so on. To this day Chinese still call themselves the heirs of the dragon, which shows that the dragon is not only a national symbol in China, but also a spiritual one. Henan is known as the hometown of dragons, and archaeologists have found a large number of dragon-shaped artifacts in Henan, the most famous being the Puyang "Benglong" (6400 years ago), which is known as the "first dragon in China". Turquoise dragon-shaped artifacts dating back 3,700 years were also found at the Erlitou site, which is known as the "Chinese dragon".
During the Western Zhou Dynasty, Pingdingshan, Henan province was the fiefdom of the Marquis of the King of Wu, and Ying State took the eagle as the totem, so Pingdingshan City was also known as Eagle City.(曲）
The pottery of Erlitou culture is mainly gray pottery. The shallow scratches include dragon patterns, snake patterns, fish patterns, tadpole patterns, animal surface patterns and human-shaped patterns, other patterns like clouds and thunder patterns, circle patterns and petal patterns.

2.3 Ideological Culture
During the Spring and Autumn Warring States Period, princes competed for hegemony in the Central Plain, which promoted the emergence and development of the thoughts of hundreds of thought. Confucius was the founder of Confucianism. His lectures, lobbying and other activities are mainly carried out in the Central Plain. Song agency was founded by the brothers Cheng Hao and Cheng Yi, who pushed Confucianism to a new level. Taoism's thought of innocence, Mohism's thought of "universal love, non-offensive" were all formed in the Central Plain.
2.4 Chinese Character Culture
Chinese characters are one of the oldest characters in the world, and the important nodes of their creation and development were completed in the Central Plain. It was first written by Cangjie during the Yellow Emperor period, and now the Cangjie relics are found in Nanle, Yucheng, and Kaifeng, Henan Province. Oracle found in Anyang, Henan Province is the earliest systematic script found in China and has important research value. Li Si (Shangcai, Henan) in the Qin Dynasty helped Qin Shihuang to complete the important tasks of "same script" and created small seal fonts, which was the first national standardized font in Chinese history. Xu Shen (a native of Luohe, Henan) wrote the world's first dictionary, Shuowen Jiezi, and systematically introduced the six writing rules of Chinese characters. The world-famous movable type printing originated in Henan. The computer font "Song Style Character" we are now using is said to have been created by Qin Hui in Kaifeng, Henan. The five-stroke font input method was invented by Wang Yongmin from Henan Province. To a certain extent, the development history of Chinese characters in the Central Plain is a history of the development of Chinese characters.
2.5 Science and Technology Culture
Science and technology culture. In ancient times, the Central Plain was the center of development of science and technology in China. It is said that the Yellow Emperor's concubine Leizu invented the method of planting mulberry and raising silkworms, and now Xiping, Henan Province, was named the Township of Leizu Culture in China.
The Houmuwu Tripod excavated in Anyang, Henan Province, and the Lotus and Crane Square Hu excavated in Xinzheng, Henan Province, represent the most advanced bronze smelting technology of the time. The compass, paper-making and gunpowder, among the four great inventions of China, all originated in Henan. The earliest form of compass was Sinan, and the earliest spoon diagram of Sinan was unearthed in Nanyang, Henan; the earliest use of gunpowder for military practice also occurred in the Central Plain during the Han and Tang dynasties; Cai Lun invented paper-making method in Luoyang in the Eastern Han Dynasty. The stargazing platform in Dengfeng, Henan, and the Zhougong Scenic Observatory are the oldest existing astronomical structures. In the Tang dynasty, the idea of "stars on their own" was first proposed by Monk Yixing (a native of Nanle, Henan), more than 1,000 years before British astronomers made a similar claim.
2.6 Art Culture
In terms of music, the Central Plain is one of the three major cradles of Chinese music culture. The Jiahu Bone Flute, unearthed in Wuyang, Henan Province, is known as the "First Chinese Flute" and is the earliest musical instrument found in China, dating from 9,000 to 7,700 years ago. In this area，Ge Tian's music of the ancient tribe, the music and dance "Da Xia" of the Xia Dynasty, Shennong piano making, the rock of the Shang Dynasty, and the songs and dances of the Shang and Zhou Dynasties were generated. In the archaeological activities in Henan Province, portrait bricks engraved with bell and flute and drum bands, as well as a large number of musical materials in the Song and Yuan Dynasties, reflecting the continuous inheritance and development of the music culture of the Central Plain.
In terms of drama, Youling, the predecessor of Chinese opera, appeared in the Xia Dynasty, and Nuoyi( 傩仪） existed on a large scale in the Shang and Zhou dynasties. During the Han, Sui and Tang Dynasties, Luoyang, Henan Province was the active center of acrobatics or Baixi(百戏）; Kaifeng, Henan Province, was the birthplace of Song operas; Henan opera ranked first among various local operas in China, and it is still inherited and innovated constantly on a large scale so far.
In terms of painting, the painting art of the Central Plain began in the Neolithic Age, and a large number of valuable murals, silk paintings, stone portraits, etc. have been excavated in the historical sites of the Central Plain. During the Northern Song Dynasty, the painting level in the Central Area had reached the peak of the whole country, and the most famous work was the Riverside Scene at Qingming Festival based on Bianliang (now Kaifeng, Henan).
2.7 Poetry Culture
The Central Plain is the birthplace of Chinese literature. Among the 15-nation style of The Book of Songs-China’s first collection of poems, the eight national styles come from the Central Plain, accounting for more than half of the total.
During the Eastern Zhou Dynasty, Luoyang historians sorted out the earliest collection of prose in China-The Book of Documents. During the Han and Wei Dynasties, there was a saying that "half articles in the Han and Wei dynasties originated in Luoyang”. and the poetic style of Cao’s family(Jian’an Fenggu) was also born in the Central Plain. During the Western Jin Dynasty, Zuo Si's "Ode to the Three Capitals" handed down the good story of "Luoyang paper is expensive". Among the more than 2,000 poets in the Tang Dynasty who left their names, Henan people accounted for one fifth.
2.8 Martial Arts/Wushu
Shaolin Temple, Dengfeng, Henan Province, is now a famous cultural brand in Henan, and Shaolin Kung Fu is even more famous all over the world. Chen's Taijiquan in Jiaozuo, Henan Province is an important part of Taijiquan in China, also well-known in the world at present.
To study Chinese martial arts culture, we must study the martial arts of the Central Plain, because the Central Plains gave birth to two famous boxing species in the world, namely Songshan Shaolinquan, Chen's Taijiquan in Wen County, and the Xijia Boxing and "Zhongqi Boxing" founded by Nai Zhou during the Kang and Qian period，which are the treasures of the Central Plain martial arts culture. When people talk about Kung Fu, they often say that "the world's Kung Fu comes out of Shaolin"; when people compete with martial arts friends in a mild manner, Chen’s Taichiquan is also naturally talked about. Chinese Wushu pays attention to "Qigong", and an important work that systematically discusses Wushu Qigong is the "Zhongqi Theory" written by Pei Naizhou, a priest of Rongyin, which is also the essence of Chinese Wushu culture.
Wushu in the Central Plain has a long history, rich culture, profound connotation, and profoundness and breadth, which is a valuable cultural heritage constantly accumulated and developed by the people of the Central Plain in their long-term life and practice. According to the statistics of the "Chinese Wushu Atlas", there are 129 martial arts styles in China. A few were initially formed as a system before the Qing Dynasty, and most of them were formally formed in the Qing Dynasty. The different schools of Chinese martial arts are mostly based on the regional culture, and are bred from the regional culture. "The origin is orderly, the boxing principle is clear, the style is unique, and it is a self-contained system." Among the many schools of Chinese martial arts, there are more than 40 types of boxing that have been formed and popular in Henan Province.
Although regional culture is a cultural type marked by geography, its formation and development are inseparable from the historical environment and cultural context. Central Plain martial arts is a characteristic cultural form that grows in the vast Central Plain.
In the process of its development, it has been deeply influenced by political, economic, military, scientific and technological, educational, cultural, artistic, folklore and other factors in different periods in the Central Plain, and has gradually formed, completed and improved in these specific historical and cultural atmospheres.
Today, the martial arts culture has been listed as an intangible cultural heritage, which has attracted more and more people's attention and preference. Shaolin Kung Fu and Taijiquan have been included in the first batch of intangible cultural heritage lists in the country, and have been further disseminated and promoted. The Central Plain Wushu integrates into Chinese traditional culture, so that it not only has a profound cultural heritage, but also has the distinctive characteristics of devine skills, magical and wonderful. It enriches the connotation of Chinese martial arts culture, enhances some qualities of Chinese martial arts culture, and sublimates the humanistic spirit of Chinese martial arts culture, as well as owns a higher level and taste of cultural spiritual realm, which is the reason why the general public and international friends love and learn the Central Plain Wushu.

2.9 Medical Culture
In terms of medicine, Yellow Emperor is recognized as the inventor of traditional Chinese medicine, and the Inner Canon of Huangdi （黄帝内经）plays an important role in the history and development of traditional medicine. The Central Plain brings together many masters of traditional Chinese medicine and giants of traditional Chinese medicine. The Theory of Typhoid and Miscellaneous Diseases (伤寒杂病论）written by Zhang Zhongjing (now from Dengzhou, Henan) is still one of the main basic courses offered by domestic traditional Chinese medical colleges.
The Yellow Emperor's Internal Classic: The publication of the Inner Canon of Huangdi during the Spring and Autumn Period and the Warring States Period marked the formation of the theoretical system of acupuncture and moxibustion，which is the first summary of acupuncture academics in history. Most contemporary researchers of the Inner Canon of Huangdi believe that the this masterpiece was written in the Central Plain. The theoretical system of acupuncture and moxibustion formed in the Central Plain directly guided the academic innovation and development of later generations.
For example, the second comprehensive summary of acupuncture and moxibustion is "Acupuncture and Moxibustion Jia and Yi Classic" (written by Huangfu Mi of Jin Dynasty) and the third "Complete of Acupuncture and Moxibustion" (written by Yang Jizhou of Ming Dynasty), both of which are based on the Inner Canon of Huangdi to compile.
Zhang Zhongjing’s The Theory of Typhoid and Miscellaneous Diseases: The medical saint Zhang Zhongjing (Nanyang native in Henan province) founded the six classics dialectics. In this book, he not only left many effective classic prescriptions for later generations, but also advocated the combination of acupuncture and medicine, as well as proposed acupuncture, moxibustion, smoking, burning acupuncture, and warming acupuncture, which had a significant impact on later generations of physicians.
Cui Zhiti and "Moxibustion Prescriptions for Bone Steaming Diseases": Cui Zhiti (615-685), a medical scientist in the Tang Dynasty, was born in Yanling (now under the jurisdiction of Henan). Good at moxibustion bone steaming method. In this book, the method of selecting "Sihua Points" is described in detail and the map of acupoint selection is attached，which was adopted by later doctors to treat this series of disease. There are different acupuncture and moxibustion treatment methods in most of his works. He also compiled the book of "Moxibustion Method for Hemorrhoid".
Wang Huaiyin and "Taiping Shenghui Prescription": Wang Huaiyin, a medical scientist in Song Dynasty, was born in Juyang, Songzhou (now Shangqiu, Henan). In 992 AD, he and other physicians compiled 100 volumes of "Taiping Shenghui Prescription", which contained a large number of acupuncture and moxibustion contents, mainly concentrated in volumes 99 and 100. Volume 99 is The Classic of Acupuncture and Moxibustion, Volume 100 is The Classic of Moxibustion (also known as the Classic of Moxibustion in Mingtang).
Zhang Congzheng: Zhang Congzheng (about 1156 to 1228), one of the four great masters of Jin and Yuan Dynasty, was born in Kaocheng (now Lankao County or Minquan County in Henan Province). In addition to using drugs to treat diseases, Zhang was also good at acupuncture, Bianstone shooting, fumigation, ironing, massage, guidance, qigong and other treatment methods. He is especially good at piercing the collaterals and draining blood, which highlights the application of the ideas of "breaking down" and "removing evil" in acupuncture. Zhang's bloodletting method had a great influence on later generations, who was an outstanding physician daring to innovate and he was also a master of the Gengxia School, who had made outstanding contributions to the development of traditional Chinese medicine.
The above shows that many traditional Chinese medicine technologies originated in the Central Plain. Many physicians in this region have written a large number of acupuncture works, which had played an important role in the development of acupuncture academics and made important contributions to the development of Chinese medicine and world medicine.

(10) Food Culture
In terms of diet, Henan cuisine is the oldest cuisine in China. It began in Xia and Shang Dynasties and was designated as a national banquet dish in the early days of the founding of the People's Republic of China.
The book "Exploring Henan", edited by Wang Ying and published by Beijing Publishing House, uses a variety of pictures to present a food map with unique Henan characteristics for readers from the perspective of sightseeing and tourism，combines Henan's tourist attractions with the specialties of various regions, and vividly displays Henan's local food culture.
The book "Exploring Henan" consists of eight parts. The first part takes Zhengzhou, the capital city of Henan Province, as the introduction object. On the basis of studying Zhengzhou's geographical location and customs, it makes a comprehensive discussion from five aspects: eating, housing, transportation, play and shopping, focusing on Zhengzhou’s local cuisine, such as stewed noodles, mutton soup, jar meat, etc., which fully highlights Zhengzhou's Regional characteristics; the second part transitions to Kaifeng, a neighboring city in Zhengzhou. Kaifeng not only has a long history and civilization, but also has a strong and distinctive food culture, such as soup dumplings, pot stickers tofu and lotus cakes； the third part expounds the peony city - Luoyang, whether it is pulp noodles, even soup slices or Horseshoe Street’s wontons, they fully demonstrate the gourmet characteristics of “soaked in soup and water" in Luoyang area; the fourth part focuses on the introduction of Laozi's hometown, Zhoukou city, where the main delicacies include Xiaoyao Town Hu maeuntang soup, Baiji steamed bun and grainsed fish; the fifth part shows the food culture from the perspective of Shangqiu City in eastern Henan, introducing delicacies such as water-flavored buns, white sugar fermented bean curd and whistle soup; the sixth part is the city of Jiaozuo located at the foot of Taihang Mountain, whose donkey soup is a masterpiece of Jiaozuo cuisine. the last two parts respectively introduce Nanyang and Xinyang, two water-adjacent cities, including Nanyang delicacies such as Wozi noodles, steamed vegetables and Jiangmi lotus, as well as Xinyang delicacies such as stuffed pot meat and beef tripe.

===Main Characters of Central Plain Culture===
3.1The Root of Chinese Culture

The history of the Central Plains has a long history, running through the formation and development of the entire Chinese nation, which is long and lasting. From the beginning of the Three Sovereigns and Five Emperors, Chinese civilization began to sprout in the Central Plain.
The root can be traced back to the period before the Yellow Emperor. It is said that the Central Plain first belonged to the Shennong (also known as Emperor Yan) tribe, who tasted all kinds of herbs and started farming. It is said that Fuxi, the ancestor of China, first established his capital in the Central Plain, today, there are still Fuxi Taihao Mausoleum ruins in Huaiyang, Zhoukou, and activities to commemorate him, such as the "Human Zuhui" on February 2, which shows the deep and broad inheritance of Fuxi culture. However, what is more well-known to the public is the Huangdi of the Xuanyuan clan after Shennong and Fuxi, whose capital was built in Youxiong (now Xinzheng, Henan). For the first time, the Yellow Emperor ruled the world, and the Central Plain area became the political center at that time.
In historical research, people generally agree that the creation of writing, silkworm farming, boats, medicine, rhythm, arithmetic, and technology all began in the period of the Yellow Emperor. The influence of the Yellow Emperor culture on the Chinese nation is very far-reaching, even up to now, all the Chinese, especially overseas Chinese, still calls themselves "the descendants of Yan and Huang". After Xuanyuan Yellow Emperor Period, the rule of Zhuanxu (颛顼）and Diku（帝喾） among the five emperors was also concentrated in the Central Plain. Now there are two emperors' mausoleums in Anyang Neihuang（内黄）, which are the legendary tombs of Zhuanxu and Diku.
In terms of archaeology, a large number of early human civilization cultural sites such as Peiligang Culture（裴李岗文化）, Yangshao Culture（仰韶文化）, Longshan Culture （龙山文化）and Erlitou Culture（二里头文化） have been found in Henan . It can be said that the civilization of the Chinese nation began and originated in the Central Plain. No matter from myths and legends or from archaeological achievements, the Central Plains culture is in a position of origin and matrix in the Chinese civilization system.
3.2The Inclusiveness of the Culture
The Central Plain is located in a vast area, which is fertile and suitable for human beings to live for a long time. The Central Plains had long been in the political and economic center of the Chinese nation in Chinese ancient times, therefore, the area once became a key place for rebel fighters. As the old saying goes, "Whoever wins the Central Plains wins the world”.
Many famous battles in history took place in the Central Plain, which also promoted the integration of all ethnic groups in China to some extent. In a series of political, economic and cultural exchanges such as war, alliance, migration and exchanges, the Central Plain culture has shown a trend of inclusiveness. After the cultural collision of various ethnic groups, the Central Plain culture has been absorbing the excellent parts of other cultures and continuously integrating and developing. At the same time, it has covered widely, that is, the boundary between two cultures is not obvious, and various cultures are often intertwined and dependent on each other, which makes the Central Plain culture a whole and integrated into the daily life of all walks of life. This kind of cultural sharing has enhanced the Chinese nation’s high sense of identity with the Central Plain culture. The tolerance and coverage of Central Plain culture has given itself a strong vitality, so that the culture can continue to develop and last for a long time in the long river of history.

===Conclusion===
Henan has a long history and rich culture. As an important birthplace of the Chinese nation and Chinese civilization, Henan had once been the political, economic and cultural center of the country for three thousand years out of the five thousand years of Chinese civilization history. There is a saying in historical circles: Shanghai represents the past 100 years in China, Beijing represents 1000 years, Shaanxi 3000 years, and Henan 5,000 years. For the Central Plain culture to occupy such an important position in Chinese culture, it must be inseparable from its rich and profound cultural heritage.

===References===
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===Terms and Expressions===
Confucianism:儒家
Taoism：道家
Mohism：墨家
Peiligang culture：裴李岗文化
Yangshao culture：仰韶文化
Longshan culture：龙山文化
Erlitou culture ：二里头文化
the Book of Songs：《诗经》
the Analects of Confucius：《论语》
the Classic of Mountains and Seas：《山海经》
Puyang：濮阳
Cheng Hao and Cheng Yi：程灏，程颐
"universal love, non-offensive”：兼爱非攻
Cangjie：仓颉
Oracle：甲骨文
Li Si ：李斯
Xu Shen：许慎
Shuowen Jiezi：《说文解字》
Song Style Character：宋体字
Houmuwu Tripod：后母戊鼎
Lotus and Crane Square Hu：鹤莲方壶
Sinan：司南
Cai Lun ：蔡伦
Jiahu Bone Flute：贾湖骨笛
Wuyang：舞阳
Shennong：神农
Henan opera：豫剧
Nuoyi：傩仪
the Riverside Scene at Qingming Festival ：《清明上河图》
poetic style of Cao’s family(Jian’an Fenggu)：建安风骨
Zuo Si：左思
Ode to the Three Capitals：《三都赋》
Shaolin Temple：少林寺
Dengfeng：登封
Taijiquan：太极拳
Kung Fu：功夫
Qigong：气功
Yellow Emperor：黄帝
the Inner Canon of Huangdi ：黄帝内经
Zhang Zhongjing：张仲景
The Theory of Typhoid and Miscellaneous Diseases ：伤寒杂病论
acupuncture and moxibustion：针灸
stewed noodles：烩面
mutton soup：羊肉汤
jar meat：罐子肉
soup dumplings：灌汤包
pot stickers tofu ：锅贴豆腐
lotus cakes：莲花酥
Zhoukou ：周口
Xiaoyao Town Hu maeuntang soup：逍遥镇胡辣汤
Baiji steamed bun ：白吉馍
grainsed fish：糟鱼
Jiaozuo ：焦作
Taihang Mountain：太行山
donkey soup：驴肉汤
Zhuanxu ：颛顼
Diku：帝喾
Neihuang：内黄

===Questions===
1.What are the most representative martial arts in China?
2.Please list the prehistoric cultures in Central Plain.
3.Give the most notable medical works generated in China Central Plain.

===Answers===
1.Shaolin Kung Fu in Songshan Mountain and Chen’s Taichiquan in Wen County.
2.Peiligang, Yangshao, Longshan and Erlitou culture
3.The Inner Canon of Huangdi written by Yellow Emperor and The Theory of Typhoid and Miscellaneous Diseases written by Zhang Zhongjing

==英语笔译邓阳林 Deng Yanglin 202170081567==

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

<center>Deng Yanglin</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Creation of the genre
The ideological content is rich and profound

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

20220630 Culture 1

2022-07-05T06:50:44Z

Zhang Minfeng: /* This is the final exam paper website no. 1 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 1==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

==Papers 1-5==
[[20220630_Culture_1]] papers 1-5: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 , 2: 英语笔译曹姣 Cao Jiao 202170081564 , 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567,

==Papers 6-10==
[[20220630_Culture_2]] papers6-10 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572

==Papers 11-15==
[[20220630_Culture_3]] papers 11-15: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577

==Papers 16-20==
[[20220630_Culture_4]] papers 16-20 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582

==Papers 21-25==
[[20220630_Culture_5]] papers 21-25: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587,

==Papers 26-30==
[[20220630_Culture_6]] papers26-30 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592

==Papers 31-35==
[[20220630_Culture_7]] papers 31-35: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597,

==Papers 36-40==
[[20220630_Culture_8]] papers36-40 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602

==Papers 41-45==
[[20220630_Culture_9]] papers 41-45: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607,

==Papers 46-50==
[[20220630_Culture_10]] papers46-50 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612

==Papers 51-55==
[[20220630_Culture_11]] papers 51-55: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617,

==Papers 56-60==
[[20220630_Culture_12]] papers56-60 56英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622

==Papers 61-65==
[[20220630_Culture_13]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627,

==Papers 66-70==
[[20220630_Culture_14]] papers66-70 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632

==Papers 71-75==
[[20220630_Culture_15]] papers 71-75: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638,

==Papers 76-80==
[[20220630_Culture_16]] papers76-80 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

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

<center>卞王倩</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Example 5 昨天捉着的嫌疑犯，经警察局证明无罪，已被释放了。

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

There are many other similar examples:

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

a.Be murdered or killed b.被害 c.遇害

Be buried 被埋葬下葬

Be regarded as 被视为算是、算得上

Be guided 被领着有人领着

Be passed 被通过予以通过

Be protected 被保护受到保护

Be entrusted 被委托受人之托、受到委托

Be reduced 被处于……（某种不好的境地）沦为

Be reported 被报道据报道

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

'''(4)Longer Sentences'''

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

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

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

'''(5)Noun Plague'''

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

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

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

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

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

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

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

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

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

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

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

有钱的单身汉总想要娶位太太，这是一条举世公认的真理。

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

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

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

但人要写他最心爱的对象，不论是人是地，是多么使他为难的工作？

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

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

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

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

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

我不知道他们给了我多少日子，但我的手确乎是渐渐空虚了。

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

'''(9)Abuse of “的”'''

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

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

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

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

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

a. 她是厚道的、乐观的、温柔的、和蔼的以及大度的。

b. 她心地厚道，为人乐观，性情温柔，待人和蔼，气量又大。

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

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

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

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

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

Benign Europeanization can be seen from such aspects as follows:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* Lin Yanmei林燕媚.(2011).从接受理论看清末民初翻译[Translation in the Late Qing and the Early Republic of China from the Perspective of Reception Theory]. 吉林省教育学院学报Journal of Educational Institute of Jilin Province,(03): 51.

