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20221231 LangCult 9

2022-12-31T06:11:39Z

Zhang Sishi: /* Answers */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Chinese Spicy Food Culture==
<center>张祺葳 Zhang Qiwei，202270081677</center>
===Abstract===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. Pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".
===Key Words===
Pepper, chili, food
===题目===
中国吃辣文化
===摘要===
辣椒是在明末从美洲传入中国的，但起初只是作为观赏作物和药物，进入中国。清初，最先开始食用辣椒的是贵州及其相邻地区。嘉庆以后，黔、湘、川、赣几省辣椒种植普遍起来，嘉庆时有记载说，江西、湖南、贵州、四川等地已经开始“种以为蔬”了。
===Introduction===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. In Guizhou, where salt was scarce, during the reign of Emperor Kangxi (1662-1722), "soil seedlings were used to replace salt". Pepper played a role in replacing salt, which shows that it is closely related to life. From the Qianlong period (1736-1795), a large number of hot peppers were eaten in Guizhou. During the reign of Qianlong, Zhenxiong, Yunnan, which was adjacent to Guizhou, and Chenzhou Prefecture, Hunan, in the east of Guizhou, also began to eat chili. After Jiaqing (1796-1820), pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".

During Daoguang's reign (1821-1850), the northern part of Guizhou was already in a situation of"every meal must be filled with peppers". The rice wrapped in grain was popular in Tongzhi. The dish used mostly bean curd, that is, water soaked salt and sea pepper, which was used to dip in water, a little like the sea pepper dip in Sichuan Fushun bean curd today.

In some areas of Hunan, hot pepper was not very common during the Jiaqing period, but it was more common among Daoguang, Xianfeng, Tongzhi and Guangxu. According to the Qing barnyard banknotes in the late Qing Dynasty, "people in Yunnan, Guizhou, Hunan and Sichuan loved spicy food", "people in Hunan and Hubei liked spicy food", and "people in Hunan and Hubei could not eat spicy food without pepper and mustard, so there was plenty of soup", indicating that people in Hunan and Hubei had become accustomed to spicy food in the late Qing Dynasty, and they even put pepper into soup.

The record of edible pepper in Sichuan was later than Hubei’s. Neither in the book of Yongzheng's Sichuan Tongzhi nor Jiaqing's Sichuan Tongzhi recorded the cultivation and eating of pepper, and the earliest recorded pepper may be in Jiaqing. From the perspective of the areas where pepper was planted and eaten in Jiaqing, Sichuan, they are mainly located in the Chengdu Plain and the Daba Mountains area in the south and southwest of Sichuan and the borders of Sichuan, Hubei and Shaanxi. After Daoguang, Xianfeng and Tongzhi, Sichuan's edible chilies began to become popular, and even chilies were "planted all over the mountains" in Sichuan. After Guangxu, Sichuan's edible chili was more common. In addition to being widely eaten, there were a lot of records of eating chili in the classic recipes. According to Fu Chongju's Chengdu Overview in the late Qing Dynasty, there were 1328 kinds of dishes in Chengdu at that time. Pepper has become one of the main condiments in Sichuan cuisine, including hot oil sea pepper, sea pepper noodles, etc., especially the double cooked pork in Sichuan cuisine was officially recorded in written records. At the end of the Qing Dynasty, eating pepper has become an important feature of Sichuan people's diet. Xu Xinyu's Records of Traveling in Sichuan recorded that "Sichuan people must choose the most spicy ones to eat, and every meal and dish must be hot."

When did Yunnan begin to eat spicy food? Zhenxiong, Yunnan, which is close to Guizhou, ate hot pepper during the Qianlong Period, but it was not very common in Yunnan during the Qianjia Period. There was no record of chilli in the Tongzhi of Yunnan during the Guangxu period, but people began to eat chilli in large quantities as early as the Guangxu period. According to the Records of Visiting Sichuan by Xu Xinyu in the late Qing Dynasty, his father found in Ya'an that the chili peppers transported into Yunnan every year through Ya'an, Sichuan, were "quantity is nearly hundreds of thousands. The amount of chili peppers eaten by Yunnan people is not less than that of Sichuan people". Therefore, Xu Ke's Qing barnyard banknote at the end of the Qing Dynasty said: "Yunnan, Guizhou, Hunan and Sichuan people are fond of spicy food." According to the records in the Textual Research on the Names and Facts of Plants, edible chili peppers had been planted in Jiangxi during the Jiaqing period. During the Guangxu period, edible chili peppers had become more common in Jiangxi, and now Jiangxi Nankang chili sauce is very famous.

Pepper has been introduced into China for about 400 years, but this foreign spice soon became popular all over China, taking the position of traditional Chinese prickly ash, ginger and cornus officinalis. The consumption of Chinese prickly ash was squeezed into Sichuan Basin, the hometown of Chinese prickly ash. Cornus officinalis almost completely withdrew from the stage of Chinese food spice, and the position of ginger was largely withdrawn from the diet. The introduction of chili into Chinese food is undoubtedly a food revolution. The powerful chili makes it impossible for any traditional spice to compete with it. The revolution was only a little slow due to the constraints of traffic and information at that time.