* Liu Zhengbing, Dingyuanyuan刘正兵、丁媛媛.(2020).当代汉语语法的欧化现象分析[Analysis of the Europeanization of Contemporary Chinese Grammar]. 温州大学学报（社会科学版）Journal of Wenzhou University(Philosophy and Social Science)，(02):21.

* Peng Xuan彭炫.(2003). “欧化”与翻译——读王力先生《欧化的语法》有感[“Europeanization” and Translation-On Wang Li's The Europeanized Chinese]. 广西大学学报， Journal of Guangxi University (Philosophy and Social Science),(02): 88.

* Si Guo思果.(2002).''译道微探''[On Translation]. 北京：中国对外翻译出版公司 Beijing: China Translation Corporation，第88、90、209页；''翻译新究''[On Translation Anew] 北京：中国对外翻译出版公司 Beijing: China Translation Corporation,第99页.

* Wang Hongzhi王宏志.(2000).''翻译与创作：中国近代翻译小说论''[Translation and Creation: Treatise on Modern Chinese Fiction in Translation]. 北京大学出版社 Peking University Press，第43页.

* Wang Li王力.(1954).''中国语法理论''[The Europeanized Chinese] 上海：中华书局出版 Shanghai: Chung Hwa Book Company,第309、340、352、378页.

* Yu Guangzhong余光中.(2014).''翻译乃大道''[On Translation]. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press,第60、129页.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'''2.On headgear'''

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

'''2.1 Zan'''

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

'''2.2 Chai'''

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

'''2.3 Buyao'''

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

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

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

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

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

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

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

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

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

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

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

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

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

Some scholars (especially literary researchers) have questioned the approach of mutual verification of poetry and history. In many cases, actually, the poet can exaggerate and imagine the narrative material according to the needs of artistic expression, creating a new version of the historical facts that will greatly enhance the artistic impact of the poem and further deepen the impression and understanding of the artistic recipient of the historical events described. In this sense, it would be too harsh and unfair to poetry as a work of art to examine the poems in a completely historiographical way, or to trace whether the time, people and geography narrated in the poems are faithful to historical truth. In ''The Everlasting Regret'', in addition to revealing information about "special historical facts" such as time, place and people, the poem also contains "universal historical facts" such as the characteristics of the Tang people's lifestyle, the distinctive aesthetic colours of the Tang period and the sentimental feelings towards the prosperous world. These are currently new areas of research on ''The Everlasting Regret'', and need to be studied in depth in conjunction with historical sources. Only in this way can we get a clearer insight into and a deeper appreciation of the "splendor of the Tang Dynasty" as outlined in ''The Everlasting Regret''.

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

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

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

<center>Chen Luyao</center>

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

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

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

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

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

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

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

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

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

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

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

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

===Contents in Different Periods===

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

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

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

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

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

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

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

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

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

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

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

The first is the value of interpersonal communication: benevolence.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

matriarchal society 母系社会

improve virtues 敬德修德

benevolence 仁

harmony between heaven and man 天人合一

ideal personality 理想人格

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

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

Be filial to elders and friendly to others 孝亲泛爱

individualism 个人主义

collectivism 集体主义

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

patriotism 爱国

be dedicated to work 敬业

be honest 诚信

be friendly 友善

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

2.What is the overall direction of these values?

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

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

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

3.Yes.

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

<center>Cui Xiaofan</center>

===Introduction===

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

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

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

===Nine Main Parts of the China Central Plain Culture===

The China Central culture is a combination of the material and spiritual culture of the Central plain region, covering all aspects, and many of which have been passed on as the mainstream culture of the Chinese nation to this day. In terms of content, this kind of culture can be roughly divided into the following categories.
2.1 Prehistoric Culture
Prehistoric culture. Prehistoric culture refers to the human culture before the emergence of writing. The prehistoric culture in the Central Plains region is very rich, with a large number of sites related to the Peiligang culture of the middle and late Neolithic period 8,000 years ago, the Yangshao culture of 7,000 years ago, the Longshan culture of 5,000 years ago, and the Erlitou culture of 4,000 years ago, all found in Henan. The continuous and large-scale occurrence of these prehistoric sites in Henan fully proves that Henan has always been in the leading position in China's prehistoric civilization.
The Pei Ligang culture, Yangshao culture and Longshan cultural sites in the Neolithic era of the primitive society were found archaeological achievements here. The earliest record of these cultures were seen in 1324 BC, and the Book of Songs, the Analects of Confucius, the Classic of Mountains and Seas and other works have recorded this place. In 526 BC, Confucius and Lord Ye discussed the policy of governing the country here, leaving a famous saying that “those who are near will be pleased, those who are far will come”.
Since the middle and late period of Yangshao culture, the number and scale of settlements in various places had expanded steadily and finally reached its peak until the period of Longshan and Erlitou culture. With the growth of settlements and population, agriculture and livestock breeding had also developed rapidly. Animal and plant archaeological research shows that the mature rice and millet mixed agricultural economic form and pig-based livestock breeding industry had developed since Yangshao culture in the Central Plain.
From the late stage of Yangshao culture, urban sites began to appear in some regional center settlements. By the Longshan culture period, the discovery of prehistoric city sites was quite common in all parts of the Central Plain. According to the archaeological inference, the construction of such a city site requires the organization and mobilization of several settlements to complete together. It can be seen that the central settlement already has a considerable degree of social organization and management functions.
2.2 Totem Culture
Dragon is the symbol of China, signifying qualities such as auspiciousness, wisdom, courage, dignity and so on. To this day Chinese still call themselves the heirs of the dragon, which shows that the dragon is not only a national symbol in China, but also a spiritual one. Henan is known as the hometown of dragons, and archaeologists have found a large number of dragon-shaped artifacts in Henan, the most famous being the Puyang "Benglong" (6400 years ago), which is known as the "first dragon in China". Turquoise dragon-shaped artifacts dating back 3,700 years were also found at the Erlitou site, which is known as the "Chinese dragon".
During the Western Zhou Dynasty, Pingdingshan, Henan province was the fiefdom of the Marquis of the King of Wu, and Ying State took the eagle as the totem, so Pingdingshan City was also known as Eagle City.(曲）
The pottery of Erlitou culture is mainly gray pottery. The shallow scratches include dragon patterns, snake patterns, fish patterns, tadpole patterns, animal surface patterns and human-shaped patterns, other patterns like clouds and thunder patterns, circle patterns and petal patterns.

2.3 Ideological Culture
During the Spring and Autumn Warring States Period, princes competed for hegemony in the Central Plain, which promoted the emergence and development of the thoughts of hundreds of thought. Confucius was the founder of Confucianism. His lectures, lobbying and other activities are mainly carried out in the Central Plain. Song agency was founded by the brothers Cheng Hao and Cheng Yi, who pushed Confucianism to a new level. Taoism's thought of innocence, Mohism's thought of "universal love, non-offensive" were all formed in the Central Plain.
2.4 Chinese Character Culture
Chinese characters are one of the oldest characters in the world, and the important nodes of their creation and development were completed in the Central Plain. It was first written by Cangjie during the Yellow Emperor period, and now the Cangjie relics are found in Nanle, Yucheng, and Kaifeng, Henan Province. Oracle found in Anyang, Henan Province is the earliest systematic script found in China and has important research value. Li Si (Shangcai, Henan) in the Qin Dynasty helped Qin Shihuang to complete the important tasks of "same script" and created small seal fonts, which was the first national standardized font in Chinese history. Xu Shen (a native of Luohe, Henan) wrote the world's first dictionary, Shuowen Jiezi, and systematically introduced the six writing rules of Chinese characters. The world-famous movable type printing originated in Henan. The computer font "Song Style Character" we are now using is said to have been created by Qin Hui in Kaifeng, Henan. The five-stroke font input method was invented by Wang Yongmin from Henan Province. To a certain extent, the development history of Chinese characters in the Central Plain is a history of the development of Chinese characters.
2.5 Science and Technology Culture
Science and technology culture. In ancient times, the Central Plain was the center of development of science and technology in China. It is said that the Yellow Emperor's concubine Leizu invented the method of planting mulberry and raising silkworms, and now Xiping, Henan Province, was named the Township of Leizu Culture in China.
The Houmuwu Tripod excavated in Anyang, Henan Province, and the Lotus and Crane Square Hu excavated in Xinzheng, Henan Province, represent the most advanced bronze smelting technology of the time. The compass, paper-making and gunpowder, among the four great inventions of China, all originated in Henan. The earliest form of compass was Sinan, and the earliest spoon diagram of Sinan was unearthed in Nanyang, Henan; the earliest use of gunpowder for military practice also occurred in the Central Plain during the Han and Tang dynasties; Cai Lun invented paper-making method in Luoyang in the Eastern Han Dynasty. The stargazing platform in Dengfeng, Henan, and the Zhougong Scenic Observatory are the oldest existing astronomical structures. In the Tang dynasty, the idea of "stars on their own" was first proposed by Monk Yixing (a native of Nanle, Henan), more than 1,000 years before British astronomers made a similar claim.
2.6 Art Culture
In terms of music, the Central Plain is one of the three major cradles of Chinese music culture. The Jiahu Bone Flute, unearthed in Wuyang, Henan Province, is known as the "First Chinese Flute" and is the earliest musical instrument found in China, dating from 9,000 to 7,700 years ago. In this area，Ge Tian's music of the ancient tribe, the music and dance "Da Xia" of the Xia Dynasty, Shennong piano making, the rock of the Shang Dynasty, and the songs and dances of the Shang and Zhou Dynasties were generated. In the archaeological activities in Henan Province, portrait bricks engraved with bell and flute and drum bands, as well as a large number of musical materials in the Song and Yuan Dynasties, reflecting the continuous inheritance and development of the music culture of the Central Plain.
In terms of drama, Youling, the predecessor of Chinese opera, appeared in the Xia Dynasty, and Nuoyi( 傩仪） existed on a large scale in the Shang and Zhou dynasties. During the Han, Sui and Tang Dynasties, Luoyang, Henan Province was the active center of acrobatics or Baixi(百戏）; Kaifeng, Henan Province, was the birthplace of Song operas; Henan opera ranked first among various local operas in China, and it is still inherited and innovated constantly on a large scale so far.
In terms of painting, the painting art of the Central Plain began in the Neolithic Age, and a large number of valuable murals, silk paintings, stone portraits, etc. have been excavated in the historical sites of the Central Plain. During the Northern Song Dynasty, the painting level in the Central Area had reached the peak of the whole country, and the most famous work was the Riverside Scene at Qingming Festival based on Bianliang (now Kaifeng, Henan).
2.7 Poetry Culture
The Central Plain is the birthplace of Chinese literature. Among the 15-nation style of The Book of Songs-China’s first collection of poems, the eight national styles come from the Central Plain, accounting for more than half of the total.
During the Eastern Zhou Dynasty, Luoyang historians sorted out the earliest collection of prose in China-The Book of Documents. During the Han and Wei Dynasties, there was a saying that "half articles in the Han and Wei dynasties originated in Luoyang”. and the poetic style of Cao’s family(Jian’an Fenggu) was also born in the Central Plain. During the Western Jin Dynasty, Zuo Si's "Ode to the Three Capitals" handed down the good story of "Luoyang paper is expensive". Among the more than 2,000 poets in the Tang Dynasty who left their names, Henan people accounted for one fifth.
2.8 Martial Arts/Wushu
Shaolin Temple, Dengfeng, Henan Province, is now a famous cultural brand in Henan, and Shaolin Kung Fu is even more famous all over the world. Chen's Taijiquan in Jiaozuo, Henan Province is an important part of Taijiquan in China, also well-known in the world at present.
To study Chinese martial arts culture, we must study the martial arts of the Central Plain, because the Central Plains gave birth to two famous boxing species in the world, namely Songshan Shaolinquan, Chen's Taijiquan in Wen County, and the Xijia Boxing and "Zhongqi Boxing" founded by Nai Zhou during the Kang and Qian period，which are the treasures of the Central Plain martial arts culture. When people talk about Kung Fu, they often say that "the world's Kung Fu comes out of Shaolin"; when people compete with martial arts friends in a mild manner, Chen’s Taichiquan is also naturally talked about. Chinese Wushu pays attention to "Qigong", and an important work that systematically discusses Wushu Qigong is the "Zhongqi Theory" written by Pei Naizhou, a priest of Rongyin, which is also the essence of Chinese Wushu culture.
Wushu in the Central Plain has a long history, rich culture, profound connotation, and profoundness and breadth, which is a valuable cultural heritage constantly accumulated and developed by the people of the Central Plain in their long-term life and practice. According to the statistics of the "Chinese Wushu Atlas", there are 129 martial arts styles in China. A few were initially formed as a system before the Qing Dynasty, and most of them were formally formed in the Qing Dynasty. The different schools of Chinese martial arts are mostly based on the regional culture, and are bred from the regional culture. "The origin is orderly, the boxing principle is clear, the style is unique, and it is a self-contained system." Among the many schools of Chinese martial arts, there are more than 40 types of boxing that have been formed and popular in Henan Province.
Although regional culture is a cultural type marked by geography, its formation and development are inseparable from the historical environment and cultural context. Central Plain martial arts is a characteristic cultural form that grows in the vast Central Plain.
In the process of its development, it has been deeply influenced by political, economic, military, scientific and technological, educational, cultural, artistic, folklore and other factors in different periods in the Central Plain, and has gradually formed, completed and improved in these specific historical and cultural atmospheres.
Today, the martial arts culture has been listed as an intangible cultural heritage, which has attracted more and more people's attention and preference. Shaolin Kung Fu and Taijiquan have been included in the first batch of intangible cultural heritage lists in the country, and have been further disseminated and promoted. The Central Plain Wushu integrates into Chinese traditional culture, so that it not only has a profound cultural heritage, but also has the distinctive characteristics of devine skills, magical and wonderful. It enriches the connotation of Chinese martial arts culture, enhances some qualities of Chinese martial arts culture, and sublimates the humanistic spirit of Chinese martial arts culture, as well as owns a higher level and taste of cultural spiritual realm, which is the reason why the general public and international friends love and learn the Central Plain Wushu.

2.9 Medical Culture
In terms of medicine, Yellow Emperor is recognized as the inventor of traditional Chinese medicine, and the Inner Canon of Huangdi （黄帝内经）plays an important role in the history and development of traditional medicine. The Central Plain brings together many masters of traditional Chinese medicine and giants of traditional Chinese medicine. The Theory of Typhoid and Miscellaneous Diseases (伤寒杂病论）written by Zhang Zhongjing (now from Dengzhou, Henan) is still one of the main basic courses offered by domestic traditional Chinese medical colleges.
The Yellow Emperor's Internal Classic: The publication of the Inner Canon of Huangdi during the Spring and Autumn Period and the Warring States Period marked the formation of the theoretical system of acupuncture and moxibustion，which is the first summary of acupuncture academics in history. Most contemporary researchers of the Inner Canon of Huangdi believe that the this masterpiece was written in the Central Plain. The theoretical system of acupuncture and moxibustion formed in the Central Plain directly guided the academic innovation and development of later generations.
For example, the second comprehensive summary of acupuncture and moxibustion is "Acupuncture and Moxibustion Jia and Yi Classic" (written by Huangfu Mi of Jin Dynasty) and the third "Complete of Acupuncture and Moxibustion" (written by Yang Jizhou of Ming Dynasty), both of which are based on the Inner Canon of Huangdi to compile.
Zhang Zhongjing’s The Theory of Typhoid and Miscellaneous Diseases: The medical saint Zhang Zhongjing (Nanyang native in Henan province) founded the six classics dialectics. In this book, he not only left many effective classic prescriptions for later generations, but also advocated the combination of acupuncture and medicine, as well as proposed acupuncture, moxibustion, smoking, burning acupuncture, and warming acupuncture, which had a significant impact on later generations of physicians.
Cui Zhiti and "Moxibustion Prescriptions for Bone Steaming Diseases": Cui Zhiti (615-685), a medical scientist in the Tang Dynasty, was born in Yanling (now under the jurisdiction of Henan). Good at moxibustion bone steaming method. In this book, the method of selecting "Sihua Points" is described in detail and the map of acupoint selection is attached，which was adopted by later doctors to treat this series of disease. There are different acupuncture and moxibustion treatment methods in most of his works. He also compiled the book of "Moxibustion Method for Hemorrhoid".
Wang Huaiyin and "Taiping Shenghui Prescription": Wang Huaiyin, a medical scientist in Song Dynasty, was born in Juyang, Songzhou (now Shangqiu, Henan). In 992 AD, he and other physicians compiled 100 volumes of "Taiping Shenghui Prescription", which contained a large number of acupuncture and moxibustion contents, mainly concentrated in volumes 99 and 100. Volume 99 is The Classic of Acupuncture and Moxibustion, Volume 100 is The Classic of Moxibustion (also known as the Classic of Moxibustion in Mingtang).
Zhang Congzheng: Zhang Congzheng (about 1156 to 1228), one of the four great masters of Jin and Yuan Dynasty, was born in Kaocheng (now Lankao County or Minquan County in Henan Province). In addition to using drugs to treat diseases, Zhang was also good at acupuncture, Bianstone shooting, fumigation, ironing, massage, guidance, qigong and other treatment methods. He is especially good at piercing the collaterals and draining blood, which highlights the application of the ideas of "breaking down" and "removing evil" in acupuncture. Zhang's bloodletting method had a great influence on later generations, who was an outstanding physician daring to innovate and he was also a master of the Gengxia School, who had made outstanding contributions to the development of traditional Chinese medicine.
The above shows that many traditional Chinese medicine technologies originated in the Central Plain. Many physicians in this region have written a large number of acupuncture works, which had played an important role in the development of acupuncture academics and made important contributions to the development of Chinese medicine and world medicine.

(10) Food Culture
In terms of diet, Henan cuisine is the oldest cuisine in China. It began in Xia and Shang Dynasties and was designated as a national banquet dish in the early days of the founding of the People's Republic of China.
The book "Exploring Henan", edited by Wang Ying and published by Beijing Publishing House, uses a variety of pictures to present a food map with unique Henan characteristics for readers from the perspective of sightseeing and tourism，combines Henan's tourist attractions with the specialties of various regions, and vividly displays Henan's local food culture.
The book "Exploring Henan" consists of eight parts. The first part takes Zhengzhou, the capital city of Henan Province, as the introduction object. On the basis of studying Zhengzhou's geographical location and customs, it makes a comprehensive discussion from five aspects: eating, housing, transportation, play and shopping, focusing on Zhengzhou’s local cuisine, such as stewed noodles, mutton soup, jar meat, etc., which fully highlights Zhengzhou's Regional characteristics; the second part transitions to Kaifeng, a neighboring city in Zhengzhou. Kaifeng not only has a long history and civilization, but also has a strong and distinctive food culture, such as soup dumplings, pot stickers tofu and lotus cakes； the third part expounds the peony city - Luoyang, whether it is pulp noodles, even soup slices or Horseshoe Street’s wontons, they fully demonstrate the gourmet characteristics of “soaked in soup and water" in Luoyang area; the fourth part focuses on the introduction of Laozi's hometown, Zhoukou city, where the main delicacies include Xiaoyao Town Hu maeuntang soup, Baiji steamed bun and grainsed fish; the fifth part shows the food culture from the perspective of Shangqiu City in eastern Henan, introducing delicacies such as water-flavored buns, white sugar fermented bean curd and whistle soup; the sixth part is the city of Jiaozuo located at the foot of Taihang Mountain, whose donkey soup is a masterpiece of Jiaozuo cuisine. the last two parts respectively introduce Nanyang and Xinyang, two water-adjacent cities, including Nanyang delicacies such as Wozi noodles, steamed vegetables and Jiangmi lotus, as well as Xinyang delicacies such as stuffed pot meat and beef tripe.

===Main Characters of Central Plain Culture===
3.1The Root of Chinese Culture

The history of the Central Plains has a long history, running through the formation and development of the entire Chinese nation, which is long and lasting. From the beginning of the Three Sovereigns and Five Emperors, Chinese civilization began to sprout in the Central Plain.
The root can be traced back to the period before the Yellow Emperor. It is said that the Central Plain first belonged to the Shennong (also known as Emperor Yan) tribe, who tasted all kinds of herbs and started farming. It is said that Fuxi, the ancestor of China, first established his capital in the Central Plain, today, there are still Fuxi Taihao Mausoleum ruins in Huaiyang, Zhoukou, and activities to commemorate him, such as the "Human Zuhui" on February 2, which shows the deep and broad inheritance of Fuxi culture. However, what is more well-known to the public is the Huangdi of the Xuanyuan clan after Shennong and Fuxi, whose capital was built in Youxiong (now Xinzheng, Henan). For the first time, the Yellow Emperor ruled the world, and the Central Plain area became the political center at that time.
In historical research, people generally agree that the creation of writing, silkworm farming, boats, medicine, rhythm, arithmetic, and technology all began in the period of the Yellow Emperor. The influence of the Yellow Emperor culture on the Chinese nation is very far-reaching, even up to now, all the Chinese, especially overseas Chinese, still calls themselves "the descendants of Yan and Huang". After Xuanyuan Yellow Emperor Period, the rule of Zhuanxu (颛顼）and Diku（帝喾） among the five emperors was also concentrated in the Central Plain. Now there are two emperors' mausoleums in Anyang Neihuang（内黄）, which are the legendary tombs of Zhuanxu and Diku.
In terms of archaeology, a large number of early human civilization cultural sites such as Peiligang Culture（裴李岗文化）, Yangshao Culture（仰韶文化）, Longshan Culture （龙山文化）and Erlitou Culture（二里头文化） have been found in Henan . It can be said that the civilization of the Chinese nation began and originated in the Central Plain. No matter from myths and legends or from archaeological achievements, the Central Plains culture is in a position of origin and matrix in the Chinese civilization system.
3.2The Inclusiveness of the Culture
The Central Plain is located in a vast area, which is fertile and suitable for human beings to live for a long time. The Central Plains had long been in the political and economic center of the Chinese nation in Chinese ancient times, therefore, the area once became a key place for rebel fighters. As the old saying goes, "Whoever wins the Central Plains wins the world”.
Many famous battles in history took place in the Central Plain, which also promoted the integration of all ethnic groups in China to some extent. In a series of political, economic and cultural exchanges such as war, alliance, migration and exchanges, the Central Plain culture has shown a trend of inclusiveness. After the cultural collision of various ethnic groups, the Central Plain culture has been absorbing the excellent parts of other cultures and continuously integrating and developing. At the same time, it has covered widely, that is, the boundary between two cultures is not obvious, and various cultures are often intertwined and dependent on each other, which makes the Central Plain culture a whole and integrated into the daily life of all walks of life. This kind of cultural sharing has enhanced the Chinese nation’s high sense of identity with the Central Plain culture. The tolerance and coverage of Central Plain culture has given itself a strong vitality, so that the culture can continue to develop and last for a long time in the long river of history.

===Conclusion===
Henan has a long history and rich culture. As an important birthplace of the Chinese nation and Chinese civilization, Henan had once been the political, economic and cultural center of the country for three thousand years out of the five thousand years of Chinese civilization history. There is a saying in historical circles: Shanghai represents the past 100 years in China, Beijing represents 1000 years, Shaanxi 3000 years, and Henan 5,000 years. For the Central Plain culture to occupy such an important position in Chinese culture, it must be inseparable from its rich and profound cultural heritage.

===References===
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===Terms and Expressions===
Confucianism:儒家
Taoism：道家
Mohism：墨家
Peiligang culture：裴李岗文化
Yangshao culture：仰韶文化
Longshan culture：龙山文化
Erlitou culture ：二里头文化
the Book of Songs：《诗经》
the Analects of Confucius：《论语》
the Classic of Mountains and Seas：《山海经》
Puyang：濮阳
Cheng Hao and Cheng Yi：程灏，程颐
"universal love, non-offensive”：兼爱非攻
Cangjie：仓颉
Oracle：甲骨文
Li Si ：李斯
Xu Shen：许慎
Shuowen Jiezi：《说文解字》
Song Style Character：宋体字
Houmuwu Tripod：后母戊鼎
Lotus and Crane Square Hu：鹤莲方壶
Sinan：司南
Cai Lun ：蔡伦
Jiahu Bone Flute：贾湖骨笛
Wuyang：舞阳
Shennong：神农
Henan opera：豫剧
Nuoyi：傩仪
the Riverside Scene at Qingming Festival ：《清明上河图》
poetic style of Cao’s family(Jian’an Fenggu)：建安风骨
Zuo Si：左思
Ode to the Three Capitals：《三都赋》
Shaolin Temple：少林寺
Dengfeng：登封
Taijiquan：太极拳
Kung Fu：功夫
Qigong：气功
Yellow Emperor：黄帝
the Inner Canon of Huangdi ：黄帝内经
Zhang Zhongjing：张仲景
The Theory of Typhoid and Miscellaneous Diseases ：伤寒杂病论
acupuncture and moxibustion：针灸
stewed noodles：烩面
mutton soup：羊肉汤
jar meat：罐子肉
soup dumplings：灌汤包
pot stickers tofu ：锅贴豆腐
lotus cakes：莲花酥
Zhoukou ：周口
Xiaoyao Town Hu maeuntang soup：逍遥镇胡辣汤
Baiji steamed bun ：白吉馍
grainsed fish：糟鱼
Jiaozuo ：焦作
Taihang Mountain：太行山
donkey soup：驴肉汤
Zhuanxu ：颛顼
Diku：帝喾
Neihuang：内黄

===Questions===
1.What are the most representative martial arts in China?
2.Please list the prehistoric cultures in Central Plain.
3.Give the most notable medical works generated in China Central Plain.

===Answers===
1.Shaolin Kung Fu in Songshan Mountain and Chen’s Taichiquan in Wen County.
2.Peiligang, Yangshao, Longshan and Erlitou culture
3.The Inner Canon of Huangdi written by Yellow Emperor and The Theory of Typhoid and Miscellaneous Diseases written by Zhang Zhongjing

==英语笔译邓阳林 Deng Yanglin 202170081567==

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

<center>Deng Yanglin</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Creation of the genre
The ideological content is rich and profound

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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*Zhong Sicheng钟嗣成. ''Ghost Book (four kinds)''录鬼簿 ( 外四种 ) [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1978.
*Li Kaixian李开先. ''Li Kaixian Collection: Volume 1''李开先集:上册[ M] . Beijing: Zhonghua Book Company北京:中华书局, 1959.
*''Collection of Works on Chinese Classical Opera: Volume 4''中国古典戏曲论著集成:第四册 [ M] . Beijing: China Drama Press北京:中国戏剧出版社, 1959.
*Wang Xueqi王学奇. ''Annotated Yuan Qu Selections: Volume 1''元曲选校注:第一册 [ M] . Shijiazhuang: Hebei Education Press石家庄:河北教育出版社, 1996.
*Wang Guo-wei王国维. ''History of Opera in Song and Yuan Dynasties''宋元戏曲史 [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1998.

20220630 Culture

2022-07-05T06:48:26Z

Zhang Minfeng: /* Papers 6-10 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]]

=This is the final exam paper website overview=
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

==Papers 1-5==
[[20220630_Culture_1]] papers 1-5: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 , 2: 英语笔译曹姣 Cao Jiao 202170081564 , 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567,

==Papers 6-10==
[[20220630_Culture_2]] papers6-10 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572

==Papers 11-15==
[[20220630_Culture_3]] papers 11-15: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577

==Papers 16-20==
[[20220630_Culture_4]] papers 16-20 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582

==Papers 21-25==
[[20220630_Culture_5]] papers 21-25: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587,

==Papers 26-30==
[[20220630_Culture_6]] papers26-30 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592

==Papers 31-35==
[[20220630_Culture_7]] papers 31-35: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597,

==Papers 36-40==
[[20220630_Culture_8]] papers36-40 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602

==Papers 41-45==
[[20220630_Culture_9]] papers 41-45: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607,

==Papers 46-50==
[[20220630_Culture_10]] papers46-50 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612

==Papers 51-55==
[[20220630_Culture_11]] papers 51-55: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617,

==Papers 56-60==
[[20220630_Culture_12]] papers56-60 56英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622

==Papers 61-65==
[[20220630_Culture_13]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627,

==Papers 66-70==
[[20220630_Culture_14]] papers66-70 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632

==Papers 71-75==
[[20220630_Culture_15]] papers 71-75: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638,

==Papers 76-80==
[[20220630_Culture_16]] papers76-80 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

20220630 Culture

2022-07-05T06:46:44Z

Zhang Minfeng: /* Papers 1-5 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]]

=This is the final exam paper website overview=
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

==Papers 1-5==
[[20220630_Culture_1]] papers 1-5: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 , 2: 英语笔译曹姣 Cao Jiao 202170081564 , 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567,

==Papers 6-10==
[[20220630_Culture_2]] 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
==Papers 11-15==
[[20220630_Culture_3]] papers 11-15: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577

==Papers 16-20==
[[20220630_Culture_4]] papers 16-20 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582

==Papers 21-25==
[[20220630_Culture_5]] papers 21-25: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587,

==Papers 26-30==
[[20220630_Culture_6]] papers26-30 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592

==Papers 31-35==
[[20220630_Culture_7]] papers 31-35: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597,

==Papers 36-40==
[[20220630_Culture_8]] papers36-40 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602

==Papers 41-45==
[[20220630_Culture_9]] papers 41-45: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607,

==Papers 46-50==
[[20220630_Culture_10]] papers46-50 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612

==Papers 51-55==
[[20220630_Culture_11]] papers 51-55: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617,

==Papers 56-60==
[[20220630_Culture_12]] papers56-60 56英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622

==Papers 61-65==
[[20220630_Culture_13]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627,

==Papers 66-70==
[[20220630_Culture_14]] papers66-70 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632

==Papers 71-75==
[[20220630_Culture_15]] papers 71-75: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638,

==Papers 76-80==
[[20220630_Culture_16]] papers76-80 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

20220630 Culture 2

2022-07-05T06:45:54Z

Zhang Minfeng:

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 2==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

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

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

<center>高智慧 Gao Zhihui </center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Terms and Expressions===

soup cake 汤饼

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

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

fine dried noodles 挂面

pig and sheep raw noodles 猪羊庵生面

vegetable raw noodles 素面

five spicy noodles 五香面

eight treasures noodles 八珍面

longevity noodles 长寿面

noodles with gravy 打卤面

dragon whiskers noodles 龙须面

dutiful son’s noodle 孝子面

dandan noodles 担担面

minced noodles/ ashamed son noodles 臊子面

sister-in-law noodles 嫂子面

vinegar-pepper old friend noodles 老友面

Crossing-the-Bridge noodles 过桥米线

rice noodles 米线

hand-pulled noodles 拉面

shaved noodles 刀削面

Beijing fried bean sauce noodles 北京炸酱面

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

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

Shanghai noodles in superior soup 上海阳春面

Nanjing small boiled noodles 南京小煮面

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

Wenzhou vegetable raw noodles 温州素面

Zhenjiang pot noodles 镇江锅盖面

Shandong Fushan hand-pulled noodles 山东福山拉面

Suzhou Su style soup noodles 苏州苏式汤面

Fuzhou line noodles 福州线面

Anhui flat noodles 安徽板面

Guangzhou wonton noodles 广州馄饨面

Wuhan hot noodles with sesame paste 武汉热干面

Shanxi shaved noodles 山西刀削面

noodles with braised string bean 豆角焖面

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

sesame paste noodles 麻酱面

Neimenggu braised noodles with string bean 内蒙古焖面

Xinjiang pulled noodles 新疆拉条子

Shanxi oil-splashing noodles 陕西油泼面

serofluid noodles 浆水面

Henan stewed noodles 河南烩面

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

Sichuan dandan noodles 四川担担面

bean curd pudding noodles 豆花面

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

bedding noodles 铺盖面

Jilin cold noodles 吉林冷面

Hong Kong strained noodles 捞面

rickshaw noodles 车仔面

shrimp roe noodles 虾子面

southern Taiwanese-style noodles 担仔面

clam noodles 花蛤仔面

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

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

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

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

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

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

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

===Answers===
1.China.

2.Eastern Han Dynasty.

3.Lanzhou hand-pulled noodles.

4.Flour.

==英语笔译何丽娜 He Lina 202170081569==

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

<center>He Lina</center>

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

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

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

[[File:R-C_.jpg]]

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

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

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

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

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

===Heritage Elements of Liangzhu Ancient City Site===
The results of archaeological excavation and research show that the Liangzhu ancient city site is large in scale, complex in type and rich in connotation, and the overall value of its heritage is jointly carried by the city site, peripheral water conservancy system, hierarchical cemetery (including altar) and unearthed artifacts represented by Liangzhu jade ware.(Liangzhu Archaeological Site)

1. The Ancient City Site (古城遗址)

[[File:He.jpg]]

The ancient city site is the core area of the Liangzhu site. The spatial layout of the city site is a centriped-type triple structure, which is composed of three groups of man-made remains including palace area, inner city and outer city, from inside to outside.

The palace area, located in the center of the inner city, consists of three major elevated ruins: Mojiaoshan(莫角山), Chizhongsi(池中寺) and Huangfenshan（皇坟山）. According to investigation, it should be the area where the ruling class of Liangzhu Kingdom lived. Mojiaoshan palace area is the largest area of the three platforms. Seated in the center of the ancient city, it is a man-made rectangular earth platform, about 670 meters long from east to west, 450 meters wide from north to south, with an area of nearly 300,000 spare meters, occupying 1/10 of the area of the ancient city. The investigation shows that the height of the artificial platform in the east of Mojiao Mountain is about 10~12 meters, and that in the west is about 2~6 meters. Mojiao Mountain platform can be divided into three smaller ones: Big Mojiaoshan(大莫角山), Little Mojiao shan(小莫角山) and Wuguishan(乌龟山), which are the main base of the palace. As can be seen from the picture, Big Mojiaoshan is located in the northeast of the Mojiaoshan Palace area, while Little Mojiaoshan is located in the northwest and Wuguishan is in the southwest. There is also a wide area between the three platforms serving as the sand and soil square, presumably the site for some important ceremonial activities.To the south of the Wuguishan platform is the Chizhongsi platform where nearly 100,000 kg of carbonized rice and a reservoir have been excavated, which can be inferred to be the main storage area. To the east of the area is Huangfenshan platform which is also a palace base site according to investigation.(Liang Wei,2020:3)

The inner city is surrounded by four walls, east, west, north and south. It is an irregular rectangle with rounded corners, about 1,910 meters long from north to south and 1,770 meters wide from east to west, with a total area of about 300 hectares. The total length of the wall is about 6km, with a width ranging from 20 to 150 meters and a proximate height of 4 meters. Alongside the ancient city wall on the east, west and north sides run rivers outside of the city. What's more, close to the inside of the wall many man-made channels are found in the inner city, forming a very complex river network system. After archaeological exploration of these walls, a total of 9 gates were found, among which only one land gate was located in the southern wall, and the rest were water gates. There are two water gates on each side of the city wall, which are connected with all water systems. These water gates connect the city river inside and outside the ancient city, forming a convenient water conservancy and transportation pattern.(Liang Wei,2020:3)

The inner city was found with many platforms in addition to the central palace area. After archaeological excavation, some platforms are the royal burial site while others are speculated to be the areas for the residents in the ancient city to live and work for a large number of remains of manufacturing materials related to jade production such as jade,jade drilling and black quartz piece, wood ware as well as paint bone artifacts were unearthed. Through such scraps, it can be inferred that except for the farmers, there were also a large number of artisans who worked in the handicrafts workshops manufacturing jade and stone productions.(Liangzhu Archaeological Site)

2. Water Conservancy System on the Outskirts（古城外围水利系统）

During the period from 1995 to 2015, a huge water conservancy system composed of multiple dams was gradually found outside the ancient city of Liangzhu. Located in Pingyao town, the water system is distributed in the north and west of Liangzhu Ancient City, and is currently found to be composed of 11 dams. This large-scale water conservancy system is connected with the internal and external waterways of the ancient city. It is speculated that it should be an organic part of the unified planning and design at the beginning of the construction of Liangzhu Ancient City with the help of natural geographical advantages.(Liangzhu Museum)

These dams can be divided into three categories according to their different forms and locations: Embankments in front of the Mountains(山前长堤), High Dams at the Mouth of the Valley(谷口高坝) and Low Dams on the Plain(平原低坝).(Liangzhu Museum)

High Dams at the Mouth of the Valley: a total of 6 dam sites have been found in the mouth of the valley about 11 kilometers northwest to Liangzhu Ancient City site, which can be divided into two groups: east and west. Each group blocks one valley mouth as a flood barrier. The eastern group includes sites of Zhoujiafan(周家畈), Laohuling(老虎岭) and Ganggongling(岗公岭); The western group includes Qiuwu(秋坞), Shiwu(石坞) and Mifenglong(蜜蜂垄) sites. The distance between the east and west is not far, about 2.3 kilometers, and the earthwork volume of the whole high dam area is about 60 cubic meters. According to the survey, High Dams at the Mouth of the Valley were built in about 3100-3000 BC, through which it can be inferred that the rulers of the ancient city of Liangzhu had taken the water conservancy construction into consideration at the beginning of the construction of the ancient city, reflecting the ruler's strong ability to organize the society and to play the layout of a city and demonstrating a highly developed degree of civilization.(Wang Ningyuan,2019:31)

Low Dams on the Plain: this dam area is located in the southwest side of the ancient city site, composed of four sites including Wutonglong(梧桐弄), Guanshan(官山), Liyushan(鲤鱼山), Shizishan(狮子山), with different lengths ranging from 140 to 400 meters and a total earthwork volume of 30 cubic meters. Built between separate hills, these four dikes are connected with these hills, forming a closed barrier which cut off the otherwise wide body of water to form a huge reservoir.(Wang Ningyuan,2019:31)

Embankments in front of the Mountains: the Embankments in front of the Mountains, also known as Tangshan Site(塘山遗址), is located in front of the mountain about 2km north to Liangzhu Ancient City, with a total length of about 5km from east to west. It is the largest single site of the water conservancy system outside liangzhu Ancient City site, and its earthwork volume is about 198 cubic meters. Tangshan dam is different from the other two dam areas for it has a north-south double dam structure. The compound dam has a high ridge of soil at the east and west ends as well as in the middle, forming two closed reservoirs. The Embankments in front of the Mountains has a great protective effect on the ancient city. Once torrents of water rush down the mountain to the north of the ancient city, it can serve as a buffer against the flood.(Wang Ningyuan,2019:31)

Archeologically, these dams may have served as a combination of flood control, transportation and water use. These dams were connected with the river in the ancient city and had a great impact on the work and lives of the residents in their times. It can be said that Liangzhu water conservancy system is the earliest large-scale water conservancy project in China with a highly degree of integrity. This system fully shows the development degree of Chinese prehistoric civilization and is an important embodiment of Chinese ancient civilization.

3. Graded Cemeteries（分等级墓地）

There are also large and small cemeteries in and around liangzhu ancient city, among which five well-preserved and representative cemeteries are Fanshan Cemetery(反山墓地), Yaoshan Cemetery(瑶山墓地), Jiangjiashan Cemetery(姜家山墓地), Wenjiashan cemetery(文家山墓地) and Bianjiashan cemetery(卞家山墓地). Except that Yaoshan cemetery was discovered outside the ancient city ruins, the other four were excavated in the ancient city.(Liangzhu Archaeological Site)

Fanshan Cemetery:it is located on a high ground in the northwest of the ancient city, east to the Mojiaoshan Palace area. A total of 11 noble tombs were cleared through archaeological excavations, roughly in two rows, one in the north and another in the south, with the two highest ranking tombs in the middle. Along with the excavation of cemeteries, a large number of funerary goods were unearthed, including jade, stone tools and pottery, among which jade wares were the most abundant. At the same time, the number of jade articles unearthed in the Fanshan Cemetery is also the largest among several cemeteries, and the production techniques are the most exquisite. It can be identified that the Fanshan Cemetery is the highest grade cemetery in Liangzhu culture so far, which is slightly later than the Yaoshan Cemetery.(Liangzhu Archaeological Site)

Yaoshan Cemetery: located about 5000 meters northeast to the ancient city site, it is divided into two parts: an altar and a cemetery. Archaeological excavations cleared 13 large tombs of nobles, which were divided into two rows on the south side of the altar. Yaoshan cemetery and Fanshan cemetery belong to high grade cemetery.(Liangzhu Archaeological Site)

Jiangjiashan Cemetery: this cemetery is also located to the west side of Mojiaoshan in the central area of Liangzhu city, and is in the south of the Fanshan Cemetery. After the archaeological excavation, the cemetery was cleared out of 17 tombs, including the large tombs of nobles and the tombs of civilians and children with fewer burial goods, so it is archaeologically speculated that it should be the family cemetery of nobles.(Liangzhu Archaeological Site)

Wenjiashan Cemetery: it is located in a small mound slope on the west side of the outer city. The cemetery was cleared out of 18 tombs, and tombs of different grades coexist. so it is archaeologically speculated that it should be a lower grade noble family cemetery.(Liangzhu Archaeological Site)

Bianjiashan Cemetery: located on the artificial terrace of the settlement area in the south of the outer city, 66 tombs have been excavated. There is no obvious sequence of these tombs, and they are all low-ranking civilian tombs. It is speculated that they should belong to public tombs.(Liangzhu Archaeological Site)

The excavations of these tombs are of breakthrough significance in the archaeological activities of Liangzhu culture. Archaeological researchers divided these tombs into four grades: high grade, the higher level, the intermediate and low level on the basis of the locations of the five cemeteries, the distribution and the arrangement of the tombs, and unearthed artifacts with the shape, number, etc., revealing there have been a more clear and complex social hierarchy in the Liangzhu period, for early tangible evidence of the existence of regional countries.(Liangzhu Archaeological Site)

4. The Unearthed Objects Represented by Liangzhu Jade Ware

Along with the excavations of cemeteries and the discovery of ancient city sites, a large number of movable relics of Liangzhu ancient city site have been unearthed. These relics are not only large in number, but also rich in variety. They are mainly jade wares, pottery, lacquer wares, stone tools, bamboo wares, bone and horn wares and so on which were found in graded graveyards, river channels and handicraft workshops, reflecting the social life of Liangzhu residents from the ruling class down to the common people and providing solid material evidence for archeologists to restore the civilization of prehistoric times. Among these relics, the number of jade articles unearthed far outweighs other remains. At the same time, these jade craftsmanship is exquisite, which not only reflects the superb skills of craftsmen in the ancient city of Liangzhu, but also testifies to the degree of civilization at that time. Jade has been an integral part of traditional Chinese culture since ancient times and is regarded as a symbol of royal power and divine power. Judging from a large number of jade articles unearthed in Liangzhu Ancient City site, the idea of divine right of kings and theocracy had already appeared in Liangzhu ancient City period, and the ritual system of the early state also began to take shape.(Liangzhu Archaeological Site)

These jades were mainly unearthed in hierarchical cemeteries with an amount not less than 7000 and a great variety of models, mainly including jade cong(玉琮), jade yue(玉钺), jade bi(玉璧), y-shaped jade wares（三叉型玉器）,jade bracelet（玉镯）, jade weaving wares（玉织具）, etc. In addition, some jades were found carved into birds, turtles, fish, cicadas and other animal.(Liangzhu Archaeological Site)

Jade cong is the most important and representative jade ware in Liangzhu culture. This kind of jade is cylindrical, round and hollow inside and square outside with four symmetrical triangular shaped convex surface, implying Liangzhu ancestors' primitive world view that heaven is round and earth is square. The four convex surfaces are engraved with special symbols, the upper part of which is the image of a crested god, the middle is the face of a beast with round eyes and fangs, and the lower part is the claw of a bird, expressing the worship and yearning for the god behind it (generally believed to be the god of sun). Cong is also the most influential jade with the widest distribution.(Liangzhu Archaeological Site)

Jade bi is the largest jade ware of Liangzhu culture in unit area, and it is also one of the typical representatives of Liangzhu culture jade ware and even Chinese jade ware. The aperture of this kind of perforated oblate jade ware is usually no more than half of its diameter. Most of them are plain jade, but some of them are engraved with the bird and the sun. It is mentioned in "Rites of Zhou" 《周礼》that jade bi is a special sacrificial vessel made of jade for offering sacrifices to heaven, and the large jade bi found in the site of Yaoshan cemetery as an altar seems to prove this point.(Zhou Yin,Wu Jin,2004:25-26)

Jade yue, shaped like an axe, is also an important part of Liangzhu jade ware.The earliest yue(钺) may have been a stone axe. The jade yue of Liangzhu culture generally has two types: long trapezoidal jade yue (长方梯行钺)and narrow trapezoidal jade yue（扁方梯形钺）. Generally, there is only one jade yue in a tomb, which is far less in number than jade cong and jade bi. It is mainly unearthed in high-level male tombs, considered to be a symbol of royal power or military commander's power. (Zhou Yin,Wu Jin,2004:26)

===The Heritage Value of Liangzhu Ancient City Site===
Due to the limited scale of archaeological excavation, many connotations and details of Liangzhu ancient city site have not been completely and clearly revealed and presented, all of which are still waiting for further archaeological research. But there are indications that early regional states have emerged in the Circum-Taihu region around the middle and lower reaches of the Yangtze River in China between 3300 and 2300 BC. This is much earlier than the Xia(夏), Shang(商) and Zhou(周) dynasties, which are widely known, and is a strong testament to the long and profound history of Chinese civilization.(Zhou Yin,Wu Jin,2004:166)

The layout of the ancient city of Liangzhu from the inside to the outside of the three layers of space and the grading of the cemetery size indicate that in the Liangzhu period, there had been a multi-level social stratification and the combination of theocratic and royal political rule. A large number of funerary jade articles and special tatoo of gods, humans and beasts were the spiritual and cultural representation of that time, thus establishing the early social etiquette system. The carbonized rice and handicraft remains found in archaeological sites also indicate that the Liangzhu society not only developed rice-farming and plough agriculture, but also developed handicraft industry to a certain extent, reflecting the social division of labor at that time. The construction of large-scale water conservancy project has unique planning features and construction technology of "water city", which is an outstanding example of combining artificial technologies and nature for survival and development of Liangzhu ancestors, and represents their ability to use land and river network in plain area in the early stage of East Asia.(Zhou Yin,Wu Jin,2004:166)

On July 6, 2019, the Ruins of Liangzhu Ancient City was inscribed on the World Heritage List at the 43rd World Heritage Conference held in Baku, capital of Azerbaijan, showing the great river civilization in the Yangtze River basin of China to the world.