What about court dishes?
one book records the dishes used to celebrate the Lantern Festival on the 15th day of the first lunar month, including "Spicy Rabbit". However, there was no detailed description of what kind of dish it was. In the following Qing Dynasty, a dish named "Spicy Rabbit Silk" also appeared in Tioding Collection. Shredded chicken soup simmer, add yellow rice wine, soy sauce, onion, ginger juice, Chinese prickly ash, and soybean powder to finish the soup.

No pepper is used, but pepper is added, so the name of the dish has the word "spicy". It should have the same taste as the "spicy" in the "spicy live rabbit" in the "Records of Drinking". There are two kinds of flavors without chilli. As for whether rabbit meat is used, why the dish is called "Spicy Rabbit" is an unsolved mystery. In the Records of Drinking, dozens of famous dishes in the imperial court are listed. In addition to the aforementioned "Spicy Rabbit", there is also a dish called "Spicy Soup", which is a soup to drink every morning to prevent cold in November. Nowadays, ginger soup is often drunk to prevent cold. The "hot soup" here may be of the same type. As for other places where pepper is used, none of them has been found.

===Conclusion===
Even in the Qing Dynasty, pepper still did not enter the court. The Manchu people did not even have the habit of eating mustard seeds. "A Dream of Red Mansions" describes the dishes made of vinegar, as well as various other cooking methods, but hot dishes never appeared.
===References===
▪Su Xiaonian 苏小年. (2019). 中国吃辣地图里,哪个地方最厉害?.[Which place is the best in the map of Chinese spicy food?] 旅游世界[Tourism World](11), 6.

▪Lan Yong蓝勇. (2001)中国饮食辛辣口味的地理分布及其成因研究[A Study on the Geographical Distribution and Causes of the Spicy Taste of Chinese Diet][J]. 地理研究[Geographic Studies]

▪Xiao Yi小易. (2011). 中国吃辣历史有多久[How long is the history of spicy food in China]. 记者观察:下.[Reporter observation]

▪ Lu, W. X. , & Zhou, J. H. . (2007). The promotion of chinese spicy pepper seeds industry and exploration of its cultural connotation in terms of ecological and economic benefit. Journal of Panzhihua University.

▪Dong, S. , Zhong, B. Y. , & Huang, C. R. . (2018). How do non-tastes taste? A corpus-based study on Chinese people's perception of spicy and numbing food.
===Questions===
1.When did pepper introduced into China? A. Tang Dynasty B. Song Dynasty C. Yuan Dynasty D. Ming Dynasty

2. Which province first ate pepper? A. Guizhou B. Hunan C.Sichuan D. Jiangxi

3.When did Hunan people widely ate pepper? A. Jiaqing period B.Daoguang period C. Xianfeng period D.Tongzhi period E.Guangxu period

4.In the Qing Dynasty, pepper still did not enter the court. True/Fause
===Answers===
1.D 2.A 3. BCDE 4.True

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

===Terms and Expressions===
music score乐谱
tone音律
silencing 消音
palace instruments 宫廷乐器
Zenghouyi Chime曾侯乙编钟
magnetic levitation chime磁悬浮编钟

===Questions===
1. Who helped Mr. Robert created "Bell Music and Harmony"?
2. Which kind of chime was displayed in Shanghai Expo?
3. When did the technique of making chimes begin to be lost?

===Answers===
1. Hong Kong Orchestra and Ethnic Orchestra
2. Magnetic levitation chime
3. Song dynasty