===Protection and Inheritance===
1. Protection Comes First

Before the 1980s, the development of the town where the site is located was slow, and the contradiction between the protection of the site and urbanization development were not prominent. Local people also attached great importance to the protection of the site. In 1961, the Ruins of Liangzhu Ancient City was announced as a key cultural relic protection unit of Zhejiang Province. Later, with the development of the times, the local economy developed rapidly and the progress of urbanization accelerated, which undoubtedly caused some difficulties for the archaeological exploration and protection of the site. However, the local government has been supporting the archaeological undertaking, and established a special protection agency: Yuhang Liangzhu Cultural Site Management Institute(余杭县良渚文化遗址管理所) in 1987. Later, the national road near the site was diverted and a printing plant was relocated for archaeological excavation work. In addition, the government of Hangzhou and Yuhang District also formulated many policies and regulations for site protection, and established and improved an effective management mechanism. The government strengthens the training of professional knowledge, protection management techniques, strengthen heritage protection management monitoring and other means to implement conservation management, so that heritage can be effectively protected. (c.f:Zhou Su,2020)

In addition, the ancient city site is not isolated, but organically integrated with its surrounding natural geographical environment. Therefore, the protection of the site is not limited to its body, but should also pay attention to the protection of the natural environment around the site, protecting the mountainous vegetation and wetlands around the site, and closing the ore factories around the site, and etc.(Zhou Su,2020:)

2. Cultural Display and Dissemination
The ruins of Liangzhu ancient City is of great academic value and should also let more people appreciate this prehistoric civilization. On-site displays and pavilion displays are great to help people learn about this excellent culture. The Liangzhu Museum was first constructed and opened in 1994, and then rebuilt with the further development of Liangzhu archaeological work. It was redeveloped in 2018. The Liangzhu Site National Park can display the Liangzhu culture in an all-round way to visitors. By giving full play to the main function of the national archaeological site park, the site can be better "alive", so that the most basic cultural gene of the Chinese nation can adapt to the contemporary culture and coordinate with the modern society.(Zhou Su,2020:)

3.Promoting Integrated Development

On the premise of ensuring the safety of cultural relics and the priority of archaeology, overall consideration should be given to the land use, such as population distribution, industrial layout, public facilities and infrastructure allocation around the sites, so as to realize the integrated development of historical sites and urban and rural areas. With the development of economy, the level of education can also be improved, so as to further enhance the public's awareness of the preservation of the site.(c.f:Zhou Su,2020)

===References===
Liang Wei梁伟.(2020).良渚古城的规划及其深远影响研究[The Urban Planning and Prehistorical Liangzhu City]. 现代城市研究 Modern Urban Research(01):2-8.

Wang Ningyuan王宁远(2016).良渚古城及外围水利系统的遗址调查与发掘[Survey and Excavation of the Water Conservancy System in Liangzhu City and Surroundings].遗产与保护研究 Research on Heritages and Preservation(05):102-110.

Wang Ningyuan王宁远(2019).比三个西湖还大的史前巨作——良渚古城外围水利系统发现纪实[A prehistoric masterpiece larger than three West Lakes: a documentary of the discovery of the water conservancy system outside the ancient city of Liangzhu]. 杭州(周刊) Hangzhou Weekly(26),26-31.

Zhou Yin,Wu Jin周膺、吴晶(2004).''中国5000年文明第一证：良渚文化与良渚古国''[The First Evidence of The 5000-Year Civilization of China: Liangzhu Culture and Early State of Liangzhu].Hangzhou: Zhejiang University Press浙江大学出版社.

Zhou Su周苏(2020).良渚古城遗址保护管理实践概述[Overview of Conservation and Management Practice of the Archaeological Ruins of Liangzhu City].自然与文化遗产研究Study on Natural and Cultural Heritage(03):36-46.

服务-良渚博物院 [lzmuseum.cn]https://www.lzmuseum.cn/FuWuZhiNan/index.html

良渚遗址官网[Liangzhu Archaeologial site].https://www.lzsite.cn/classinfo.aspx?classid=1

===Terms and expressions===
The Archaeological Ruins of Liangzhu City良渚古城遗址

late Neolithic archaeological culture 新石器时代晚期的考古文化

social etiquette system 社会礼仪制度

World Heritage List 世界自然遗产名录

the Circum-Taihu Lake Area太湖流域

geographical coordinates 地理坐标

accumulation plain 堆积平原

alluvial plain 冲积平原，沉积平原

Zhejiang Provincial Institute of Cultural Relics and Archaeology浙江省文物考古研究所

the Ancient City Site 古城遗址

a centriped-type triple structure 一个中心型三层结构

carbonized rice 碳化水稻

Water Conservancy System on the Outskirts古城外围水利系统

Embankments in front of the Mountains山前长堤

High Dams at the Mouth of the Valley谷口高坝

Low Dams on the Plain平原低坝

earthwork volume 土方量

Graded Cemeteries分等级墓地

"Rites of Zhou" 《周礼》

jade cong玉琮

jade yue玉钺

jade bi玉璧

y-shaped jade wares三叉型玉器

jade bracelet玉镯

jade weaving wares玉织具

long trapezoidal jade yue 长方梯行钺

narrow trapezoidal jade yue扁方梯形钺

multi-level social stratification 多层次社会分层

===Questions===
1.When was the Archaeological Ruins of Ancient Liangzhu City approved for inclusion in the World Heritage List?

2. Where is the Liangzhu Culture located?

3. Which cemetery does also serve as a altar?

4.Were there only farmers in the ancient Liangzhu city? Why?

5.What is the symbol of jade yue? And where is it often discovered?

===Answers===
1. It was approved on July 6, 2019.

2.Liangzhu Culture is located in the Circum-Taihu Lake Area in the middle and lower reaches of the Yangtze River which are in the southeast of China.

3. Yaoshan Cemetery.

4. No, there existed artisans in the ancient Liangzhu city. Because many handicraft remains found in archaeological sites.

5.It is mainly unearthed in high-level male tombs, considered to be a symbol of royal power or military commander's power.

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

<center>Hu Liangming</center>

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

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

===Introduction===
The Original meaning of Chu Ci is the words of Chu, which gradually evolved into two meanings: one is the genre of poetry, and the other is the name of the collection of poems. In the beginning, Chu Ci is a new poetry genre founded by Qu Yuan. The works use the literary style of Chu (now around Hu Nan province and Hu Bei province), describing the mountains and rivers and historical customs of Chu, with strong local characteristics. In the Han Dynasty, Liu Xiang edited Qu Yuan’s works and Song Yu’s works into a collection called Chu Ci. It is a very important collection of romantic poems and songs in the history of Chinese literature, with its unrestrained feelings, strange imagination, rich local characteristics of Chu and myth.
Since Qu Yuan’s works came into being, people began the research of them and the history of research has lasted more than 2000 years. However, the study on English translation of Chi Ci was short. Until the 19th century, people began to pay more and more attention to the translation of Chu Ci. There are many people who have translated Chu Ci at home and abroad. For example, Yang Xianyi and his wife, Sun Dayu, Zhuo Zhenying, Xu Yuanchong and so on. And there are many foreign translators, such as Edward Harper Parker, Herbert Giles, James Legge, Arthur Waley and many other people. Among so many English translated versions of Chu Ci, the English translation of Chu Ci by Xu Yuanchong is the most classic. He translated Chu Ci with his Three Beauties Principle and combined the translation with Chinese culture. At present, few scholars have studied the relationship between Xu Yuanchong’s English translation of Chu Ci and the Three Beauties Principle theory. Therefore, it is of a great significance to explore the mutual confirmation between Three Beauties Principle and the English translation of Chu Ci by Xu Yuanchong.

===Literature Review===
Chu Ci is a new poetry genre founded by Qu Yuan in the Warring States Period. The works use the literary style of Chu (now around Hu Nan province and Hu Bei province), describing the mountains and rivers and historical customs of Chu, which has unique characteristics. In the Han Dynasty, Liu Xiang edited Qu Yuan’ s works and Song Yu’s works into a collection, which was called Chu Ci. It has become a collection of poems with far reaching-reaching influence on Chinese literature after The Book of Songs.
The original meaning of Chu Ci was the words of Chu, and it gradually evolved into two meanings: one is the genre of poetry, and the other is the name of poetry collection(in a certain extent, it also represents the literature of Chu). As far as poetry genre is concerned, it is a new poetic style founded by Qu Yuan as a representative poet in the late Warring States Period on the basis of Chu folk songs. As far as the name of the collection in the style of Chu Ci edited by Liu Xiang in the Han Dynasty on the basis of predecessors, it included 16 works written by Qu Yuan and Song Yu of Chu people in the Warring States Period and by Jia Yi, Zhuang Ji, Dong Fangshuo and Liu Xiang in the Han Dynasty.
The main author of Chu Ci is Qu Yuan, he created immortal works such as Li Sao, Nine Chapters, Nine Songs and so on. The form of poetry is processed and formed on the basis of Chu folk songs, and a large number of local customs and dialects of Chu are quoted in the poems. The historical legends, mythological stories, customs and habits involved in the works, as well as the artistic means and the rich lyrical style are all marked with Chu culture. These are the basic characteristics of Chu Ci, and they are an important part of Chu culture that complements the Central Plains culture.
Chu Ci occupies an important position in the history of Chinese poetry. Its appearance broke two or three centuries’ silence after the Book of Songs, and shined brilliantly in poetry circles. Chu Ci not only opened up the following Fu style, but also influenced the prose creation of the following dynasties. It is the source of active romantic poetry creation. Tao Yuanming and Li Bai of later generations are all affected by it.
Since Qu Yuan’s works came into being, people began the research of them and the history of research has lasted more than 2000 years. However, the study of English translation of Chi Ci was short. Until the 19th century, people began to pay more and more attention to the translation of Chu Ci. There are many people who have translated Chu Ci at home and abroad. At home, such as Yang Xianyi and his wife, Sun Dayu and Xu Yuanchong all have translated Chu Ci. There are many foreign translators, such as Arthur Waley, David Hawkes and some other people.
At home, Yang Xianyi and his wife published the English translation of Li Sao and some other poems of Chu Ci by Foreign Languages Press in 1955, Xu Yuanchong published the English Translation of the complete works of Chu Ci by Hunan People’s Publishing House and China Translation and Publishing Corporation in 1994 and 2005 respectively, Zhuo Zhenying published Chinese Classic· Chu Region in Chinese and English by Hunan People’s Publishing House in 2006, and Sun Dayu published Selected poems of Qu Yuan by Shanghai Foreign Language Education Press in 2007.
In the western countries, Edward Harper Parker’s The Sadness of Separation, or Li Sao was regarded as the earliest English version related to the anthology and it was published in The China Review: or Notes and Queries on the Far East in 1879. In 1884 Gems of Chinese Literature was published by Herbert Giles in Shanghai, he selectively translated Bu Ju, Yu Fu, Shan Gui and so on in his bo. In 1895, for the purpose of preaching, Li Sao, Guo Shang and Li Hun was translated by James Legge as Confucian classics and published in the Journal of the Royal Asiatic Society. In 1919, Arthur Waley selectively translated Guo Shang and Da Zhao in his anthologies A Hundred and Seventy Chinese Poems and More Translations from Chinese. He also translated Jiu Ge into English in 1955. In 1959, David Hawkes’s The Songs of the South was published by the Oxford University Press, which is the most authoritative English translation of Chu Ci in the West.

===Methods and Theories===
Three Beauties Principle is originated from Lun Xun’s opinion. He put forward the theory of Three Beauties in Chinese literary creation in his article From Words to Articles. The original text is: Beauty in sense is to feel from the heart, this is the first step; beauty in sound is to feel from the ears, this is the second step; and beauty in form is to feel from the eyes, this is the third step.
Xu Yuanchong of Peking University transplanted this theory into translation theory and formed his own Three Beauties Principle for poetry translation. According to Xu, “I applied Lu Xun’s ‘three beauties’ to translation and it is ‘three beauties’ principle on poetry translation. That is to say, the rendition should move the readers as the original, this is beauty in meaning; it should have rhyme pleasant to ear as the original, this is beauty in sound; the translators should try to keep the original form (such as the length of poetic lines and antithesis), this is beauty in form.”
In 1979, Xu Yuanchong raised the poetry translation theory of beauty in meaning, beauty in sound and beauty in form in the preface of the version of Mao Zedong’s Poetry. Which marks the birth of Xu Yuanchong’s Three Beauties Principle. Xu Yuanchong raised this theory on the basis of sixty years’ experience in poetry translation. When this principle came into being, it is received wide attention. Xu Yuanchong has also grasped and got inspiration from other translators’ opinions or theories. Such as Yan Fu’s theory of “faithful, expressiveness and elegance” and Qian Zhongshu’s translation theory of “The Translation Art of Hua”.
However, it is not easy to do this, which is why Xu Yuanchong was praised by his teacher, Qian Zhongshu, who is a master of Chinese and western learning: “ You dance with the shackles of rhyme and cadence, which is flexible and amazing.”

===Beauty in Sound===
Beauty in Sound refers to the rhyme and smoothness of poetry. It means the translated poems should keep the same melodious rhythm as the original poems.
The beauty of sound is composed of rhymes, rhythms and tones. Generally speaking, poetry emphasizes the beauty of sound. Xu Yuanchong pays attention to sound because it is very important in poetry. Xu thinks that it is reasonable to use rhyme in hundred years because there are few Chinese poems with more than 200 lines. As we all know, poetry is written in a language with harmonious rhythm. Harmonious rhythm and rhyme play an important role in poetry. According to Xu, poetry should have rhythm, be written fluently and sound pleasing to the ear, which is the beauty of Sound. Generally speaking, the translation of phonetic features is the most difficult to achieve, because different languages, especially English and Chinese, have different sound systems. In poetry translation, Professor Xu believes that the English version of Chinese classical poetry should and must have unique characteristics. Although Chinese and English poems have their own metrical systems and rhyming schemes to form the musicality of poetry, equivalence can be achieved by translating Chinese poems into English iambic, inflection, fingering or anaphora. In a word, we only use the weak beat and strong beat in English translation instead of the flat beat in Chinese. As long as the adoption of rhythm does not sacrifice consciousness, the translator should transplant the rhythm of the original work; This is especially true in the translation of Chinese classical poetry, because rhyme is an important feature of poetry. In this case, the beauty of sound will not be lost, so that readers can experience the same artistic feelings as local readers.
The word homeoteleuton means “similarity in endings,” and in this device words, phrases or clauses in close succession end with the same ending suffix or syllable. In the English translation of Chu Ci by Xu Yuanchong, he used the rhetorical device of homeoteleuton to reflect Beauty in sound. However, the rhyme scheme of the translation is not equivalent with the original poem.
e.g.1
君不行兮夷犹，蹇谁留兮中洲？美要眇兮宜修，沛吾乘兮桂舟。
Why don’t you come, oh! Still hesitating? For whom on midway isle, oh! Are you waiting? Duly adorned, Oh! And fair, I float. On rapid stream, oh! My cassia boat.
In the original text, the first sentence rhymes with third sentence and the second sentence rhymes with the fourth sentence. It is the rhyme style of abab. However, in the translation, “hesitating” rhymes with “waiting”, “float” rhymes with “boat”, it is the rhyme style of aabb. These words show Mrs Xiang’s anxiety while waiting for Xiang Jun. Also, after using this rhetorical device, poetry is more catchy to read.
e.g.2
荪壁兮紫坛，播芳椒兮成堂。桂栋兮兰橑，辛夷楣兮药房。
In purple court, oh! thyme decks the wall; With fragrant pepper, oh! is spread the hall. Pillars of cassia, oh! stand upright, And rooms smeel sweet, oh! with clover white.
In the original text, the second sentence rhymes with the fourth sentence, and it is the rhyme style of abcb. However, in the translation, “wall” rhymes with “hall”, “upright” rhymes with “white”, it is the rhyme style of abab. These words describe the good environment where Mrs Xiang lives, thus praising the hero’s noble character.

===Beauty in Form===
Beauty in Form refers to neat rows and lengths and neat confrontation. It means that the translated poems should keep the same form (length, antithesis) as the original poems.
Form is unique to poetry, and it is a remarkable feature between poetry and other literary genres. Only the lines of poetry are arranged according to a certain set of rules, especially Chinese classical poetry. As for beauty in form, it is mainly about length and symmetry. Chinese poetry emphasizes balance, symmetry and harmony. For example, in an eight-line poem, the middle four lines should form two couplets, in which each character in the first line should be compared with the corresponding character in the next line in meaning, part of speech and tone. On the relationship between formal beauty and the other two kinds of beauty, Xu Yuanchong explained that among the three beauties, the beauty of meaning is the most important, the beauty of sound is the second, and the beauty of form is the third. However,'beauty in form' is essential; Beauty in sense and beauty in form constitute the unity of contradiction. On one hand, a good form should serve good content. Without good content, no matter how good the form is, it is useless. On the other hand, the content should be expressed in a good form; Otherwise, the inner beauty of the original poem will be destroyed. On the premise of "beauty in meaning" and "beauty in sound", we should try our best to convey "beauty in form", so that these three beauties in the version can be realized. However, if these three can't be realized at the same time, we should give up the beauty in sound and form, but realize the beauty in sense. Therefore, Xu put forward a request to himself, that is, to try his best to convey the beauty of form and harmony on the premise of conveying the beauty of meaning.
Antithesis is the deliberate arrangement of contrasting words or ideas in balanced structural forms to achieve force and emphasis. The form of the expression is very important for effect, for the force of the emphasis, whether for profundity of judgement, for humor or for satire, depends chiefly on the juxtaposition of direct opposites, of glaring contrasts.
e.g.1
朝搴阰之木兰兮，夕揽洲之宿莽。
At dawn I gather mountain grass, oh! At dusk I pick secluded one.
In the original text, 朝 corresponds to 暮，搴corresponds to 揽，阰之木兰corresponds to 洲之宿莽. Similarly, in the translation, “at dawn” corresponds to “at dusk”, “gather” corresponds to “pick”, and “mountain grass corresponds to “secluded one”. The structure between every two poems is very neat, subject corresponds to subject, adverbial corresponds to adverbial, and noun corresponds to noun. The author uses this rhetorical device, the beauty in rhyme in the poem is reflected. Also, the poem becomes more concise, symmetrical and elegant.
e.g.2
朝骋鹜兮江皋，夕弭节兮北渚。鸟次兮屋上，水周兮堂下。
At dawn I drive my cab, oh！By riverside; At dusk on northern isle, oh! I stop my ride. Under the eaves, oh! the birds reposed; Around the house, oh! the river flows.
In the original text, 朝 corresponds to 夕，屋上corresponds to 堂下. Similarly, in the translation, “at dawn” corresponds to “at dusk”, “under the eaves” corresponds to “around the house”. The structure between every two poems is very neat, subject corresponds to subject, adverbial corresponds to adverbial, and noun corresponds to noun. In addition, the translator mentions “on northern isle” in the first half of the sentence, which provides convenience for the rhyme of aabb of the whole poem.

===Beauty in Sense===
Beauty in Sense refers to the beauty of content. It means the translated poems should keep the same meaning as the original poems and move people with meaning.
Xu (1984) thinks that the foundation of the three beauties is three similarities, namely, similarity in meaning, similarity in sound and similarity in form. In order to seek similarity in meaning, translators should convey the meaning of the original text without misinterpreting or increasing readers' thoughts. Generally speaking, the similarity in meaning can be equated with the beauty in meaning of the original text. However, sometimes the similarity in meaning and beauty in meaning are contradictory, and the similarity in meaning cannot convey the beauty in meaning of the original text. This is because the sense of beauty is caused by association or some historical reasons; Therefore, the target readers will not have the same connection with the authors, because they do not have the same historical background. Often, in that case, beauty in meaning is difficult to translate. As for some beautiful words in Chinese, it is difficult to find equivalent words in English. This is because the beauty in meaning is sometimes combined by the beauty in sound and the beauty in form, not just the similarity in meaning. Although the beauty in meaning is based on the similarity in meaning, the beauty in meaning lies in the deep layer, while the similarity in meaning lies in the surface structure. For example, when Xu Yuanchong (2004) translated Li Shangyin's famous poem Untitled Poem, he translated "春蚕到死丝方尽" into “silkworm till its death spin silk from love-sick heart”. Because of Three Beauties Principle is put forward for Tang poetry and Song lyrics, Xu created a beautiful picture full of images with his simple language.