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live Streaming Culture in Contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people’s daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people’s spiritual culture and entertainment pursuit. This article will give an introduction of live streaming, including its categories, patterns of interaction as well as influence in contemporary China.
===Key words===
Live streaming, culture
===题目===
当代中国的直播文化
===摘要===
随着直播行业的快速发展，直播已经广泛出现在人们的日常生活中。它不仅是一种经济现象，也是一种文化现象，反映了当代人的精神文化和娱乐追求的倾向和偏好。本文将对直播进行介绍，包括其类别、互动模式以及在当代中国的影响。
===关键词===
网络直播、文化
===Introduction===
Live streaming was not initially a product of the network. In The Radio and Television Dictionary, live streaming refers to the post-synthesis and broadcast of radio programs at the same time, and live television broadcast is the broadcast method of producing and broadcasting television programs simultaneously with the occurrence and development process of events.” It can be seen that live streaming firstly appeared on traditional media radio and television stations.
On January 1, 2008, the General Office of the State Council put forward a notice proposing to promote the integration of the Three Networks (telecommunication network, computer network and cable TV network). Until today, the integration of the three networks has experienced twelve years of development. Under the background of the continuous progress of interconnection technology, cell phone has been transformed from a simple communication tool to a multifunctional device integrating communication, TV watching and the internet access. With the increasing number of cell phones, the number of cell phone users also continues to go high, providing support for the development of cell phone live steaming. Taking advantage of a large number of live streaming platforms, the connotation of network live streaming also transformed from the early program broadcast into the broadcast of life scenes that the general public can participate in, which is a leap forward.
===Categories of Living Streaming===
(1)According to the main body of live streaming, it can be divided into star live streaming, net celebrity live streaming and common people live streaming. Star live is held by actors, athletes and other celebrities with a certain degree of fame and attention in the mass media, the audience of star live is mainly fans. The purpose of star live is often to let fans see the daily life of the stars to close the distance. Net celebrity live is held by the network celebrities who have become popular in micro blogging, short video platform or other social platforms, and some of them are professional anchors. As opposed to stars and net celebrities, the rest of the ordinary anchors who do not have great influence and attention are collectively referred to as common people live.
(2)According to the live content, live streaming can be generally divided into four categories: live show, live game, live pan-life broadcast and live streaming sale. Show live is the earliest type of live streaming, and it requires the anchors to show their talents. Game live is about electronic games, and most of them are competitive games and it has a certain threshold for both parties - the game anchor is generally required to be proficient or at least familiar with the game being broadcast; the audience is at least aware of the game, otherwise they cannot participate well in the live viewing. Pan-life live streaming refers to the live streaming that shows daily life, where the anchor simply sings, casually chats, eats and shows their daily life. It is live and casual and with no rehearsal, and anyone with a device can become an anchor by registering an account. As the fastest growing type of live streaming since 2016, pan-life live streaming is leading the wave of live streaming with a “mobile live for all” approach. Live streaming sale is an emerging commercial activity which aims to sale goods, and it is all about introduction and exhibition of products.
===Patterns of Interaction in Live Streaming===
(1)Get connected: anchor to anchor interaction
This is a way of interaction between two anchors to achieve a more interesting live broadcast and share fans through a common broadcasting room. It is to connect the live rooms of two hosts, and the way to get connected is that the host can choose to connect with a host they are familiar with or be randomly matched by the system. For viewers, they can see both hosts on the same live screen at the same time. The anchors will chat, sing, play games and so on to make the live streaming more interesting, and at the same time the anchor will also recommend their own fans to pay attention to the other anchor. The fans watching the live broadcast do not have the loyalty between traditional idols and fans, so the anchors can achieve the purpose of sharing fans and maximizing benefits.
(2)Pop-ups and gifts: fan-anchor interaction
The explosive growth of User Generated Content (UGC) attracts large-scale internet users to join the content interaction, and “gifts and pop-ups” constitute the basic ecology of live streaming culture. Pop-ups gives fans an opportunity to express their emotions, and gifts is another important way for fans to interact with anchors, which first existed in original literature websites, and then was introduced as an innovative payment function by self-media and gradually introduced by major platforms.
(3)Melt media interaction: the establishment of cross-platform fan group
Senior anchors do not limit themselves to interacting with their fans briefly on the live platform, but will establish WeChat or QQ fan groups to achieve cross-platform interaction. The establishment of fan groups can make the interaction between fans and anchors more intimate. The fan groups of popular anchors have certain requirements in terms of access qualifications, such as the amount of bounty, frequency of interaction, etc., and anchors will also use fan groups to give back to their fans, such as more interaction, red packets or other benefits.
===Conclusion===
On the one hand, live streaming has brought many beneficial effects to people’s lives. People have a new way to learn and express themselves. And also its platform advantages can make it a disseminator of excellent culture and promote people towards cultural confidence and cultural self-awareness.
On the other hand, the trend of network live entertainment is obvious, and overly entertaining and vulgarized content is popping up, which to some extent hinders the spread and popularization of socialist core values. Therefore, restrictions should be taken to standardize live streaming.
===Reference===
[1]叶南希. 作为文化生成空间的网络直播及其亚文化研究[D].浙江大学,2018.
[2]吴亚静. 文化狂欢视阈下“网络直播”现象及反思[D].重庆大学,2018.
[3]黄肖. 国内网络直播中的青年亚文化现象研究[D].黑龙江大学,2018.
[4]钟晴. 消费文化视角下的网络直播现象研究[D].湖南师范大学,2019.
[5]颜彬.粉丝文化视域下出版直播的内容生产、情感认同与符号建构[J].编辑之友,2022(08):50-54+61.
===Terms and Expressions===
Live streaming 网络直播
The Radio and Television Dictionary 《广播电视辞典》
The Three Networks 三网（电视网、计算机网和有线电视网）
Anchor 主播
Star live 明星直播
Net celebrity live 网红直播
Common people live 素人直播
Live pan-life broadcast 泛生活直播
Live streaming sale 直播带货
Broadcasting room 直播间
User Generated Content(UGC) 用户自己生成的内容
Pop-ups 弹幕
===Questions===
1、Where did live streaming firstly appear?
A.Mobile phones
B.Traditional media radio and television stations
C.International conference
2、According to the live content, how many categories can live streaming be divided into?
A.Three
B.Four
C.Five
3、Which is the earliest type of live streaming?
A.Show live
B.Game live
C.Pan-life broadcast
4、Did the function of giving gifts first exist in original literature websites?
Ture
False
===Answers===
1.B 2.B 3.A 4.True

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin and development, the author interprets some common imageries in detail according to three classifications. They are botanical imagery, animal imagery and inanimate imagery.

===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination and divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with, i.e. the objective things in poetry fusing the poet's subjective feelings and aspirations.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always employed to express sentiment attached to parting. In Han Dynasty, there formed the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “子规” or “子鹃” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”(bùrúguīqù), which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such sounds, which evoke their distress and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is to render the poet's appreciation of the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “玉弓”, “银盘”, “婵娟”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. Conversely, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before the imagery theory we understand today gradually formed. Due to its rich connotations, profound philosophy and unique spirit, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.

===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasty, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.

===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named as “mamian”, and the skirt itself is called mamianqun (also horseface skirt) (Cai Liming 1993,379).

The word “Ma Mian” first appeared in the ''Ming Palace''(Qi Ziyu 2012，2). And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So, what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal but independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of the texture, decoration, and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt evolved from a general skirt for men and women to a skirt only for women, and more forms appeared, such as pleated skirt, yuehua skirt, and fengwei skirt. In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

====The Structure of Horseface Skirt====
“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization, and horseface skirt is a kind of “Shang”, which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other. The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband functions to gird the waist with the help of beltloops. It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

====The Patterns of Horseface Skirt====
Let’s move on, and learn about its patterns! There are two types of horseface skirt patterns -- separate embroidery patterns and large embroidery patterns,among which the separate embroidery patterns account for the majority. Each pattern conveys a different meaning. Taking the animal patterns “dragon” and “phoenix” as an example, in the long history of China, dragon and phoenix are considered to be auspicious. They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines. Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）,which conveys the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony, which represents wealth and nobility; the undefiled lotus, which symbolizes purity; the golden chrysanthemum, which represents longevity; and lily, which represents sacredness and holiness, friendship and a bright future (Sun Hui ,Wu Yue 2017,11).

====The Colors of Horseface Skirt====
Generally speaking, in terms of color, horseface skirt can be divided into solid color horse face skirt and colorful horseface skirt (such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness, which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness. Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors, such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attractive. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity, thus making more peoplef fall in love with horseface skirt.

===Conclusion===
The horseface skirt did originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I still sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.

That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
1.horseface skirt/ mamianqun 马面裙
2.''Ming Palace'' 《明宫史》
3.shape and structure 形制
4.yuehua skirt 月华裙
5.fengwei skirt 凤尾裙
6.skirt door 裙门
7.skirt flank 裙胁
8.waistband 裙头
9.skirt couplet 裙联
10.beltloops 袢带
11.clothing form 服装形制
12.solid color horseface skirt 素色马面裙
13.colorful horseface skirt 五彩马面裙
14.separate embroidery patterns 独立的刺绣图案
15.large embroidery patterns 大面积刺绣图案
16.The Yi (the upper garment) and Shang (the lower skirt) 上衣下裳
17.prosperity brought by the dragon and the phoenix 龙凤呈祥

===Questions===
1.The word “Ma Mian” first appeared in______.
A.''Bible''
B.''Ming Palace''
C.''Journey to the West''
D.''The Seventh Day''

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.The beautiful Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present the rich culture and traditional elements of China through the intuitive way of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).

===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?

A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)

A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?

A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)

A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?

A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:

1.C

2.ABC

3.B

4.ABC

5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief Introduction of Chinese History of Petting
<center> Zhou Zihao, 202270081702 </center>
===Abstract===
This chapter is on petting in Chinese history. Pets had been considered to be a component of Western lifestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China.
===Key Words===
Pet, Ancient Chinese History, Dogs
===中国蓄养宠物简史===
===摘要===
本文粗略介绍了中国从古代以来蓄养宠物的历史，希望在史料中总结出中国人养宠物的大概特点与历史变化，描绘出中国人对待动物与宠物的态度以及行为变化。
===关键词===
宠物，中国古代文化，狗
===Introduction===
Chinese were thought not so pet-friendly as Westerners, especially for its notorious dog-eating, and petting is indeed never considered by people home or abroad as a long-prevailing habit of Chinese. In fact, even nowadays petting in China cannot be described as anything related to “popular”. According to 2021 Chinese Pet Industry White Paper, the number of dog-and-cat owners totalled to 68.44 million in 2021 and was expected to increase to 71.68 million which took up only 5.12% of China’s total population. Other “non-traditional” pets, say, birds, other small mammals, reptiles are even rarer to public sight. Even though pet-owner are still a small proportion in China, petting is surely gaining more and more attention publicly and politically.
===Historical Overview of Chinese Petting===
Petting hasn’t been a popular thing since ancient times. For an agricultural country like China, “unpragmatic” animals like dogs and cats used to be quite uncommon because they were not beneficial for farming (Custer, 2021). Nevertheless, there were a few famous pet-lovers documented for their adoration for certain animals. In Pre-Qin periods, the emperor Yi of Wei loved raising cranes. The elegant and purely-white bird was terribly doted on by the emperor Yi who even ranked them with their appearances and qualities and “remunerated” them in accordance with their given “official positions” (Zuo, 2007). Zang Wenzhong, a contemporary of Yi, was obsessed with another unusual animal¬¬—turtles. Like Yi the emperor, Zang cosseted his pets by accommodating the turtles in luxury palaces and that solicited commotion leading to his own doomed end. Interestingly their pampery was harshly chastised by Confucius as a breach of ethical conventions. At that time petting had been exclusive for upper classes with wealth and power who despite the stereotypes of abusing animals pampered their pets with obscene extravagancy. During the Tang Dynasty (AC 618¬¬¬—AC 907) the royal members started raising exotic animals tributed by foreigners as their pets such as elephants, lions, and rhinos in the palace. At the same time petting was gaining popularity among public, and it was presented by the paintings that some people from middle and lower classes had small-sized pets like chicken, dogs, and cats. Animals were no longer merely food resources and pets were more than a time killer but an emotional support and religious and spiritual symbol as well (Li, 2017). Literati would also rest their hopes and sentiments on certain animals in poems. With an increasing demand in petting, a pet-friendly system was also built to condemn the animal-abusers and to compromise who thus lost their pets. In the Ming Dynasty (AC 1368¬¬—AC 1644), Wen Zhenheng recorded then elegant lifestyle of upper literati in his book Zhang Wu Zhi and described their choices of pets in one chapter. In the book Wen deemed pets as “a necessary art for those who live in solitude amongst the hills and woods” (Wen, 2015). By “necessary”, however, Wen meant it for upper class still since the book was written for them. In the Qing Dynasty (AC 1636¬—AC 1912), Man people brought with them nomadic culture and horses and birds were the majority of their choices of pets (She, 2019). In late Qing Dynasty people carrying a bird cage were common to be seen in the teahouses in Beijing as the symbol of their social statue. During the Cultural Revolution in 1960s and 1970s, pets were regarded as the component of the lifestyle of capitalism and therefore strictly forbidden. Pet owners have no choice but to hide, abandon, and even kill their pets. It was surely the most terrible era for pets and their owners. Nowadays in the 21th Century more and more Chinese have pets. Research showed that the pet market in China has increased 60% every year (Pitt, 2021). Analysts also expected that China’s pet industry will multiply 10 times that of a decade ago to 66 billion dollars. Even though petting system in China is still immature and still some people regard pet as emotionless animals, a more convenient society is being built for animal-lovers. Moreover, pets can get new jobs in cat-or-dog café and even make an income on social media. People’s attitude towards pets also changed a lot. Take dogs as example. Chinese used to treat dog as a source of meat. However, today the majority of dogs are viewed as companions and usually treated as family members (Coren, 2018).
===Conclusion===
In conclusion, pets were rare in ancient China, and most people who had pets were those in higher classes. Their pets were uncommon and exotic animals such as birds and fishes instead of dogs and cats. It is since the Tang Dynasty that people from lower classes started to have small animals as pets. However, in ancient times pets gained little popularity in general. In modern times with the increase of middle class and the influence of western culture, people’s attitude towards pets changed and dogs and cats are more accepted by public. Even though China has not been the most pet-friendly country, a mature petting system is now being built.
===References===
Li Xingxing李星星. (2017). 宠物与唐代社会生活 [Pets and Social Lives in the Tang Dynasty]. Hefei: Anhui University安徽大学.
She Yanwen佘燕文. (2019). 清代宠物饲养及其社会生活意义研究 [A Research on Petting in the Qing Dynasty and its Social Meaning]. Nanjing: Nanjing Agricultural University南京农业大学.
Wen Zhenheng文震亨. (2015). 《长物志》. Jingsu: Jiangsu Literature and Art Publishing House.
Zuo Qiuming左丘明. (2007). 《左传》. Beijing: Contemporary World Press.
Coren, Stanley. (2018, February 21). What Is China's Current Attitude Concerning Dogs? Retrieved from https://www.psychologytoday.com/us/blog/canine-corner/201802/what-is-chinas-current-attitude-concerning-dogs
Custer, Charles. (2021, September 8). How Does Chinese Culture View Dogs? Retrieved from https://www.thoughtco.com/dogs-in-china-687349
Pitt, Juliette. (2021, June 9). What has caused China’s booming pet economy? Retrieved from https://daoinsights.com/opinions/what-has-caused-chinas-booming-pet-economy/
===Terms and Expressions===
(This is an informative article with no professional jargons necessary to be affixed.)
===Questions===
1. How many cat-and-dog owners were there in China in 2021 according to 2021 Chinese Pet Industry White Paper?
.
A. 98.15 million B. 80.04 million C. 68.44 million D. 71.68 million
.
2. What was Confucius’ attitude towards the fact that people pampered their pets?
.
A. Agreeable B. Indifferent C. Objective D. Criticising
.
3. Why pets were abused during Cultural Revolution?
.
A. Pets were considered as a part of capitalism
B. People wanted to eat them
C. Pets were not practical for farming
D. All of above
.
4. Pets were popular among every class in China since ancient times.
.
A. True
B. False
===Answers===
Correct answers are:
.
1. C
.
2. D
.
3. A
.
4. B

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===题目===

中国文化与儿童教育

===摘要===

当涉及到长达数十年的根深蒂固的儿童教育文化和问题迅速老龄化的人口时，中国的社会状况从未如此沉重。中国长期以来对亲属关系的忠诚和集体主义相互依存的社会结构使父母对孩子产生了周期性的关注，因为一个人照顾另一个人以确保一个富有成果的经济未来。 1950 年代的独生子女政策不仅有助于降低出生率，而且无意中允许为独生子女的未来预留大量资金，以确保理想的经济成功。中国共产党已经认识到过去的政策给国家的未来带来的挑战，并正在寻求对教育文化进行革命性的改革，以使中国家庭能够成长，而不用担心错过一个有利可图和充实的未来。家庭单位。现代中共和古代哲学家孔子对家庭在中国社会未来健康发展中所扮演的重要角色的理解是一致的。