===Conclusion===
This paper proves that Three Beauties Principle has guiding significance for the translation of Chu Ci and other Chinese classical literature; Therefore, the communication between China and other countries is better conducted.
In this thesis, the author uses a whole chapter to illustrate how the translator conveys the beauty in meaning, sound and form in the translation by various methods. In order to translate beauty in meaning, translators should properly handle and translate images, rhetoric and characters. All these require translators to have a good understanding of Chinese traditional literature and Chinese culture. And translators should be very careful when dealing with these things. In order to translate the beauty in sound, translators should have a good understanding of the rhythm and rhymes of both Chinese and English. Rhyme is a bit complicated, including ending rhyme, alliteration and onomatopoeia. Translators can properly translate the rhythm and prosody of one language into that of another. Xu believes that beauty in form includes line length, confrontation, duplication and so on. Therefore, in order to convey the beauty in form, translators should pay attention to the length and balance of sections and lines.
As the most important thing in the world, Three Beauty Principle also has its shortcomings. However, from the examples given in this paper, the narration and explanation of this theory, and the nature of translation theory and poetic language, the Three Beauties Principle is a good principle. It has certain guiding significance for future poetry translation.

===References===
*[1]Feng Lilian 冯立茜. 浅议许渊冲“三美原则”在其诗歌翻译中的体现[D]. 成都：成都理工大学，2018.
*[2]Liu Miqing刘宓庆. 文学翻译论纲[M].武汉：湖北教育出版社，1999.
*[3]Liu Yuanyuan刘园园. 《楚辞》西方翻译与研究的现状、问题及对策研究[D]. 荆州: 长江大学, 2020.

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

<center>Huang Qiong</center>

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

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

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

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

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

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

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

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

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

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

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

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

[[File: Xiaoyu Bamboo Art.jpg]]

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

[[File:instruments.jpg]]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

<center>邝雨琪Kuang Yuqi</center>

===Introduction===
Chinese moon cake is the representative food of the Mooncake Festival, or more commonly known as Mid-Autumn Festival. The festival is held on the 15th day of the 8th month of the Chinese lunar calendar and is celebrated with family gatherings, feasts, and an abundance of lights, lanterns, and candles. Mooncake is a kind of round cookie with various fillings and different artistic patterns on the surface, depicting the legends of the festival and conveying auspicious meanings. During the festival, people sacrifice these cookies to the moon as offerings'''*''', eat them for celebration and present them to relatives and friends for good wishes. (Gu Xijia 2010)

'''*Worship the Moon'''

The moon worship is an ancient royal ritual and an important Chinese Mid-Autumn Festival activity, to pray for the moon to bless the people. At the night of Mid-Autumn Fetisval, people place a table that faces the moon, put mooncakes and other sacrifices on the table, make wishes and offer incense to the moon. At the end of the worship, people burn the special papers to the moon. Then they share the sacrifices. The wishes they usually made are family reunion, happiness, success and beauty. The worship ceremony is to show respect to the moon god.

===Mooncake Mythology ===
According to legend, in ancient times the earth orbited ten suns, with a single sun appearing each day. However, on one particularly sweltering day, all ten rose in the sky at once, scorching the earth and its inhabitants. The emperor called upon Hou Yi（后羿）, a famed archer, to shoot down the nine extras. Upon his success and the subsequent salvation of all of the poor sunburned souls below, Hou Yi, in essence, became a celebrity. People from far and wide flocked to him aggressively. The people of ancient China gifted Hou Yi with considerably valuable items---the Elixir of Life from the Goddess of Heaven.

Upon receiving this particular gift, Hou Yi recognized its value and gave it to his beautiful and beloved wife, Chang Er（嫦娥）, for safekeeping. However, Peng Meng（逄蒙）, an evil follower of Hou Yi, witnessed the exchange and sought to steal the elixir for himself. Soon thereafter, he cornered Chang Er with a sword and attempted to force her into handing it over. Chang Er, knowing there was no other escape, quickly swallowed the elixir herself. However, the dose was too strong, and she immediately began floating far into the sky, where she finally came to rest on the moon. After Hou Yi learned all this, he went insane with attempts to reach her. But he could not, and had to satisfy his love for her by setting her offerings of fruit and sweets and nightly worship of that white orb in the sky. As a result, the moon cakes have become metaphorical items for lonely Chang Er and her husband Hou Yi, who miss each other, dreaming of reunion and expressing their feelings.

For a more specific look at mooncakes, we can also fast forward a few thousand years to the Yuan dynasty. Around 1368, tired of being oppressively ruled by the Mongols, the Han Chinese decided to organize a rebellion. Wary of being found out, they communicated the idea of the revolution to their fellow Han by baking slips of paper with the date of the uprising in to mooncakes. They knew that the Mongols would never eat this Han style treat. The cakes were distributed far and wide across the city. So, when the Han bit into their afternoon snacks and pulled paper out of their mouths, they were all in on the secret. Due to their ingenuity, the revolution was a success and a new dynasty began. Nowadays, mooncakes are eaten on the exact day, as a reminder of the triumph of the Han during the Mid-Autumn Festival many years ago.

===The History of Mooncake===
Mooncake history is as long as 3,000 years in China. The predecessor of mooncake is the Taishi cake（太师饼）in the Shang Dynasty (17th century BC-1046 BC) and Zhou Dynasty (17th century BC-256 BC). For a long time in history, mooncakes were used as a sacrifice on the Mid-Autumn Festival. It is said that the custom of eating mooncakes in the Mid-Autumn Festival began in the Tang Dynasty (618-907 AD); in Northern Song Dynasty (960-1127 AD), it became popular in the royal palace; in late Yuan Dynasty (1271-1368 AD), it has been spread widely to the folks; in Ming (1368-1644 AD) and Qing Dynasties (1644-1911AD), it has become a common dietary habit of Chinese people. (Ou Shinan 2015)

'''Origin of Mooncake - Taishi Cake（太师饼）'''

According to historical records, in Shang and Zhou Dynasties (17th century BC-256 BC) in China, there were Taishi cakes in Jiangsu and Zhejiang provinces. At that time, Taishi cakes were made to commemorate Wenzhong, who invented the cake, which was thin in edge and thick in the middle. It is the predecessor of mooncake in China. (Yang Binhu 2015)

'''Wulnuts Cake（胡饼）in Han Dynasty (202 BC-220 AD)'''

In Han Dynasty, Zhangqian（张骞）, who was sent on a diplomatic mission to the western of China, introduced sesame seeds and walnuts from the west. Then the sesame seeds and walnuts were used as the fillings of mooncakes. People called it Hu cake at that time. (Yang Binhu 2015)

'''Round Cakes Eaten on Mid-autumn Festival since Tang Dynasty (618-907 AD)'''

In Tang Dynasty, the Emperor Li Shimin（李世民）ordered a general called Lijing（李靖）to lead the troops to conquer Turk, a nationality in the north. On the 15th day the 8th lunar month, Li Jing returned triumphantly. Li Shimin celebrated the triumph of Li Jing and the troops. There was a trader from Tibet offered some round cakes to Li Shimin to congratulate victory. Li Shimin was very happy to receive this gift and introduced the round cakes to his faithful subjects. After that, the round cakes became popular both in palace and among the folks. People ate the round cakes on the 15th day of the 8th lunar month. In mooncake history, we cannot avoid mentioning Concubine Yang Yuhuan（杨玉环）of a later Tang emperor Li Longji（李隆基）. It is said it is Yang who named the round cake “mooncake”. (Yang Binhu 2015)

'''Court Cakes（宫饼）Prevailed in Song Dynasty (960-1279 AD)'''

In Northern Song Dynasty (960-1127 AD), mooncake was called “Court Cake” and was not only popular in the palace but also the folklore. Later, people gave it meaning of reunion, reflecting the good wishes for family reunion, and also deep miss of friends. The written record of the characters “moon cake” were first seen in a book of Southern Song Dynasty (1127-1279 AD), which is an important textual evidence in mooncake history. (Yang Binhu 2015)

'''Mooncake Uprising in Late Yuan Dynasty (1271-1368 AD)'''

In late Yuan Dynasty, people could not bear the cruel rule of the court. Zhu Yuanzhang（朱元璋）, the founder of Ming, united various resistance forces to prepare for the uprising. But it was hard to deliver military message secretly. Liu Bowen（刘伯温）, a subject of Zhu Yuanzhang, came up with an idea that put the note writing “Uprising on the 15th night of 8th lunar month” into the mooncakes, and then sent them to other resistance forces. On the day of the uprising, the uprising troops from different places got together and fight against the Yuan troop. Soon the uprising succeeded and Zhu Yuanzhang presented mooncakes to the ministers as gifts. It is said that since then the custom of eating mooncakes in the Mid-Autumn Festival was formed. This is an essential event in mooncake history.

'''Eating mooncakes got popular in Ming Dynasty (1368-1644 AD)'''

There is a detailed record of the mooncake from the Ming Dynasty: “Mid-Autumn Festival is on the 15th day of 8th lunar month, and people celebrate family reunion by eating mooncakes.” From the record, we can see eating mooncake in Mid-Autumn Festival has got popular in the folk. (Yang Binhu 2015)

'''Homemade mooncakes are essential for Mid-autumn Festival in Qing Dynasty (1644-1911AD)'''

According to mooncake history, eating mooncakes in the Mid-Autumn Festival has become a wide spread custom in the Qing Dynasty, and there are more historical records about mooncakes. At that time, mooncakes were mostly homemade. Many books recorded the making process of mooncake with flour, nuts, sugar and lard, etc.

'''Famous brands of mooncakes rose since 20th century'''

Since 1900s, Dao Xiang Cun（稻香村）, Lian Xiang Lou（莲香楼）, Guan Sheng Yuan（冠生园） and other mooncake brands have shown up. So far, some mooncake brands have already been over 100 years old. Nowadays, Chinese people eat mooncakes in the Mid-Autumn Festival, and present mooncakes to each other.

In recent years, the mooncakes have become more and more elaborate, and there are extremely high-priced mooncakes. As gifts, some moon cakes are luxuriously packaged, and a box of moon cakes can reach several thousand or even tens of thousands RMB.
===Mooncakes Symbolize Family Reunion===
Shaped like the full moon, the moon cake is made round. The round moon cake looks exactly like the full moon in the night sky. In ancient times, mooncakes were a kind of offering to the moon. Over the centuries, these special cakes have become the most popular food of the Mid-Autumn Festival. They are named after the moon goddess (Chang'e), who is said to make this kind of cake.

In Chinese culture, roundness symbolizes completeness and togetherness. A full moon symbolizes prosperity and reunion for the whole family. Round mooncakes complement the harvest moon in the night sky at the Mid-Autumn Festival. Mid-Autumn Festival is a time for family reunion and “round” has a similar pronunciation with “reunion” in Chinese.

The mooncake is not just a food, but more of a cultural element deeply penetrated into Chinese people’s hearts, symbolizing family reunion and embodying spiritual feelings. At Mid-Autumn Festival people eat mooncakes together with family, or present mooncakes to relatives or friends, to express love and best wishes. It is a celebration of the fullest and brightest moon of the year. The moon cake is undoubtedly a key element in the Chinese culture.

Even today, while eating moon cakes on Mid-autumn Festival, overseas Chinese miss their relatives and beloved ones in China even more, eagerly hoping to reunite with them. Mooncakes are the most iconic food of the Mid-Autumn Festival. Under China’s influence, southeast Asian countries like Singapore, Malaysia and Thailand also make it a custom to eat moon cakes on the Mid-autumn Festival.

===The Top 10 Mooncake Flavors===
Mooncake, a kind of pastry, is a popular festival food in China for Mid-Autumn Festival. Because of the different materials, especially the fillings, mooncakes come in many flavors, basically sweet or salty. Here are ten of the most popular mooncake flavors. (Qiao Fengqi 2014)

[[File:Mooncake 1.jpg]]

1.Wuren Mooncake（五仁月饼）– Mixed Nuts Mooncake

Wuren literally means five kinds of nuts or kernels such as walnut kernels, almonds, sesame seeds, melon seeds, hawthorn, red beans and so on. You will get a different taste with each bite. Wuren Mooncake is a typical and popular mooncake flavor in China. Though Chinese young people don’t like it very much, Wuren mooncake is much welcomed by the old.

2.Red Bean Mooncake（豆沙月饼）

Sweet red bean mooncake has always been a classic type that many people prefer. Through careful production, the combination of sweet bean paste and the outer skin makes the mooncake smooth and have a richer flavor. Some people don't like such a sweet taste, but a cup of tea is a good choice to go with them.

3.White Lotus Mooncake（莲蓉月饼）

The lotus mooncake is the representative of Cantonese-style mooncake. The filling is white lotus paste, which is made of the fresh lotus seeds of the year with a natural fragrance. Since the sugar is added and calories are high in lotus paste mooncake, the elderly and diabetics should not eat too much.

4.Salted Egg Yolk Mooncake（蛋黄月饼）

As it implied in the name, the filling of this kind of mooncake is the solid salted egg yolk. The unique taste makes this mooncake popular. The fresh lotus seeds paste or red bean paste are the most common combinations for mooncake fillings with egg yolks.

5.Snow Skin Mooncake（冰皮月饼）

Snow skin mooncake is a new mooncake flavor in recent years. It is small and cute, and the cake skin is crystal clear made of glutinous rice flour. It is very suitable for young people who are pursuing fashion trends. Different from other mooncakes, it needs to be stored in the refrigerator.

[[File:Mooncake 2.jpg]]

6.Minced Pork Mooncake（鲜肉月饼）

Minced pork mooncake is a traditional snack in Jiangsu, Zhejiang and Shanghai regions. The filling is fresh minced pork. The wrapper is permeated by meat juice and baked, which makes it crisp and a special taste. Meat lovers can also have a try of another meat mooncake flavor, Cantonese style ham mooncake.

7.Green Tea Mooncake（茶叶月饼）

The biggest feature of green tea mooncake is the fresh natural taste. With the taste of fresh tea leaves, the usually greasy taste of mooncake is well balanced. Green tea powder is added into the skin or the fillings. Different from other types of mooncakes, it is not overly sweet and has a certain health effect!

8.Fruits Mooncake（水果月饼）

Fruit mooncake blends the taste of fruit. The sweet but not greasy taste is loved by many people. The fillings is usually added with the freshest fruits like strawberry, orange, peach, and pineapple. The durian mooncake is the popular fruit mooncake flavor in recent years.

9.Flower Cake（鲜花饼）

Flower mooncakes have been well received in the market in recent years. The fillings are added with flowers, bringing a fragrant taste. The variety is quite rich and the most popular ones are rose and sweet-scented osmanthus.

10.Yam Mooncake（芋泥月饼）

Yam mooncake is also a new mooncake flavor. The filling is sweet yam paste. The mucus protein contained in the yam can improve the body’s resistance. So the yam mooncake is popular among those who want to keep healthy. Also, it has a great taste.

===12 Types of Regional Mooncakes in China===
In China, traditional mooncakes are classified into 4 types depending on the origin, sales volume and features: Cantonese-style, Beijing-style, Suzhou-style, and Chaoshan-style. As time passed by, more types appeared: Hong Kong-style, Shanghai-style, Yunnan style, Shaanxi style… (Qiao Fengqi 2014)

1.Cantonese-style Mooncake（广式月饼）

[[File:Guang.jpg]]

Flavor: sweet or salty with thin crust

The characteristics of Cantonese-style mooncake are thin crust and large fillings. The stuffing is mainly of lotus seed paste, coconut paste, yolks, bean paste, jujube paste or various meat. Cantonese-style moon cakes taste soft, and it is better to eat them together with tea.

2.Chaoshan-style Mooncake（潮汕月饼）

[[File:Chaoshan.jpg]]

Flavor: soft with crispy crust, oily but not fatty, sweet or salty but not greasy

The Chaoshan-style mooncake, or the teochew mooncake, is a famous traditional flaky mooncake in the Chaoshan area of Guangdong Province. According to the different types of stuffing, it can be divided into mung bean mooncake, black bean mooncake, seafood mooncake, yolks mooncake, etc. The kernel inside stuffing is commonly yolks or seafood.

3.Beijing-style Mooncake（京式月饼）

[[File:jing.jpg]]

Flavor: sweet

The most distinctive feature of the Beijing-style mooncake is the cooking method handed down from ancient royal palace; the process of selecting materials and making is quite complicated. The fillings are usually made from nuts, sweet-scented osmanthus, and rock sugar, etc. It is exquisite in appearance, and the crust is thin and crispy, attracting a lot of foodies.

4.Shanghai-style Mooncake（上海月饼）

[[File:shanghai.jpg]]

Flavor: salty

It is a kind of baked flaky mooncake, and it tastes the best soon after it is cooked. The stuffing of it is entirely fresh pork, which tastes smooth. The crust is crispy, and the rich gravy penetrates into it, making it extremely delicious.

5.Hong Kong-style Mooncake（港式月饼）

[[File:gang.jpg]]

Flavor: salty sweet

The traditional mooncake representative in Hong Kong is stuffed of white lotus seed paste with double yolks. It is exquisite of the materials and making process. The crust is thin, the thickness is even, and the two salted golden yellow yolks are neatly centered with silky red oil. The mooncake tastes smooth and delicious. There are also other popular Hong Kong-style mooncakes, such as five nuts, salty meat and ham mooncake.

6.Suzhou-style Mooncake（苏式月饼）

[[File:su.jpg]]

Flavor: sweet or salty, heavily oily but not greasy

Suzhou-style mooncake is featured with crispy taste. As for the sweet ones, the stuffing are mainly rose petals, five nuts and bean paste, which is tightly pressed. And it is sweeter than mooncakes of other regions. For the salty ones, Suzhou-style mooncakes can be divided into spiced salt mooncakes, ham mooncakes, shallot mooncakes, shrimp mooncakes, etc.

7.Yunnan-style Mooncake（滇式月饼）

[[File:dian.jpg]]

Flavor: sweet and a little salty, oily but not greasy

Yunnan-style mooncake is also called ham mooncake because the stuffing is made from Xuanwei ham, a specialty in Yunnan, with honey, lard and white sugar. Made of purple wheat flour from Chenggong in Kunming, the crust is a little hard. After baking, its surface is golden yellow or brownish red, oily and gorgeous. This traditional mooncake has a fragrant flavor of ham.

8.Anhui-style Mooncake（徽式月饼）

[[File:hui.jpg]]

Flavor: sweet or salty

Auhui-style mooncake is featured with its thin crust and full stuffing. It is a smaller than other types of mooncake, which makes it delicate. The crust is made by mixing of fine flour and vegetable oil. The stuffing is made of various vegetables which are marinated and mixed with fresh pork oil and white sugar. The representative one is the prune mooncake.

9.Quzhou-style Mooncake（衢式月饼）

[[File:qu.jpg]]

Flavor: sweet and crispy with a flavor of sesame

Sesames is the most important material of Quzhou-style mooncake. People use sesames as the stuffing or decorate the skin with sesames. On the larger-sized ones, people would paint auspicious images with colored sesames.

10.Shaanxi-style Mooncake（秦式月饼）

[[File:qin.jpg]]

Flavor: sweet but not greasy

Shaanxi-style mooncakes are mainly vegetal, locally called Crystal Cakes. The stuffing is the mixture of sugar, nuts, animal oil or vegetable oil, preserved fruits, roses and orange peels. It is more desiccated and the crust is thicker than other types of mooncake.

11.Shanxi-style Mooncake（晋式月饼）

[[File:jin.jpg]]

Flavor: crispy, mainly sweet

For traditional mooncakes in Shanxi-style, the ingredients of crust are mainly oil, sugar and eggs, and the stuffing can be jujube paste, five nuts, red sugar, osmanthus, etc. Shanxi-style mooncake is featured with its sweet taste. The most common and most popular is the sugar mixed mooncake; different sugars are added into both crust and stuffing.

12.Fengzhen Mooncake（内蒙古丰镇月饼）

[[File:fengzhen.jpg]]

Flavor: sweet

There is no stuffing in Fengzhen Mooncake of Inner Mongolia. People mix the fried linseed oil, syrup of red sugar and flour into a dough, and grow it. Then it is divided into smaller doughs, pressed and baked with sesames and linseed oil on the surface. The Fengzhen mooncake tastes better two or three days later after baking, when the color becomes darker.

===Mooncake recipe–(Quick and easy)===
Mooncake is the indispensable Chinese dessert served during the mid-autumn festival which falls on the 15th of August of the Chinese lunar calendar. The style and purpose of this festive dessert have evolved considerably in the modern day. Various cake shops and restaurants produce mooncakes with different varieties and designs, packed in deluxe boxes with elegant decoration. It has also become a fad to purchase mooncake as a gift among relatives, friends, and business associates to celebrate the Mid-Autumn Festival. As a result, a large number of overpriced moon cakes have appeared in the market every year due to high demand. The selling price is many folds compared to the cost of the ingredients. Therefore, homemade mooncakes would be a good choice which is low cost and can also show your sincerity, hard work, and effort. Below is an easy mooncake recipe for beginners to make red bean paste mooncake with yolk, one of the most popular flavors.

'''Preparation'''

1. Make Crust: Mix invert syrup or honey, alkaline water and peanut oil well, add flour and mix well again, then knead the mixture into a dough, and let the dough grow for about 3 hours. If there is no alkaline water, you can make 2g of baking soda dissolve in a little water and use it.
2. Make Egg Yolk: Crack the eggs, take out the egg yolks and bake them for 5 minutes at 150℃ (300℉) in an oven.
3. You can also make red bean paste by yourself: soak about 100g red beans a day in advance, boil them in a pressure cooker, then add 50g brown sugar to the cooked red beans and crush them with a spoon. If you want it to be drier, fry it.

'''Directions'''

Step 1. Divide the dough into smaller pieces each 25g and divide bean paste each 30g.
Step 2. Flat the bean paste, put in an egg yolk and wrap it into a ball. A filling ball is fine. Make the rest fillings like this.
Step 3. Flat the flour dough, put in a filling ball, wrap it and shape the whole into an oval.
Step 4. Sprinkle some flour into the moon cake mold evenly, then put the oval dough into the mold and shape the dough. Follow step 3 and step 4 of this mooncake recipe to make the rest.
Step 5. Put a piece of oil-absorbing paper on the baking tray, then put the shaped mooncakes on it.
Step 6. Preheat the oven for 5 minutes, bake them for 5 minutes at 170℃ (340℉).
Step 7. Brush egg liquid on the mooncakes and then bake them again in the oven for 15 minutes.