===关键词===

集体文化; 孝顺; 亲属文化; 私立教育; 标准化测试

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子 (house), 车子 (car), and 票子 (money) are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 (Double First-Class Initiative) higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 (chicken baby) parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 (to bring up children for the purpose of being looked after in old age) is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子 the three common conditions for marriage: a house, car, and money; 养儿防老 to bring up children for the purpose of being looked after in old age; 鸡娃 a parenting style known as "chicken babies"; 双一流 the Double First-Class Initiative of Chinese universities

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-31T06:08:06Z

Zhang Sishi: /* Questions */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Chinese Spicy Food Culture==
<center>张祺葳 Zhang Qiwei，202270081677</center>
===Abstract===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. Pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".
===Key Words===
Pepper, chili, food
===题目===
中国吃辣文化
===摘要===
辣椒是在明末从美洲传入中国的，但起初只是作为观赏作物和药物，进入中国。清初，最先开始食用辣椒的是贵州及其相邻地区。嘉庆以后，黔、湘、川、赣几省辣椒种植普遍起来，嘉庆时有记载说，江西、湖南、贵州、四川等地已经开始“种以为蔬”了。
===Introduction===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. In Guizhou, where salt was scarce, during the reign of Emperor Kangxi (1662-1722), "soil seedlings were used to replace salt". Pepper played a role in replacing salt, which shows that it is closely related to life. From the Qianlong period (1736-1795), a large number of hot peppers were eaten in Guizhou. During the reign of Qianlong, Zhenxiong, Yunnan, which was adjacent to Guizhou, and Chenzhou Prefecture, Hunan, in the east of Guizhou, also began to eat chili. After Jiaqing (1796-1820), pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".

During Daoguang's reign (1821-1850), the northern part of Guizhou was already in a situation of"every meal must be filled with peppers". The rice wrapped in grain was popular in Tongzhi. The dish used mostly bean curd, that is, water soaked salt and sea pepper, which was used to dip in water, a little like the sea pepper dip in Sichuan Fushun bean curd today.

In some areas of Hunan, hot pepper was not very common during the Jiaqing period, but it was more common among Daoguang, Xianfeng, Tongzhi and Guangxu. According to the Qing barnyard banknotes in the late Qing Dynasty, "people in Yunnan, Guizhou, Hunan and Sichuan loved spicy food", "people in Hunan and Hubei liked spicy food", and "people in Hunan and Hubei could not eat spicy food without pepper and mustard, so there was plenty of soup", indicating that people in Hunan and Hubei had become accustomed to spicy food in the late Qing Dynasty, and they even put pepper into soup.

The record of edible pepper in Sichuan was later than Hubei’s. Neither in the book of Yongzheng's Sichuan Tongzhi nor Jiaqing's Sichuan Tongzhi recorded the cultivation and eating of pepper, and the earliest recorded pepper may be in Jiaqing. From the perspective of the areas where pepper was planted and eaten in Jiaqing, Sichuan, they are mainly located in the Chengdu Plain and the Daba Mountains area in the south and southwest of Sichuan and the borders of Sichuan, Hubei and Shaanxi. After Daoguang, Xianfeng and Tongzhi, Sichuan's edible chilies began to become popular, and even chilies were "planted all over the mountains" in Sichuan. After Guangxu, Sichuan's edible chili was more common. In addition to being widely eaten, there were a lot of records of eating chili in the classic recipes. According to Fu Chongju's Chengdu Overview in the late Qing Dynasty, there were 1328 kinds of dishes in Chengdu at that time. Pepper has become one of the main condiments in Sichuan cuisine, including hot oil sea pepper, sea pepper noodles, etc., especially the double cooked pork in Sichuan cuisine was officially recorded in written records. At the end of the Qing Dynasty, eating pepper has become an important feature of Sichuan people's diet. Xu Xinyu's Records of Traveling in Sichuan recorded that "Sichuan people must choose the most spicy ones to eat, and every meal and dish must be hot."

When did Yunnan begin to eat spicy food? Zhenxiong, Yunnan, which is close to Guizhou, ate hot pepper during the Qianlong Period, but it was not very common in Yunnan during the Qianjia Period. There was no record of chilli in the Tongzhi of Yunnan during the Guangxu period, but people began to eat chilli in large quantities as early as the Guangxu period. According to the Records of Visiting Sichuan by Xu Xinyu in the late Qing Dynasty, his father found in Ya'an that the chili peppers transported into Yunnan every year through Ya'an, Sichuan, were "quantity is nearly hundreds of thousands. The amount of chili peppers eaten by Yunnan people is not less than that of Sichuan people". Therefore, Xu Ke's Qing barnyard banknote at the end of the Qing Dynasty said: "Yunnan, Guizhou, Hunan and Sichuan people are fond of spicy food." According to the records in the Textual Research on the Names and Facts of Plants, edible chili peppers had been planted in Jiangxi during the Jiaqing period. During the Guangxu period, edible chili peppers had become more common in Jiangxi, and now Jiangxi Nankang chili sauce is very famous.