'''Ready'''

Take them out of the oven and serve them on a fine plate. The red bean paste mooncake with yolks are ready to be enjoyed. It tastes better after being stored in sealed fresh-keeping bags for 2 days.

'''Tips on How to Make Mooncakes'''

1.The ratio of pastry to filling is critical. A good mooncake should have a thin layer of pastry with plenty of fillings. The ratio should be one part of pastry to two parts of fillings. A skillful chef can use even less pastry to encase the filling.

2.Marinate egg yolks in cooking wine for a few minutes to remove the unwanted smell before baking them.

3.The red bean mooncake recipe provide a common cooking method. Instead of red bean paste, the sweet dough can be stuffed with other nuts or seed paste.

'''How to Store Mooncakes'''

1. Generally, five nuts mooncakes can be kept for about 15 days at a temperature below 25℃ (77 F) and those filled with sweet bean paste, lotus seed paste and jujube paste less than 10 days; if the temperature is higher than 30℃ (86 F), the storage period should be no longer than 7 days; for fillings of fresh meat, chicken shreds and ham, one should buy them just before eating.

2. Keep in a cool, dry, ventilated place and avoid storage in direct sunlight or near sources of heat. Chinese moon cakes contain rich oil and sugar, so both heat and humidity can cause them to go bad.

3. Store them in a separate place so they don't pick up odors from other foods.

4.Handle gently. Some types of the cookies, such as Yunnan-style, have soft, loose crusts. Any mishandling may break them.

'''Note:'''

Most mooncakes contain high sugar and oil, so are not healthy. People suffering from diabetes, high blood pressure, hyperlipoidemia, stomach disease, hepatobiliary disease, and the overweight, old and little kids should not eat too much or stay away from them.

To decrease the harmfulness the high fat and calorie bringing to our body, some foods are recommended to eat together with mooncakes, including tea, sour fruit like grapefruit, hawthorn and kiwifruit and wine. They help digest, take away fat in our body, so to avoid retention of food in the stomach and obesity. Also, do not eat too much at one time. (Luo Yiran 2010)
===Mooncake culture in Other Asian Countries===
Influenced by Chinese culture, Mid-Autumn Festival is also a traditional festival in some neighboring Asian countries. However, the customs are not quite the same in different countries. (Shen Haibin 2007)

'''Singapore'''

To Singaporeans, Mid-Autumn Festival is a good time to make friendly contacts, express thanks, and give greetings and best wishes to relatives, friends, and business partners by the way of sending moon cakes. As the country is a famous tourist destination, local people never miss the chance to attract tourists. They decorate Orchard Road, river banks, Chinatown, Chinese Garden and other places to welcome tourists worldwide.

'''Malaysia'''

Eating moon cakes, appreciating the moon and parading with lanterns have been the Mid-Autumn Festival custom of Malaysian Chinese for generations. During the festival, old-brands promote moon cakes; special counters are set up in shopping malls to sell moon cakes; newspapers, TV programmers are thick with moon cake advertisements. Besides the parade, there may be lion and dragon dances, fancy car parades and other celebrations.

'''Japan'''

The Japanese also celebrate the festival on the 15th day of the 8th lunar month. When the festival was introduced into Japan from China about 1,000 years ago, the custom of appreciating the moon while holding a party formed, named appropriately “Moon Appreciation Party”. Although the Chinese lunar calendar is not used in Japan any more, the custom of moon appreciation is kept in many places of the country. The festival food in Japan is not moon cake, but glutinous rice cake.

'''Thailand'''

According to Thai legend, on the night of Mid-Autumn Festival, the Eight Immortals go to the Moon Palace to send peach-shaped cakes and birthday greetings to Guanyin (a Bodhisattva). So their offerings usually include some peach-shaped cakes. All family members, men and women, the young and old, then sit around the table with offerings to worship the moon, pray and exchange greetings.

'''Philippines'''

During the festival, Chinese towns and Chinese colonies all over the country are decorated with lanterns and colorful banners, especially the China town in Manila. Various home-made and imported moon cakes are sold in lots of shops. Activities like dragon dance parade, traditional Chinese clothing parade, lantern parade, and fancy car parade are held.

'''Vietnam'''

The leading roles of Mid-Autumn Festival in Vietnam are children. As the day approaches, markets are full of lanterns and toys in spite of moon cakes. When adults eat moon cakes and appreciate the moon on that night, children usually play around with their beautiful lanterns. During the days, people there also hold Mid-Autumn Festival competitions to see who can make the most beautiful lantern. Lion dance performances are held in some places to enhance the celebration.
===References===
*Gu Xijia 顾希佳.(2010).月亮节与人间情怀[Moon Festival and Human Feelings]. 文化艺术研究Studies in Literature and Art (04),91-95.

*Luo Yiran 骆怡然.(2010).月饼种类多食用有讲究[Diversified Mooncakes, Dainty Eating]. 广西质量监督导报Guangxi Quality Supervision Guide Periodical (08),14.

*Ou Shinan 欧石楠.(2015).月饼的传说[The Legend of Mooncake]. 农家参谋The Farmers Consultant (09),56.

*Qiao Fengqi 乔凤岐.(2014).中秋月饼的由来及其制作工艺[The Origin of Mid-Autumn Moon Cake and Its Making Process]. 焦作师范高等专科学校学报Journal of Jiaozuo Teachers College (01),32-35+49.

*Shen Haibin 沈海滨.(2007).亚洲各国的中秋节[Mid-Autumn Festival in Asian Countries]. 世界文化World Culture (10),51.

*Yang Binhu 杨斌鹄.(2015).月饼名称演变史[The History of Mooncake Names]. 人才资源开发Human Resource Development (19),34.
===Terms and Expressions===
the 15th day of the 8th month of the Chinese lunar calendar 农历八月十五

the Elixir of Life 长生不老药

Mongols 蒙古人

Taishi Cake 太师饼

Wulnuts Cake胡饼

Court Cake 宫饼

Wuren Mooncake 五仁月饼---Mixed Nuts Mooncake

Yam Mooncake 芋泥月饼

Shaanxi-style Mooncake 秦式月饼

Shanxi-style Mooncake 晋式月饼

hyperlipoidemia 高血脂

hawthorn 山楂
===Questions===
1.When is Mid-Autumn Festival?

2.What is mooncake?

3.Why are mooncakes round?

4.Why do we eat mooncakes on Mooncake Festival?

5.What are the 10 most popular mooncake flavors?
===Answers===
1.Mid-Autumn Festival is on the 15th day of the 8th month of the Chinese lunar month.

2.Mooncake is the representative food of the Mid-Autumn Festival. It is a kind of round cookie with various fillings and different artistic patterns on the surface, depicting the legends of the festival and conveying auspicious meanings.

3.In Chinese culture, roundness symbolizes completeness and togetherness. Mooncakes are generally made round to symbolize prosperity and reunion for the whole family.

4.On the festival day, all families eat mooncakes to celebrate the family reunion. The mooncake is not just a food, but more of a cultural element deeply penetrated into Chinese people’s hearts, symbolizing family reunion and embodying spiritual feelings.

5.Wuren mooncake; Red bean mooncake; White lotus mooncake; Salted egg yolk mooncake; Snow skin mooncake; Minced pork mooncake; Green tea mooncake; Fruits mooncake; Flower mooncake; Yam mooncake.

20220630 Culture 1

2022-07-05T06:45:13Z

Zhang Minfeng:

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 1==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

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

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

<center>卞王倩</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Example 5 昨天捉着的嫌疑犯，经警察局证明无罪，已被释放了。

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

There are many other similar examples:

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

a.Be murdered or killed b.被害 c.遇害

Be buried 被埋葬下葬

Be regarded as 被视为算是、算得上

Be guided 被领着有人领着

Be passed 被通过予以通过

Be protected 被保护受到保护

Be entrusted 被委托受人之托、受到委托

Be reduced 被处于……（某种不好的境地）沦为

Be reported 被报道据报道

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

'''(4)Longer Sentences'''

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

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

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

'''(5)Noun Plague'''

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

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

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

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

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

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

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

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

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

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

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

有钱的单身汉总想要娶位太太，这是一条举世公认的真理。

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

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

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

但人要写他最心爱的对象，不论是人是地，是多么使他为难的工作？

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

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

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

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

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

我不知道他们给了我多少日子，但我的手确乎是渐渐空虚了。

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

'''(9)Abuse of “的”'''

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

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

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

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

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

a. 她是厚道的、乐观的、温柔的、和蔼的以及大度的。

b. 她心地厚道，为人乐观，性情温柔，待人和蔼，气量又大。

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

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

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

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

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

Benign Europeanization can be seen from such aspects as follows:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* Lin Yanmei林燕媚.(2011).从接受理论看清末民初翻译[Translation in the Late Qing and the Early Republic of China from the Perspective of Reception Theory]. 吉林省教育学院学报Journal of Educational Institute of Jilin Province,(03): 51.

* Liu Zhengbing, Dingyuanyuan刘正兵、丁媛媛.(2020).当代汉语语法的欧化现象分析[Analysis of the Europeanization of Contemporary Chinese Grammar]. 温州大学学报（社会科学版）Journal of Wenzhou University(Philosophy and Social Science)，(02):21.

* Peng Xuan彭炫.(2003). “欧化”与翻译——读王力先生《欧化的语法》有感[“Europeanization” and Translation-On Wang Li's The Europeanized Chinese]. 广西大学学报， Journal of Guangxi University (Philosophy and Social Science),(02): 88.

* Si Guo思果.(2002).''译道微探''[On Translation]. 北京：中国对外翻译出版公司 Beijing: China Translation Corporation，第88、90、209页；''翻译新究''[On Translation Anew] 北京：中国对外翻译出版公司 Beijing: China Translation Corporation,第99页.

* Wang Hongzhi王宏志.(2000).''翻译与创作：中国近代翻译小说论''[Translation and Creation: Treatise on Modern Chinese Fiction in Translation]. 北京大学出版社 Peking University Press，第43页.

* Wang Li王力.(1954).''中国语法理论''[The Europeanized Chinese] 上海：中华书局出版 Shanghai: Chung Hwa Book Company,第309、340、352、378页.

* Yu Guangzhong余光中.(2014).''翻译乃大道''[On Translation]. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press,第60、129页.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'''2.On headgear'''

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

'''2.1 Zan'''

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

'''2.2 Chai'''

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

'''2.3 Buyao'''

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

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

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

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

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

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

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

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

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

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

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

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

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

Some scholars (especially literary researchers) have questioned the approach of mutual verification of poetry and history. In many cases, actually, the poet can exaggerate and imagine the narrative material according to the needs of artistic expression, creating a new version of the historical facts that will greatly enhance the artistic impact of the poem and further deepen the impression and understanding of the artistic recipient of the historical events described. In this sense, it would be too harsh and unfair to poetry as a work of art to examine the poems in a completely historiographical way, or to trace whether the time, people and geography narrated in the poems are faithful to historical truth. In ''The Everlasting Regret'', in addition to revealing information about "special historical facts" such as time, place and people, the poem also contains "universal historical facts" such as the characteristics of the Tang people's lifestyle, the distinctive aesthetic colours of the Tang period and the sentimental feelings towards the prosperous world. These are currently new areas of research on ''The Everlasting Regret'', and need to be studied in depth in conjunction with historical sources. Only in this way can we get a clearer insight into and a deeper appreciation of the "splendor of the Tang Dynasty" as outlined in ''The Everlasting Regret''.

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

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

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

<center>Chen Luyao</center>

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

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

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

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

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

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

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

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

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

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

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

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

===Contents in Different Periods===

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

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

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

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

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

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

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

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

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

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

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

The first is the value of interpersonal communication: benevolence.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

matriarchal society 母系社会

improve virtues 敬德修德

benevolence 仁

harmony between heaven and man 天人合一

ideal personality 理想人格

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

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

Be filial to elders and friendly to others 孝亲泛爱

individualism 个人主义

collectivism 集体主义

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

patriotism 爱国

be dedicated to work 敬业

be honest 诚信

be friendly 友善

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

2.What is the overall direction of these values?

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

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

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

3.Yes.

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

<center>Cui Xiaofan</center>

===Introduction===

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

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

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

===Nine Main Parts of the China Central Plain Culture===

The China Central culture is a combination of the material and spiritual culture of the Central plain region, covering all aspects, and many of which have been passed on as the mainstream culture of the Chinese nation to this day. In terms of content, this kind of culture can be roughly divided into the following categories.
2.1 Prehistoric Culture
Prehistoric culture. Prehistoric culture refers to the human culture before the emergence of writing. The prehistoric culture in the Central Plains region is very rich, with a large number of sites related to the Peiligang culture of the middle and late Neolithic period 8,000 years ago, the Yangshao culture of 7,000 years ago, the Longshan culture of 5,000 years ago, and the Erlitou culture of 4,000 years ago, all found in Henan. The continuous and large-scale occurrence of these prehistoric sites in Henan fully proves that Henan has always been in the leading position in China's prehistoric civilization.
The Pei Ligang culture, Yangshao culture and Longshan cultural sites in the Neolithic era of the primitive society were found archaeological achievements here. The earliest record of these cultures were seen in 1324 BC, and the Book of Songs, the Analects of Confucius, the Classic of Mountains and Seas and other works have recorded this place. In 526 BC, Confucius and Lord Ye discussed the policy of governing the country here, leaving a famous saying that “those who are near will be pleased, those who are far will come”.
Since the middle and late period of Yangshao culture, the number and scale of settlements in various places had expanded steadily and finally reached its peak until the period of Longshan and Erlitou culture. With the growth of settlements and population, agriculture and livestock breeding had also developed rapidly. Animal and plant archaeological research shows that the mature rice and millet mixed agricultural economic form and pig-based livestock breeding industry had developed since Yangshao culture in the Central Plain.
From the late stage of Yangshao culture, urban sites began to appear in some regional center settlements. By the Longshan culture period, the discovery of prehistoric city sites was quite common in all parts of the Central Plain. According to the archaeological inference, the construction of such a city site requires the organization and mobilization of several settlements to complete together. It can be seen that the central settlement already has a considerable degree of social organization and management functions.
2.2 Totem Culture
Dragon is the symbol of China, signifying qualities such as auspiciousness, wisdom, courage, dignity and so on. To this day Chinese still call themselves the heirs of the dragon, which shows that the dragon is not only a national symbol in China, but also a spiritual one. Henan is known as the hometown of dragons, and archaeologists have found a large number of dragon-shaped artifacts in Henan, the most famous being the Puyang "Benglong" (6400 years ago), which is known as the "first dragon in China". Turquoise dragon-shaped artifacts dating back 3,700 years were also found at the Erlitou site, which is known as the "Chinese dragon".
During the Western Zhou Dynasty, Pingdingshan, Henan province was the fiefdom of the Marquis of the King of Wu, and Ying State took the eagle as the totem, so Pingdingshan City was also known as Eagle City.(曲）
The pottery of Erlitou culture is mainly gray pottery. The shallow scratches include dragon patterns, snake patterns, fish patterns, tadpole patterns, animal surface patterns and human-shaped patterns, other patterns like clouds and thunder patterns, circle patterns and petal patterns.

2.3 Ideological Culture
During the Spring and Autumn Warring States Period, princes competed for hegemony in the Central Plain, which promoted the emergence and development of the thoughts of hundreds of thought. Confucius was the founder of Confucianism. His lectures, lobbying and other activities are mainly carried out in the Central Plain. Song agency was founded by the brothers Cheng Hao and Cheng Yi, who pushed Confucianism to a new level. Taoism's thought of innocence, Mohism's thought of "universal love, non-offensive" were all formed in the Central Plain.
2.4 Chinese Character Culture
Chinese characters are one of the oldest characters in the world, and the important nodes of their creation and development were completed in the Central Plain. It was first written by Cangjie during the Yellow Emperor period, and now the Cangjie relics are found in Nanle, Yucheng, and Kaifeng, Henan Province. Oracle found in Anyang, Henan Province is the earliest systematic script found in China and has important research value. Li Si (Shangcai, Henan) in the Qin Dynasty helped Qin Shihuang to complete the important tasks of "same script" and created small seal fonts, which was the first national standardized font in Chinese history. Xu Shen (a native of Luohe, Henan) wrote the world's first dictionary, Shuowen Jiezi, and systematically introduced the six writing rules of Chinese characters. The world-famous movable type printing originated in Henan. The computer font "Song Style Character" we are now using is said to have been created by Qin Hui in Kaifeng, Henan. The five-stroke font input method was invented by Wang Yongmin from Henan Province. To a certain extent, the development history of Chinese characters in the Central Plain is a history of the development of Chinese characters.
2.5 Science and Technology Culture
Science and technology culture. In ancient times, the Central Plain was the center of development of science and technology in China. It is said that the Yellow Emperor's concubine Leizu invented the method of planting mulberry and raising silkworms, and now Xiping, Henan Province, was named the Township of Leizu Culture in China.
The Houmuwu Tripod excavated in Anyang, Henan Province, and the Lotus and Crane Square Hu excavated in Xinzheng, Henan Province, represent the most advanced bronze smelting technology of the time. The compass, paper-making and gunpowder, among the four great inventions of China, all originated in Henan. The earliest form of compass was Sinan, and the earliest spoon diagram of Sinan was unearthed in Nanyang, Henan; the earliest use of gunpowder for military practice also occurred in the Central Plain during the Han and Tang dynasties; Cai Lun invented paper-making method in Luoyang in the Eastern Han Dynasty. The stargazing platform in Dengfeng, Henan, and the Zhougong Scenic Observatory are the oldest existing astronomical structures. In the Tang dynasty, the idea of "stars on their own" was first proposed by Monk Yixing (a native of Nanle, Henan), more than 1,000 years before British astronomers made a similar claim.
2.6 Art Culture
In terms of music, the Central Plain is one of the three major cradles of Chinese music culture. The Jiahu Bone Flute, unearthed in Wuyang, Henan Province, is known as the "First Chinese Flute" and is the earliest musical instrument found in China, dating from 9,000 to 7,700 years ago. In this area，Ge Tian's music of the ancient tribe, the music and dance "Da Xia" of the Xia Dynasty, Shennong piano making, the rock of the Shang Dynasty, and the songs and dances of the Shang and Zhou Dynasties were generated. In the archaeological activities in Henan Province, portrait bricks engraved with bell and flute and drum bands, as well as a large number of musical materials in the Song and Yuan Dynasties, reflecting the continuous inheritance and development of the music culture of the Central Plain.
In terms of drama, Youling, the predecessor of Chinese opera, appeared in the Xia Dynasty, and Nuoyi( 傩仪） existed on a large scale in the Shang and Zhou dynasties. During the Han, Sui and Tang Dynasties, Luoyang, Henan Province was the active center of acrobatics or Baixi(百戏）; Kaifeng, Henan Province, was the birthplace of Song operas; Henan opera ranked first among various local operas in China, and it is still inherited and innovated constantly on a large scale so far.
In terms of painting, the painting art of the Central Plain began in the Neolithic Age, and a large number of valuable murals, silk paintings, stone portraits, etc. have been excavated in the historical sites of the Central Plain. During the Northern Song Dynasty, the painting level in the Central Area had reached the peak of the whole country, and the most famous work was the Riverside Scene at Qingming Festival based on Bianliang (now Kaifeng, Henan).
2.7 Poetry Culture
The Central Plain is the birthplace of Chinese literature. Among the 15-nation style of The Book of Songs-China’s first collection of poems, the eight national styles come from the Central Plain, accounting for more than half of the total.
During the Eastern Zhou Dynasty, Luoyang historians sorted out the earliest collection of prose in China-The Book of Documents. During the Han and Wei Dynasties, there was a saying that "half articles in the Han and Wei dynasties originated in Luoyang”. and the poetic style of Cao’s family(Jian’an Fenggu) was also born in the Central Plain. During the Western Jin Dynasty, Zuo Si's "Ode to the Three Capitals" handed down the good story of "Luoyang paper is expensive". Among the more than 2,000 poets in the Tang Dynasty who left their names, Henan people accounted for one fifth.
2.8 Martial Arts/Wushu
Shaolin Temple, Dengfeng, Henan Province, is now a famous cultural brand in Henan, and Shaolin Kung Fu is even more famous all over the world. Chen's Taijiquan in Jiaozuo, Henan Province is an important part of Taijiquan in China, also well-known in the world at present.
To study Chinese martial arts culture, we must study the martial arts of the Central Plain, because the Central Plains gave birth to two famous boxing species in the world, namely Songshan Shaolinquan, Chen's Taijiquan in Wen County, and the Xijia Boxing and "Zhongqi Boxing" founded by Nai Zhou during the Kang and Qian period，which are the treasures of the Central Plain martial arts culture. When people talk about Kung Fu, they often say that "the world's Kung Fu comes out of Shaolin"; when people compete with martial arts friends in a mild manner, Chen’s Taichiquan is also naturally talked about. Chinese Wushu pays attention to "Qigong", and an important work that systematically discusses Wushu Qigong is the "Zhongqi Theory" written by Pei Naizhou, a priest of Rongyin, which is also the essence of Chinese Wushu culture.
Wushu in the Central Plain has a long history, rich culture, profound connotation, and profoundness and breadth, which is a valuable cultural heritage constantly accumulated and developed by the people of the Central Plain in their long-term life and practice. According to the statistics of the "Chinese Wushu Atlas", there are 129 martial arts styles in China. A few were initially formed as a system before the Qing Dynasty, and most of them were formally formed in the Qing Dynasty. The different schools of Chinese martial arts are mostly based on the regional culture, and are bred from the regional culture. "The origin is orderly, the boxing principle is clear, the style is unique, and it is a self-contained system." Among the many schools of Chinese martial arts, there are more than 40 types of boxing that have been formed and popular in Henan Province.
Although regional culture is a cultural type marked by geography, its formation and development are inseparable from the historical environment and cultural context. Central Plain martial arts is a characteristic cultural form that grows in the vast Central Plain.
In the process of its development, it has been deeply influenced by political, economic, military, scientific and technological, educational, cultural, artistic, folklore and other factors in different periods in the Central Plain, and has gradually formed, completed and improved in these specific historical and cultural atmospheres.
Today, the martial arts culture has been listed as an intangible cultural heritage, which has attracted more and more people's attention and preference. Shaolin Kung Fu and Taijiquan have been included in the first batch of intangible cultural heritage lists in the country, and have been further disseminated and promoted. The Central Plain Wushu integrates into Chinese traditional culture, so that it not only has a profound cultural heritage, but also has the distinctive characteristics of devine skills, magical and wonderful. It enriches the connotation of Chinese martial arts culture, enhances some qualities of Chinese martial arts culture, and sublimates the humanistic spirit of Chinese martial arts culture, as well as owns a higher level and taste of cultural spiritual realm, which is the reason why the general public and international friends love and learn the Central Plain Wushu.

2.9 Medical Culture
In terms of medicine, Yellow Emperor is recognized as the inventor of traditional Chinese medicine, and the Inner Canon of Huangdi （黄帝内经）plays an important role in the history and development of traditional medicine. The Central Plain brings together many masters of traditional Chinese medicine and giants of traditional Chinese medicine. The Theory of Typhoid and Miscellaneous Diseases (伤寒杂病论）written by Zhang Zhongjing (now from Dengzhou, Henan) is still one of the main basic courses offered by domestic traditional Chinese medical colleges.
The Yellow Emperor's Internal Classic: The publication of the Inner Canon of Huangdi during the Spring and Autumn Period and the Warring States Period marked the formation of the theoretical system of acupuncture and moxibustion，which is the first summary of acupuncture academics in history. Most contemporary researchers of the Inner Canon of Huangdi believe that the this masterpiece was written in the Central Plain. The theoretical system of acupuncture and moxibustion formed in the Central Plain directly guided the academic innovation and development of later generations.
For example, the second comprehensive summary of acupuncture and moxibustion is "Acupuncture and Moxibustion Jia and Yi Classic" (written by Huangfu Mi of Jin Dynasty) and the third "Complete of Acupuncture and Moxibustion" (written by Yang Jizhou of Ming Dynasty), both of which are based on the Inner Canon of Huangdi to compile.
Zhang Zhongjing’s The Theory of Typhoid and Miscellaneous Diseases: The medical saint Zhang Zhongjing (Nanyang native in Henan province) founded the six classics dialectics. In this book, he not only left many effective classic prescriptions for later generations, but also advocated the combination of acupuncture and medicine, as well as proposed acupuncture, moxibustion, smoking, burning acupuncture, and warming acupuncture, which had a significant impact on later generations of physicians.
Cui Zhiti and "Moxibustion Prescriptions for Bone Steaming Diseases": Cui Zhiti (615-685), a medical scientist in the Tang Dynasty, was born in Yanling (now under the jurisdiction of Henan). Good at moxibustion bone steaming method. In this book, the method of selecting "Sihua Points" is described in detail and the map of acupoint selection is attached，which was adopted by later doctors to treat this series of disease. There are different acupuncture and moxibustion treatment methods in most of his works. He also compiled the book of "Moxibustion Method for Hemorrhoid".
Wang Huaiyin and "Taiping Shenghui Prescription": Wang Huaiyin, a medical scientist in Song Dynasty, was born in Juyang, Songzhou (now Shangqiu, Henan). In 992 AD, he and other physicians compiled 100 volumes of "Taiping Shenghui Prescription", which contained a large number of acupuncture and moxibustion contents, mainly concentrated in volumes 99 and 100. Volume 99 is The Classic of Acupuncture and Moxibustion, Volume 100 is The Classic of Moxibustion (also known as the Classic of Moxibustion in Mingtang).
Zhang Congzheng: Zhang Congzheng (about 1156 to 1228), one of the four great masters of Jin and Yuan Dynasty, was born in Kaocheng (now Lankao County or Minquan County in Henan Province). In addition to using drugs to treat diseases, Zhang was also good at acupuncture, Bianstone shooting, fumigation, ironing, massage, guidance, qigong and other treatment methods. He is especially good at piercing the collaterals and draining blood, which highlights the application of the ideas of "breaking down" and "removing evil" in acupuncture. Zhang's bloodletting method had a great influence on later generations, who was an outstanding physician daring to innovate and he was also a master of the Gengxia School, who had made outstanding contributions to the development of traditional Chinese medicine.
The above shows that many traditional Chinese medicine technologies originated in the Central Plain. Many physicians in this region have written a large number of acupuncture works, which had played an important role in the development of acupuncture academics and made important contributions to the development of Chinese medicine and world medicine.

(10) Food Culture
In terms of diet, Henan cuisine is the oldest cuisine in China. It began in Xia and Shang Dynasties and was designated as a national banquet dish in the early days of the founding of the People's Republic of China.
The book "Exploring Henan", edited by Wang Ying and published by Beijing Publishing House, uses a variety of pictures to present a food map with unique Henan characteristics for readers from the perspective of sightseeing and tourism，combines Henan's tourist attractions with the specialties of various regions, and vividly displays Henan's local food culture.
The book "Exploring Henan" consists of eight parts. The first part takes Zhengzhou, the capital city of Henan Province, as the introduction object. On the basis of studying Zhengzhou's geographical location and customs, it makes a comprehensive discussion from five aspects: eating, housing, transportation, play and shopping, focusing on Zhengzhou’s local cuisine, such as stewed noodles, mutton soup, jar meat, etc., which fully highlights Zhengzhou's Regional characteristics; the second part transitions to Kaifeng, a neighboring city in Zhengzhou. Kaifeng not only has a long history and civilization, but also has a strong and distinctive food culture, such as soup dumplings, pot stickers tofu and lotus cakes； the third part expounds the peony city - Luoyang, whether it is pulp noodles, even soup slices or Horseshoe Street’s wontons, they fully demonstrate the gourmet characteristics of “soaked in soup and water" in Luoyang area; the fourth part focuses on the introduction of Laozi's hometown, Zhoukou city, where the main delicacies include Xiaoyao Town Hu maeuntang soup, Baiji steamed bun and grainsed fish; the fifth part shows the food culture from the perspective of Shangqiu City in eastern Henan, introducing delicacies such as water-flavored buns, white sugar fermented bean curd and whistle soup; the sixth part is the city of Jiaozuo located at the foot of Taihang Mountain, whose donkey soup is a masterpiece of Jiaozuo cuisine. the last two parts respectively introduce Nanyang and Xinyang, two water-adjacent cities, including Nanyang delicacies such as Wozi noodles, steamed vegetables and Jiangmi lotus, as well as Xinyang delicacies such as stuffed pot meat and beef tripe.

===Main Characters of Central Plain Culture===
3.1The Root of Chinese Culture

The history of the Central Plains has a long history, running through the formation and development of the entire Chinese nation, which is long and lasting. From the beginning of the Three Sovereigns and Five Emperors, Chinese civilization began to sprout in the Central Plain.
The root can be traced back to the period before the Yellow Emperor. It is said that the Central Plain first belonged to the Shennong (also known as Emperor Yan) tribe, who tasted all kinds of herbs and started farming. It is said that Fuxi, the ancestor of China, first established his capital in the Central Plain, today, there are still Fuxi Taihao Mausoleum ruins in Huaiyang, Zhoukou, and activities to commemorate him, such as the "Human Zuhui" on February 2, which shows the deep and broad inheritance of Fuxi culture. However, what is more well-known to the public is the Huangdi of the Xuanyuan clan after Shennong and Fuxi, whose capital was built in Youxiong (now Xinzheng, Henan). For the first time, the Yellow Emperor ruled the world, and the Central Plain area became the political center at that time.
In historical research, people generally agree that the creation of writing, silkworm farming, boats, medicine, rhythm, arithmetic, and technology all began in the period of the Yellow Emperor. The influence of the Yellow Emperor culture on the Chinese nation is very far-reaching, even up to now, all the Chinese, especially overseas Chinese, still calls themselves "the descendants of Yan and Huang". After Xuanyuan Yellow Emperor Period, the rule of Zhuanxu (颛顼）and Diku（帝喾） among the five emperors was also concentrated in the Central Plain. Now there are two emperors' mausoleums in Anyang Neihuang（内黄）, which are the legendary tombs of Zhuanxu and Diku.
In terms of archaeology, a large number of early human civilization cultural sites such as Peiligang Culture（裴李岗文化）, Yangshao Culture（仰韶文化）, Longshan Culture （龙山文化）and Erlitou Culture（二里头文化） have been found in Henan . It can be said that the civilization of the Chinese nation began and originated in the Central Plain. No matter from myths and legends or from archaeological achievements, the Central Plains culture is in a position of origin and matrix in the Chinese civilization system.
3.2The Inclusiveness of the Culture
The Central Plain is located in a vast area, which is fertile and suitable for human beings to live for a long time. The Central Plains had long been in the political and economic center of the Chinese nation in Chinese ancient times, therefore, the area once became a key place for rebel fighters. As the old saying goes, "Whoever wins the Central Plains wins the world”.
Many famous battles in history took place in the Central Plain, which also promoted the integration of all ethnic groups in China to some extent. In a series of political, economic and cultural exchanges such as war, alliance, migration and exchanges, the Central Plain culture has shown a trend of inclusiveness. After the cultural collision of various ethnic groups, the Central Plain culture has been absorbing the excellent parts of other cultures and continuously integrating and developing. At the same time, it has covered widely, that is, the boundary between two cultures is not obvious, and various cultures are often intertwined and dependent on each other, which makes the Central Plain culture a whole and integrated into the daily life of all walks of life. This kind of cultural sharing has enhanced the Chinese nation’s high sense of identity with the Central Plain culture. The tolerance and coverage of Central Plain culture has given itself a strong vitality, so that the culture can continue to develop and last for a long time in the long river of history.

===Conclusion===
Henan has a long history and rich culture. As an important birthplace of the Chinese nation and Chinese civilization, Henan had once been the political, economic and cultural center of the country for three thousand years out of the five thousand years of Chinese civilization history. There is a saying in historical circles: Shanghai represents the past 100 years in China, Beijing represents 1000 years, Shaanxi 3000 years, and Henan 5,000 years. For the Central Plain culture to occupy such an important position in Chinese culture, it must be inseparable from its rich and profound cultural heritage.

===References===
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[2]曲越.历史悠久始于原始社会新石器时代文化厚重裴李岗文化仰韶文化龙山文化均在此地发现名人辈出思想家墨子汉相张良唐代诗人元结的故里平顶山 “登尧山”“观古迹”“沐神汤”[J].中国地名,2013(08):72-73.
[3]武超.中原文化的内涵、特征及对外传播问题探析[J].安阳师范学院学报,2022(01):153-156.
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[5]张青波.从美食的角度宣传河南国际形象——评《寻味河南》[J].粮食与油脂,2021,34(09):166-167.

===Terms and Expressions===
Confucianism:儒家
Taoism：道家
Mohism：墨家
Peiligang culture：裴李岗文化
Yangshao culture：仰韶文化
Longshan culture：龙山文化
Erlitou culture ：二里头文化
the Book of Songs：《诗经》
the Analects of Confucius：《论语》
the Classic of Mountains and Seas：《山海经》
Puyang：濮阳
Cheng Hao and Cheng Yi：程灏，程颐
"universal love, non-offensive”：兼爱非攻
Cangjie：仓颉
Oracle：甲骨文
Li Si ：李斯
Xu Shen：许慎
Shuowen Jiezi：《说文解字》
Song Style Character：宋体字
Houmuwu Tripod：后母戊鼎
Lotus and Crane Square Hu：鹤莲方壶
Sinan：司南
Cai Lun ：蔡伦
Jiahu Bone Flute：贾湖骨笛
Wuyang：舞阳
Shennong：神农
Henan opera：豫剧
Nuoyi：傩仪
the Riverside Scene at Qingming Festival ：《清明上河图》
poetic style of Cao’s family(Jian’an Fenggu)：建安风骨
Zuo Si：左思
Ode to the Three Capitals：《三都赋》
Shaolin Temple：少林寺
Dengfeng：登封
Taijiquan：太极拳
Kung Fu：功夫
Qigong：气功
Yellow Emperor：黄帝
the Inner Canon of Huangdi ：黄帝内经
Zhang Zhongjing：张仲景
The Theory of Typhoid and Miscellaneous Diseases ：伤寒杂病论
acupuncture and moxibustion：针灸
stewed noodles：烩面
mutton soup：羊肉汤
jar meat：罐子肉
soup dumplings：灌汤包
pot stickers tofu ：锅贴豆腐
lotus cakes：莲花酥
Zhoukou ：周口
Xiaoyao Town Hu maeuntang soup：逍遥镇胡辣汤
Baiji steamed bun ：白吉馍
grainsed fish：糟鱼
Jiaozuo ：焦作
Taihang Mountain：太行山
donkey soup：驴肉汤
Zhuanxu ：颛顼
Diku：帝喾
Neihuang：内黄

===Questions===
1.What are the most representative martial arts in China?
2.Please list the prehistoric cultures in Central Plain.
3.Give the most notable medical works generated in China Central Plain.

===Answers===
1.Shaolin Kung Fu in Songshan Mountain and Chen’s Taichiquan in Wen County.
2.Peiligang, Yangshao, Longshan and Erlitou culture
3.The Inner Canon of Huangdi written by Yellow Emperor and The Theory of Typhoid and Miscellaneous Diseases written by Zhang Zhongjing

==英语笔译邓阳林 Deng Yanglin 202170081567==

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

<center>Deng Yanglin</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Creation of the genre
The ideological content is rich and profound

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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[[20220630_Culture_2]] 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
==Papers 11-15==
[[20220630_Culture_3]] papers 11-15: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577

==Papers 16-20==
[[20220630_Culture_4]] papers 16-20 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582

==Papers 21-25==
[[20220630_Culture_5]] papers 21-25: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587,

==Papers 26-30==
[[20220630_Culture_6]] papers26-30 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592

==Papers 31-35==
[[20220630_Culture_7]] papers 31-35: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597,

==Papers 36-40==
[[20220630_Culture_8]] papers36-40 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602

==Papers 41-45==
[[20220630_Culture_9]] papers 41-45: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607,

==Papers 46-50==
[[20220630_Culture_10]] papers46-50 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612

==Papers 51-55==
[[20220630_Culture_11]] papers 51-55: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617,

==Papers 56-60==
[[20220630_Culture_12]] papers56-60 56英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622

==Papers 61-65==
[[20220630_Culture_13]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627,

==Papers 66-70==
[[20220630_Culture_14]] papers66-70 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632

==Papers 71-75==
[[20220630_Culture_15]] papers 71-75: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638,

==Papers 76-80==
[[20220630_Culture_16]] papers76-80 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

20220630 Culture

2022-07-05T06:40:59Z

Zhang Minfeng: /* Papers 11-15 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]]

=This is the final exam paper website overview=
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

==Papers 1-5==
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567,
==Papers 6-10==
[[20220630_Culture_2]] 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
==Papers 11-15==
[[20220630_Culture_3]] papers 11-15: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577

==Papers 16-20==
[[20220630_Culture_4]] 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
==Papers 21-25==
[[20220630_Culture_5]] papers 21-25: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587,

==Papers 26-30==
[[20220630_Culture_6]] papers26-30 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592

==Papers 31-35==
[[20220630_Culture_7]] papers 31-35: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597,

==Papers 36-40==
[[20220630_Culture_8]] papers36-40 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602

==Papers 41-45==
[[20220630_Culture_9]] papers 41-45: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607,

==Papers 46-50==
[[20220630_Culture_10]] papers46-50 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612

==Papers 51-55==
[[20220630_Culture_11]] papers 51-55: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617,

==Papers 56-60==
[[20220630_Culture_12]] papers56-60 56英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622

==Papers 61-65==
[[20220630_Culture_13]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627,

==Papers 66-70==
[[20220630_Culture_14]] papers66-70 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632

==Papers 71-75==
[[20220630_Culture_15]] papers 71-75: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638,

==Papers 76-80==
[[20220630_Culture_16]] papers76-80 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

20220630 Culture 3

2022-07-05T06:39:56Z

Zhang Minfeng:

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 3==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

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

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

==英语笔译李思敏 Li Simin 202170081574==

==英语笔译李思源 Li Siyuan 202170081575==

<center>'''Chinese Lantern Culture'''</center>

<center>Li Siyuan</center>

===Introduction===
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.

===The origin of Chinese Lantern civilization and typical kinds===
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony.
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories.
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.

===Some common cultural implications of Chinese lantern===

Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.

===The symbolic significance of lanterns in film and television works===
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.
===References===
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.
===Terms and expressions===
Calligraphy lanterns书法灯笼
Paper-cut lanterns 剪纸灯笼
Lantern Festival 元宵节
Spring Festival 春节
carrier 载体
auspiciousness 吉祥
reunion 团圆
bumper harvest 五谷丰登
Zhao Jun Out of the Frontier 昭君出塞
the fifteenth day of the first month of lunar year 正月十五
The Legend of Zhen Huan 甄嬛传

===Questions===
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?
===Answers===
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.

==英语笔译李婷 Li Ting 202170081576==
<center>'''Language Culture in Chinese Cuisine Names'''</center>

<center>Li Ting</center>

===Introduction===
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.

===Looking at Chinese Cuisine Names through Linguistics===
'''1. Meanings of Cuisine Names'''

In terms of the meanings of cuisine names, they can be briefly divided into the following three types:

The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182)

The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)

The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)

[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]

'''2. The Naming Methods of Dish Names'''

The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:

'''2.1 Named after Ingredients and Cooking Methods'''

This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on.

Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )

'''2.2 Freehand Naming'''

Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)

[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]

'''2.3 Named after a Person or a Place'''

There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154)

In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)

[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]

'''2.4 Named after Historical Allusions'''

Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)

[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]

'''2.5 Named after Numeral Abbreviations'''

Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )

'''2.6 Named after Animals and Plants Names'''

People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )

[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]

Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )

'''2.7 Named after Precious Metals and Jade'''

Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )

[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]

'''2.8 Named after Auspicious Words'''

In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)

'''3 Rhetorical Devices in Cuisine Names'''

When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.

'''3.1 Figure of Speech'''

The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)

[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]]

These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.

'''3.2 Hyperbole'''

Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.

'''3.3 Allusion'''

The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)

'''3.4 Personification'''

Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.

===The Cultural Connotation of Chinese Cuisine Names===
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.

'''1. The Good Meanings and Visions in Cuisine Names'''

Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.

'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names'''

Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)

In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.

'''3. Regional Features in Cuisine Names'''

There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.

The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)

The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)

Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)

===The Psychological Functions of Chinese Dish Names===
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.

It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)

The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)

In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)

===Conclusion===
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.

===References===
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.

* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.

* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188.

* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.

* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.

* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.

* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.

* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.

===Terms and expressions===
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子

Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙

Cut: 切 chop：剁 split：劈 scrape：剔

Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥

Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤

stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

Quick-frying shredded Mutton with Scallion：葱爆羊肉丝

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗

Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁

Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋

Jade and White Jade, Shrimp with green Vegetable：翡翠白玉

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕

The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠

Crusade against daddy：早生贵子

Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅

The Sacred Family of the Confucian Mansion：孔府衍圣公

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会

Full of Prosperity：满园春色

===Questions===
1.How many naming methods are mentioned?

2.Who is the Four-Joy Meatballs associated with?

3.In the Chinese cuisine names, what is hibiscus often used to refer to?

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Culture 4

2022-07-05T06:37:10Z

Zhang Minfeng:

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 4==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译李颖 Li Ying 202170081578==
<center>'''Overview on Miaoyu'''</center>

<center>Li Ying</center>

===Abstract===
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.

===Keywords===
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language

===Literature Review===
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.

After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.

During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.

At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.

===Methods and Theories===
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.

===Subtitle 1：The Motivation of the Miaoyu===

In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2:Miao Nationality===
1.The Source of the Name “Miao”

There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.

2.The Distribution of Miao Nationality

(1)Domestic Distribution

The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.

(2)Overseas Distribution

The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.

The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===
1.Origin of the Miao

Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.

There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.

The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."

2.Historical formation of the Hmong

This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".

The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.

Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.

During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4: Miao Folk Beliefs===
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.

Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.

The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.

Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.

Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.

In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Subtitle 5:Overview of the Hmong Language===
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.

After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.

Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.

1.Characteristics of Xiangxi dialect

The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.

2.Qiandong dialect

The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.

3.Chuanqian Dian dialect

The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.

The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.

The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.

The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.

The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.

The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.

(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.

(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".

In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.

The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."

The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.

(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example

In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.

The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.

The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

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==英语笔译李媛 Li Yuan 202170081579==
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center>

<center>Li Yuan</center>

===Abstract===

The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.

===Key words===

phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''

===Introduction===

The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning.

There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.

===Definition of Phonetic Loan Characters (Tongjiazi)===

The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.

To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.

It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.

===Origin and Development of Phonetic Loan Characters (Tongjiazi)===

This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.

One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.

One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.

One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.

One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).

One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.

One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.

One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.

The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.

===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).

===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===

To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.

In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.

===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===

''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.

The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation).

(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)

TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.

In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.

(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)

TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.

In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.

(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)

TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”

In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.

(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》)

TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.

In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.

(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》)

TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.

In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.

(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》)

TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.

In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.

Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.

===Conclusion===

This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. In order to have a good understanding of the definition of phonetic loan characters (Tongjiazi), it is critical to grasp the differences between phonetic loan characters (Tongjiazi) and ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one is due to the need for euphemism. As for the origin and development of phonetic loan characters(Tongjiazi), which can be dated back to Pre-Qin period (Palaeolithic Age to 221 BC), and then appeared in large numbers during the Spring and Autumn and Warring States periods (770 BC to 221 BC). After Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), the former phonetic loan characters were stopped gradually and new ones were not allowed to come into being. With the advent of vernacular Chinese, Tongjiazi was discontinued completely. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts.

So, when translating such texts, translators need to acquire certain skills and obtain certain knowledge about phonetic loan characters (Tongjiazi). In addition to a certain level of reading skills and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi by asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and sums up three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, to provide some suggestions for the English translation of phonetic characters (Tongzijia) and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi. Chinese classics represent the tradition Chinese culture and language , thus serving as a valuable window through which other countries can learn Chinese language and culture. Their language style of ancient characteristics and the existence of phonetic loan characters have posed a barrier for translators to do their work, which in turn hinders the dissemination of Chinese culture and language into the world. In this regard, it is of significant importance to explore the translation of phonetic loan characters (Tongjiazi), in an attempt to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.

===References===

*Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程教材教法》], (6): 39 pp.

*Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.

*Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.

*Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程教材教法》], (4): 26-29+34 pp.

*Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].

==英语笔译李梓婕 Li Zijie 202170081580==
<center>'''Confucius Institutes'''</center>

<center>Li Zijie</center>

===Introduction===
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese.
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

===Overview of Confucius Institutes===

===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===

===Analysis of the Current Situation of Confucius Institutes (Case Study)===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answer===

==英语笔译梁思婷 Liang Siting 202170081581==

==英语笔译廖诗韵 Liao Shiyun 202170081582==

<center>'''Study on The translation Strategies of Chinese Idioms'''</center>

<center>Liao Shiyun</center>

===Abstract===
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.