Pepper has been introduced into China for about 400 years, but this foreign spice soon became popular all over China, taking the position of traditional Chinese prickly ash, ginger and cornus officinalis. The consumption of Chinese prickly ash was squeezed into Sichuan Basin, the hometown of Chinese prickly ash. Cornus officinalis almost completely withdrew from the stage of Chinese food spice, and the position of ginger was largely withdrawn from the diet. The introduction of chili into Chinese food is undoubtedly a food revolution. The powerful chili makes it impossible for any traditional spice to compete with it. The revolution was only a little slow due to the constraints of traffic and information at that time.

What about court dishes?
one book records the dishes used to celebrate the Lantern Festival on the 15th day of the first lunar month, including "Spicy Rabbit". However, there was no detailed description of what kind of dish it was. In the following Qing Dynasty, a dish named "Spicy Rabbit Silk" also appeared in Tioding Collection. Shredded chicken soup simmer, add yellow rice wine, soy sauce, onion, ginger juice, Chinese prickly ash, and soybean powder to finish the soup.

No pepper is used, but pepper is added, so the name of the dish has the word "spicy". It should have the same taste as the "spicy" in the "spicy live rabbit" in the "Records of Drinking". There are two kinds of flavors without chilli. As for whether rabbit meat is used, why the dish is called "Spicy Rabbit" is an unsolved mystery. In the Records of Drinking, dozens of famous dishes in the imperial court are listed. In addition to the aforementioned "Spicy Rabbit", there is also a dish called "Spicy Soup", which is a soup to drink every morning to prevent cold in November. Nowadays, ginger soup is often drunk to prevent cold. The "hot soup" here may be of the same type. As for other places where pepper is used, none of them has been found.

===Conclusion===
Even in the Qing Dynasty, pepper still did not enter the court. The Manchu people did not even have the habit of eating mustard seeds. "A Dream of Red Mansions" describes the dishes made of vinegar, as well as various other cooking methods, but hot dishes never appeared.
===References===
▪Su Xiaonian 苏小年. (2019). 中国吃辣地图里,哪个地方最厉害?.[Which place is the best in the map of Chinese spicy food?] 旅游世界[Tourism World](11), 6.

▪Lan Yong蓝勇. (2001)中国饮食辛辣口味的地理分布及其成因研究[A Study on the Geographical Distribution and Causes of the Spicy Taste of Chinese Diet][J]. 地理研究[Geographic Studies]

▪Xiao Yi小易. (2011). 中国吃辣历史有多久[How long is the history of spicy food in China]. 记者观察:下.[Reporter observation]

▪ Lu, W. X. , & Zhou, J. H. . (2007). The promotion of chinese spicy pepper seeds industry and exploration of its cultural connotation in terms of ecological and economic benefit. Journal of Panzhihua University.

▪Dong, S. , Zhong, B. Y. , & Huang, C. R. . (2018). How do non-tastes taste? A corpus-based study on Chinese people's perception of spicy and numbing food.
===Questions===
1.When did pepper introduced into China? A. Tang Dynasty B. Song Dynasty C. Yuan Dynasty D. Ming Dynasty

2. Which province first ate pepper? A. Guizhou B. Hunan C.Sichuan D. Jiangxi

3.When did Hunan people widely ate pepper? A. Jiaqing period B.Daoguang period C. Xianfeng period D.Tongzhi period E.Guangxu period

4.In the Qing Dynasty, pepper still did not enter the court. True/Fause
===Answers===
1.D 2.A 3. BCDE 4.True

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

===Terms and Expressions===
music score乐谱
tone音律
silencing 消音
palace instruments 宫廷乐器
Zenghouyi Chime曾侯乙编钟
magnetic levitation chime磁悬浮编钟

===Questions===
1. Who helped Mr. Robert created "Bell Music and Harmony"?
2. Which kind of chime was displayed in Shanghai Expo?
3. When did the technique of making chimes begin to be lost?