===Key words===
Idioms; Fortress Besieged; Foreignization; Domestication

===Introduction===

With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.

===Literature review===

Mo Lihong and Ge Lingling (Ge 2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.
Sun, Haibo (Sun 2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (Zhang 2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (Wang 2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (He 2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (Shi 2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.

===the Translation Strategy of Idioms===
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.

(1)Foreinization and Domestication

Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.

Advantages and disadvantages of Domestication

The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture.

However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.

Advantagaes and disadvantages of Foreignization

As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.

Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.

===The Introduction of Chinese Idioms===
(1)Definition

Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.

(2) Basic features

(2.1) Fixed structure
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.

(2.2)Number-fixed words
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.

(2.3) The intergrity of meaning
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".

===The Cultural Difference between Chinese and English idioms===
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.

(1) Differences in Living Environment

Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.

(2) Differences in social customs

Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..

(3) Differences in Religious Beliefs

Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.

(4) Differences in History and Culture

Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..

===Case study===

This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.

(1) Foreinization

When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.

Example 1：艳如桃李，冷若冰霜

Translation：as delectable as peach and plum and as cold as frost and ice

Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.

Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。

Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.

Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.

Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。

Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”

Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.

(2) Domestication
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.

Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。

Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.

Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.

Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。

Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”

Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.

Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。

Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.

Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression
“were not in each other’s way”, so that the target language readers can quickly understand the original text.

===Conclusion===

Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.

===References===
[1]He Yongbin 何勇斌(2016).从文化传播视角探析汉语成语翻译[J].语文建设,73-74.

[2]Mo Lihong莫丽红&Ge Lingling戈玲玲(2012).关联翻译理论视角下的汉语成语翻译[J].湖南社会科
学,(02):189-191.

[3]Qian Zhongshu钱钟书(2003).围城[M].(美)珍妮凯利，茅国权译.北京:人民文学出版社.

[4]Shi Xiaoping史小平(2018).译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,31(19):173-175.

[5]Sun Haibo孙海波(2013).文化差异下的英汉成语翻译[J].学术探索,(08):105-107.

[6]Shuttleworth, Mark(1997). Dictionary of Translation Studies[Z]. Manchester: St. Jerome.

[7]Venuti, Lawrence(1995). The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge.

[8]Venuti, Lawrence(2006). The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press.

[9]Wang Qin王勤(2014).四字格成语中颜色词的英译策略[J].湖南社会科学,(04):225-227.

[10]Zhang Jingjing张晶晶(2014).功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,(06):26-28

20220630 Culture 2

2022-07-05T06:36:20Z

Zhang Minfeng:

20220630 Culture

2022-07-05T06:34:42Z

Zhang Minfeng: /* Papers 21-25 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]]

=This is the final exam paper website overview=
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

==Papers 1-5==
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567,
==Papers 6-10==
[[20220630_Culture_2]] 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
==Papers 11-15==
[[20220630_Culture_3]] *[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577
==Papers 16-20==
[[20220630_Culture_4]] 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
==Papers 21-25==
[[20220630_Culture_5]] papers 21-25: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587,

==Papers 26-30==
[[20220630_Culture_6]] papers26-30 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592

==Papers 31-35==
[[20220630_Culture_7]] papers 31-35: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597,

==Papers 36-40==
[[20220630_Culture_8]] papers36-40 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602

==Papers 41-45==
[[20220630_Culture_9]] papers 41-45: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607,

==Papers 46-50==
[[20220630_Culture_10]] papers46-50 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612

==Papers 51-55==
[[20220630_Culture_11]] papers 51-55: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617,

==Papers 56-60==
[[20220630_Culture_12]] papers56-60 56英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622

==Papers 61-65==
[[20220630_Culture_13]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627,

==Papers 66-70==
[[20220630_Culture_14]] papers66-70 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632

==Papers 71-75==
[[20220630_Culture_15]] papers 71-75: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638,

==Papers 76-80==
[[20220630_Culture_16]] papers76-80 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

20220630 Culture

2022-07-05T06:34:17Z

Zhang Minfeng: /* Papers 26-30 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]]

=This is the final exam paper website overview=
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

==Papers 1-5==
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567,
==Papers 6-10==
[[20220630_Culture_2]] 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
==Papers 11-15==
[[20220630_Culture_3]] *[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577
==Papers 16-20==
[[20220630_Culture_4]] 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
==Papers 21-25==
[[20220630_Culture_5]] *[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587,
==Papers 26-30==
[[20220630_Culture_6]] papers26-30 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592

==Papers 31-35==
[[20220630_Culture_7]] papers 31-35: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597,

==Papers 36-40==
[[20220630_Culture_8]] papers36-40 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602

==Papers 41-45==
[[20220630_Culture_9]] papers 41-45: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607,

==Papers 46-50==
[[20220630_Culture_10]] papers46-50 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612

==Papers 51-55==
[[20220630_Culture_11]] papers 51-55: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617,

==Papers 56-60==
[[20220630_Culture_12]] papers56-60 56英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622

==Papers 61-65==
[[20220630_Culture_13]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627,

==Papers 66-70==
[[20220630_Culture_14]] papers66-70 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632

==Papers 71-75==
[[20220630_Culture_15]] papers 71-75: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638,

==Papers 76-80==
[[20220630_Culture_16]] papers76-80 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

20220630 Culture 6

2022-07-05T06:31:36Z

Zhang Minfeng:

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 6==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Terms and Expressions===
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学

===Questions===

===Answers===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''The Differences and significance of adaptation of Folktales -- A Case study of The Legend of the White Snake '''</center>

<center>马艳焕</center>

===Abstract===
The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially stereotyped in Feng Menglong's General words of warning in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation.
In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination.

===Key words===Differences； adaptation； folktale； The Legend of the White Snake

===Introduction===
Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories.
Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times.
The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories.

===Literature Review===

===Methods and Theories===

===I. the process of adaptation of the Legend of the White Snake. ===
1. The Python incident originating from Luoyang in the Tang Dynasty.
According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles."
So he attacked it with the Tianzhu mantra, and the snake died a few days later. Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu.
2. The Legend of the White Snake in the Tang Dynasty.
During the reign of Tang Xian Zongyuan, a rich son named Li Huang met a beautiful woman in white in the East City of Chang'an.
The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days.
Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head.
The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes.
3. In the Song dialect, the Chronicles of the Three Pagodas of the West Lake, see the vernacular of Pingshantang in the Qing Dynasty.
When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken, and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart. With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den. Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas.

4. Ming Dynasty： Feng Menglong's "General words of warning to the World" and "Bai Niangzi Yongzhen Leifeng Pagoda"
It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him.
So he became husband and wife.
After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear.
Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife.
After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring.
Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Yue Leifeng, Yongzhen White and Green in the Pagoda.

5. Qing Dynasty
During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda".
The main framework of the story of the White Snake has been largely completed since then.
The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake.
Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda.
In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman.
Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late.

6. Modern adapted version.
Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939.
The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady.
Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man.
The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on.
[[File:Example.jpg]]
===II.The Differences and Reasons of the Adapted Version. ===

1. White snake image.
The evolution of the image of White Snake is mainly divided into three stages, namely demon-human-immortal.
The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake".
Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men.
The animalistic side of her transcends the human side.
The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market.
During the Ming Dynasty, the image of White Snake gradually changed from the traditional viciousness and cruelty to the gentle image in the Legend of White Snake, resulting in a qualitative change.
The storyline in the legend of the White Snake has also become more tortuous, and in the later TV series the Legend of the New White Lady, the popularity of the White Lady played by Zhao Yazhi is that she has created a perfectly idealistic female image, which is not only beautiful and considerate, but also a gentle and virtuous wife and mother.
Moreover, with high power and hanging pots to save the world, it is like the incarnation of Quan Yin Bodhisattva, completing the transformation from demon to immortal, which not only beautifies women, but also conforms to the vision of men's expectations.

2. Attitude towards women.
The change in the image of White Snake shows a change in attitude towards women.
Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status.
Bai Suzhen's active request for marriage expressed when Xu Xian took an umbrella in the Legend of the White Snake had an impact on the idea of "the orders of parents and the words of matchmakers" in Chinese traditional marriage, and expressed the idea of equality between men and women to a certain extent.
Although this view is based on Bai Suzhen's powerful and unworldly conditions, such female characters still reflect women's desire for equality between men and women.
At the end of the story, Bai Suzhen ends with the suppression of Bai Suzhen under the Tower of Lefa, and the White Snake does not end well. From another point of view, it can also be regarded as the suppression of women's independent spirit by the feudal hierarchical society.
The development of the ideology and culture of the times and the change of the status of men and women also impacted the feudal thought to a certain extent.
[1] Kunagiwusman.
The evolution of the story of the Legend of the White Snake in folk literature and its literary value [J].
Northern Literature, 2017 (32): 178179.
It can be seen that the white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the harmful demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. It goes without saying.
Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties, so the image of White Snake was more inclined to wives, expressing people's vision of a better family life.
Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification.

3. storyline.
In the process of evolution, the story of the White Snake is constantly enriching and deepening.
From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "Shuiman Jinshan Temple", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete.

4. The story ends.
It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten.
White Snake evolved from a tragedy that was suppressed at first to a happy ending for family reunion later, and some versions were even adapted into the most idealized realm, which made interracial love break through the shackles of the traditional concept of "ethical norms". It expresses the idea that good is rewarded with good.

5. The ways of spreading folktales.
The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television.
At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added.
In the past two decades, the rise of National Cartoon has promoted the development of anime films.
Oral narration is not only the starting point of White Snake narration but also the "foundation" which can be promoted to the classic.
Written narrative White Snake Biography is a literati narrative based on folk "ability" on the basis of oral narration.
Among them, the intervention of popular literature makes the plot of legends increasingly tortuous and moving, the characters gradually full and round, while the intervention of elite literature makes legends have more characteristics of the times and speculative colors.
The integration of the two makes the legend gradually develop in the direction of "Guanfeng" and "elegant upgrading".
The Legend of the White Snake is a "modern" and "cinematic" treatment of the legend of the White Snake based on the Legend of the White Snake.
This deductive model adapts to the entertainment needs of contemporary people and stabilizes the "classic" status of the Legend of White Snake.
Although the rise of the Legend of the White Snake on the Internet is relatively late, it has a great influence.
In a sense, the openness and virtuality of the network platform is the return to the folk nature of the Legend of White Snake.
More "modern" forms such as online novels, forums, continuation books, comics and parodies have been applied to the spread and inheritance of the Legend of White Snake, deepening and expanding the intergenerational inheritance mode of legends.
[1] Gao Yanfang.
The Construction and interpretation of Chinese White Snake Classics [D].
Central China normal University, 2014.
III. The value and significance of the continuous adaptation of folktales.
1.
Enrich the content of folktales and add cultural significance.
In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education, but also enriches people's recreational life because of its cultural connotation.
The adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales and a large number of ancient traditional customs retained in legends. it makes the Legend of the White Snake one of the most informative oral heritages of folk culture in our country. no, no, no.
two。.
It helps to expand the audience and enhance the significance of education.
The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales.
There are many educational stories in folktales, which aim to reveal interpersonal relationships and criticize moral ugliness in real life, and to promote and promote moral norms and codes of conduct that people should follow in real life.
For example, in the Legend of the White Snake, Bai Suzhen met Xu Xian again to repay her kindness, telling people that she should repay her kindness, which is of educational significance now.
3.
A peek into the change of society and the change of people's thinking.
The Legend of the White Snake is a beautiful folklore with profound significance, which reflects the fundamental contradictions of the feudal society through the image of mythology, like a refractor.
Dai Bufan.
On the Story of the White Snake [N].
Literary and Art Daily, 1953-11-21 (11).
Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness.
In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love.

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

20220630 Culture 6

2022-07-05T06:29:41Z

Zhang Minfeng:

20220630 Culture 6

2022-07-05T06:28:45Z

Zhang Minfeng:

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
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*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Terms and Expressions===
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学

===Questions===

===Answers===

===References===

20220630 Culture 5

2022-07-05T06:27:55Z

Zhang Minfeng:

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.

Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.

Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.

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==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===
===Similarities===
2.1 A Special Academy
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？

也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===Subtitle2===
===Subtitle2===
===Conclusion===
===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

[1] 王雪明,刘奕.中国百年科幻小说译介:回顾与展望[J].中国翻译,2015,36(06):28-33+128.

[2] 姜倩. 幻想与现实：二十世纪科幻小说在中国的译介[D].复旦大学,2006.

[3] 黄唯唯.《三体》的英译研究——让中国式科幻走向世界[J].湖北第二师范学院学报,2016,33(09):125-128.

[4] 孔庆东.中国科幻小说概说[J].涪陵师范学院学报,2003(03):37-45.

[5] 高茜,王晓辉.中国科幻小说英译发展述评:2000-2020年[J].中国翻译,2021,42(05):57-64+192.

[6] 梁昊文.中国当代科幻小说外译及其研究述评[J].广东外语外贸大学学报,2019,30(01):41-46+52.

[7] 徐伟彬.科幻小说翻译的科学意义[J].湖州师范学院学报,2002(05):22-25.

[8] 任冬梅.新世纪以来中国科幻小说的现状及前景[J].当代文坛,2018(03):140-145.

[9] 吴岩.论科幻小说的概念[J].昆明师范高等专科学校学报,2004(01):5-9.

[10] 吴赟,何敏.《三体》在美国的译介之旅:语境、主体与策略[J].外国语(上海外国语大学学报),2019,42(01):94-102.

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T06:27:05Z

Zhang Minfeng:

20220630 Culture 3

2022-07-05T06:26:28Z

Zhang Minfeng:

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

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Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''The Differences and significance of adaptation of Folktales -- A Case study of The Legend of the White Snake '''</center>

<center>马艳焕</center>

===Abstract===
The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially stereotyped in Feng Menglong's General words of warning in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation.
In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination.

===Key words===Differences； adaptation； folktale； The Legend of the White Snake

===Introduction===
Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories.
Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times.
The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories.

===Literature Review===

===Methods and Theories===

===I. the process of adaptation of the Legend of the White Snake. ===
1. The Python incident originating from Luoyang in the Tang Dynasty.
According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles."
So he attacked it with the Tianzhu mantra, and the snake died a few days later. Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu.
2. The Legend of the White Snake in the Tang Dynasty.
During the reign of Tang Xian Zongyuan, a rich son named Li Huang met a beautiful woman in white in the East City of Chang'an.
The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days.
Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head.
The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes.
3. In the Song dialect, the Chronicles of the Three Pagodas of the West Lake, see the vernacular of Pingshantang in the Qing Dynasty.
When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken, and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart. With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den. Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas.

4. Ming Dynasty： Feng Menglong's "General words of warning to the World" and "Bai Niangzi Yongzhen Leifeng Pagoda"
It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him.
So he became husband and wife.
After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear.
Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife.
After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring.
Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Yue Leifeng, Yongzhen White and Green in the Pagoda.

5. Qing Dynasty
During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda".
The main framework of the story of the White Snake has been largely completed since then.
The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake.
Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda.
In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman.
Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late.

6. Modern adapted version.
Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939.
The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady.
Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man.
The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on.
[[File:Example.jpg]]
===II.The Differences and Reasons of the Adapted Version. ===

1. White snake image.
The evolution of the image of White Snake is mainly divided into three stages, namely demon-human-immortal.
The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake".
Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men.
The animalistic side of her transcends the human side.
The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market.
During the Ming Dynasty, the image of White Snake gradually changed from the traditional viciousness and cruelty to the gentle image in the Legend of White Snake, resulting in a qualitative change.
The storyline in the legend of the White Snake has also become more tortuous, and in the later TV series the Legend of the New White Lady, the popularity of the White Lady played by Zhao Yazhi is that she has created a perfectly idealistic female image, which is not only beautiful and considerate, but also a gentle and virtuous wife and mother.
Moreover, with high power and hanging pots to save the world, it is like the incarnation of Quan Yin Bodhisattva, completing the transformation from demon to immortal, which not only beautifies women, but also conforms to the vision of men's expectations.

2. Attitude towards women.
The change in the image of White Snake shows a change in attitude towards women.
Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status.
Bai Suzhen's active request for marriage expressed when Xu Xian took an umbrella in the Legend of the White Snake had an impact on the idea of "the orders of parents and the words of matchmakers" in Chinese traditional marriage, and expressed the idea of equality between men and women to a certain extent.
Although this view is based on Bai Suzhen's powerful and unworldly conditions, such female characters still reflect women's desire for equality between men and women.
At the end of the story, Bai Suzhen ends with the suppression of Bai Suzhen under the Tower of Lefa, and the White Snake does not end well. From another point of view, it can also be regarded as the suppression of women's independent spirit by the feudal hierarchical society.
The development of the ideology and culture of the times and the change of the status of men and women also impacted the feudal thought to a certain extent.
[1] Kunagiwusman.
The evolution of the story of the Legend of the White Snake in folk literature and its literary value [J].
Northern Literature, 2017 (32): 178179.
It can be seen that the white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the harmful demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. It goes without saying.
Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties, so the image of White Snake was more inclined to wives, expressing people's vision of a better family life.
Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification.

3. storyline.
In the process of evolution, the story of the White Snake is constantly enriching and deepening.
From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "Shuiman Jinshan Temple", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete.

4. The story ends.
It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten.
White Snake evolved from a tragedy that was suppressed at first to a happy ending for family reunion later, and some versions were even adapted into the most idealized realm, which made interracial love break through the shackles of the traditional concept of "ethical norms". It expresses the idea that good is rewarded with good.

5. The ways of spreading folktales.
The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television.
At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added.
In the past two decades, the rise of National Cartoon has promoted the development of anime films.
Oral narration is not only the starting point of White Snake narration but also the "foundation" which can be promoted to the classic.
Written narrative White Snake Biography is a literati narrative based on folk "ability" on the basis of oral narration.
Among them, the intervention of popular literature makes the plot of legends increasingly tortuous and moving, the characters gradually full and round, while the intervention of elite literature makes legends have more characteristics of the times and speculative colors.
The integration of the two makes the legend gradually develop in the direction of "Guanfeng" and "elegant upgrading".
The Legend of the White Snake is a "modern" and "cinematic" treatment of the legend of the White Snake based on the Legend of the White Snake.
This deductive model adapts to the entertainment needs of contemporary people and stabilizes the "classic" status of the Legend of White Snake.
Although the rise of the Legend of the White Snake on the Internet is relatively late, it has a great influence.
In a sense, the openness and virtuality of the network platform is the return to the folk nature of the Legend of White Snake.
More "modern" forms such as online novels, forums, continuation books, comics and parodies have been applied to the spread and inheritance of the Legend of White Snake, deepening and expanding the intergenerational inheritance mode of legends.
[1] Gao Yanfang.
The Construction and interpretation of Chinese White Snake Classics [D].
Central China normal University, 2014.
III. The value and significance of the continuous adaptation of folktales.
1.
Enrich the content of folktales and add cultural significance.
In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education, but also enriches people's recreational life because of its cultural connotation.
The adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales and a large number of ancient traditional customs retained in legends. it makes the Legend of the White Snake one of the most informative oral heritages of folk culture in our country. no, no, no.
two。.
It helps to expand the audience and enhance the significance of education.
The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales.
There are many educational stories in folktales, which aim to reveal interpersonal relationships and criticize moral ugliness in real life, and to promote and promote moral norms and codes of conduct that people should follow in real life.
For example, in the Legend of the White Snake, Bai Suzhen met Xu Xian again to repay her kindness, telling people that she should repay her kindness, which is of educational significance now.
3.
A peek into the change of society and the change of people's thinking.
The Legend of the White Snake is a beautiful folklore with profound significance, which reflects the fundamental contradictions of the feudal society through the image of mythology, like a refractor.
Dai Bufan.
On the Story of the White Snake [N].
Literary and Art Daily, 1953-11-21 (11).
Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness.
In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love.

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===
Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

===Terms and Expressions===
Chuanjiang work song:川江号子
Haozi:号子
Kuixing Tower:《魁星楼》
Giant Turtledove:《大斑鸠》
Lanlong work song:《懒龙号子》
Boatman:船工，船夫
The First Batch of National Intangible Cultural Heritage:第一批国家级非物质文化遗产
Bashu area:巴蜀地区
Perilous Journey to the Land of Shu:《蜀道难》
The westbound road to shu, so steep, steeper than Heaven! I plod my way, step by step, sign by sign.:蜀道之难，难于上青天，侧身西望长咨嗟！
Fuhe work song:府河号子
Huanglongxi work song:黄龙溪号子
Jinjiang work song:锦江号子
Tuojiang work song:沱江号子
Minjiang work song:岷江号子
Jinsha River work song:金沙江号子
Jialing River work song:嘉陵江号子
Tonghe work song:铜河号子
Yongninghe work song:永宁河号子

===Questions===
1. What can be regarded as the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song?

2. When did Chuanjiang work song first appeared?

3. When was Chuanjiang work song listed as the First Batch of National Intangible Cultural Heritage?

4. How Chuanjiang work song was produced?

5. What are the characteristics of the music of Fuhe work song?

===Answers===
1. The Neolithic stone anchors and the tracker’s stone figures.

2. In the Spring and Autumn Period.

3. On May 20th, 2006.

4. The leader of a crowd of boatmen created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen’s rowing and pulling.

5. The music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies.

===References===
*Liu Xiuming,Qu Mengwei 刘秀明，曲梦梅（2021）.生态翻译学理论视域下川江号子词汇外译研究[A Study on the External Translation of Chuanjiang Work Song’s Vocabulary from the Perspective of Ecological Translation Theory].“校园英语”[English on Campus]. (44):251-252.

*Liu Xiuming,Zhao Ning 刘秀明，赵宁(2021).生态翻译学语言维度视域下川江号子翻译研究[A Translational Study of Chuanjiang Work Song from the Linguistic Perspective of Ecological Translation Theory].“校园英语”[English on Campus].(28):241-242.

*Sun Haifeng 孙海峰(2020).浅析川江号子的内在价值与文化传承[On the Intrinsic Value and Cultural Inheritance of Chuanjiang Work Song].“艺术家”[The Artist].(01):50.

*Wang Shuo 王朔(2018).探究川江号子非遗民歌的现状与传承[The Exploration of the Current Situation and Inheritance of the Intangible Folk Song—Chuanjiang Work song].“艺术科技”[Art Science and Technology].(03):54.

*Wu Mingshi 伍明实（2011）.川江号子现状调查报告[A Survey Report on the Current Situation of Chuanjiang Work Song].“中华文化论坛”[Forum on Chinese Culture].(03):34-42.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th