===Answers===
1.
2.
3.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live Streaming Culture in Contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people’s daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people’s spiritual culture and entertainment pursuit. This article will give an introduction of live streaming, including its categories, patterns of interaction as well as influence in contemporary China.
===Key words===
Live streaming, culture
===题目===
当代中国的直播文化
===摘要===
随着直播行业的快速发展，直播已经广泛出现在人们的日常生活中。它不仅是一种经济现象，也是一种文化现象，反映了当代人的精神文化和娱乐追求的倾向和偏好。本文将对直播进行介绍，包括其类别、互动模式以及在当代中国的影响。
===关键词===
网络直播、文化
===Introduction===
Live streaming was not initially a product of the network. In The Radio and Television Dictionary, live streaming refers to the post-synthesis and broadcast of radio programs at the same time, and live television broadcast is the broadcast method of producing and broadcasting television programs simultaneously with the occurrence and development process of events.” It can be seen that live streaming firstly appeared on traditional media radio and television stations.
On January 1, 2008, the General Office of the State Council put forward a notice proposing to promote the integration of the Three Networks (telecommunication network, computer network and cable TV network). Until today, the integration of the three networks has experienced twelve years of development. Under the background of the continuous progress of interconnection technology, cell phone has been transformed from a simple communication tool to a multifunctional device integrating communication, TV watching and the internet access. With the increasing number of cell phones, the number of cell phone users also continues to go high, providing support for the development of cell phone live steaming. Taking advantage of a large number of live streaming platforms, the connotation of network live streaming also transformed from the early program broadcast into the broadcast of life scenes that the general public can participate in, which is a leap forward.
===Categories of Living Streaming===
(1)According to the main body of live streaming, it can be divided into star live streaming, net celebrity live streaming and common people live streaming. Star live is held by actors, athletes and other celebrities with a certain degree of fame and attention in the mass media, the audience of star live is mainly fans. The purpose of star live is often to let fans see the daily life of the stars to close the distance. Net celebrity live is held by the network celebrities who have become popular in micro blogging, short video platform or other social platforms, and some of them are professional anchors. As opposed to stars and net celebrities, the rest of the ordinary anchors who do not have great influence and attention are collectively referred to as common people live.
(2)According to the live content, live streaming can be generally divided into four categories: live show, live game, live pan-life broadcast and live streaming sale. Show live is the earliest type of live streaming, and it requires the anchors to show their talents. Game live is about electronic games, and most of them are competitive games and it has a certain threshold for both parties - the game anchor is generally required to be proficient or at least familiar with the game being broadcast; the audience is at least aware of the game, otherwise they cannot participate well in the live viewing. Pan-life live streaming refers to the live streaming that shows daily life, where the anchor simply sings, casually chats, eats and shows their daily life. It is live and casual and with no rehearsal, and anyone with a device can become an anchor by registering an account. As the fastest growing type of live streaming since 2016, pan-life live streaming is leading the wave of live streaming with a “mobile live for all” approach. Live streaming sale is an emerging commercial activity which aims to sale goods, and it is all about introduction and exhibition of products.
===Patterns of Interaction in Live Streaming===
(1)Get connected: anchor to anchor interaction
This is a way of interaction between two anchors to achieve a more interesting live broadcast and share fans through a common broadcasting room. It is to connect the live rooms of two hosts, and the way to get connected is that the host can choose to connect with a host they are familiar with or be randomly matched by the system. For viewers, they can see both hosts on the same live screen at the same time. The anchors will chat, sing, play games and so on to make the live streaming more interesting, and at the same time the anchor will also recommend their own fans to pay attention to the other anchor. The fans watching the live broadcast do not have the loyalty between traditional idols and fans, so the anchors can achieve the purpose of sharing fans and maximizing benefits.
(2)Pop-ups and gifts: fan-anchor interaction
The explosive growth of User Generated Content (UGC) attracts large-scale internet users to join the content interaction, and “gifts and pop-ups” constitute the basic ecology of live streaming culture. Pop-ups gives fans an opportunity to express their emotions, and gifts is another important way for fans to interact with anchors, which first existed in original literature websites, and then was introduced as an innovative payment function by self-media and gradually introduced by major platforms.
(3)Melt media interaction: the establishment of cross-platform fan group
Senior anchors do not limit themselves to interacting with their fans briefly on the live platform, but will establish WeChat or QQ fan groups to achieve cross-platform interaction. The establishment of fan groups can make the interaction between fans and anchors more intimate. The fan groups of popular anchors have certain requirements in terms of access qualifications, such as the amount of bounty, frequency of interaction, etc., and anchors will also use fan groups to give back to their fans, such as more interaction, red packets or other benefits.
===Conclusion===
On the one hand, live streaming has brought many beneficial effects to people’s lives. People have a new way to learn and express themselves. And also its platform advantages can make it a disseminator of excellent culture and promote people towards cultural confidence and cultural self-awareness.
On the other hand, the trend of network live entertainment is obvious, and overly entertaining and vulgarized content is popping up, which to some extent hinders the spread and popularization of socialist core values. Therefore, restrictions should be taken to standardize live streaming.
===Reference===
[1]叶南希. 作为文化生成空间的网络直播及其亚文化研究[D].浙江大学,2018.
[2]吴亚静. 文化狂欢视阈下“网络直播”现象及反思[D].重庆大学,2018.
[3]黄肖. 国内网络直播中的青年亚文化现象研究[D].黑龙江大学,2018.
[4]钟晴. 消费文化视角下的网络直播现象研究[D].湖南师范大学,2019.
[5]颜彬.粉丝文化视域下出版直播的内容生产、情感认同与符号建构[J].编辑之友,2022(08):50-54+61.
===Terms and Expressions===
Live streaming 网络直播
The Radio and Television Dictionary 《广播电视辞典》
The Three Networks 三网（电视网、计算机网和有线电视网）
Anchor 主播
Star live 明星直播
Net celebrity live 网红直播
Common people live 素人直播
Live pan-life broadcast 泛生活直播
Live streaming sale 直播带货
Broadcasting room 直播间
User Generated Content(UGC) 用户自己生成的内容
Pop-ups 弹幕
===Questions===
1、Where did live streaming firstly appear?
A.Mobile phones
B.Traditional media radio and television stations
C.International conference
2、According to the live content, how many categories can live streaming be divided into?
A.Three
B.Four
C.Five
3、Which is the earliest type of live streaming?
A.Show live
B.Game live
C.Pan-life broadcast
4、Did the function of giving gifts first exist in original literature websites?
Ture
False
===Answers===
1.B 2.B 3.A 4.True

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin and development, the author interprets some common imageries in detail according to three classifications. They are botanical imagery, animal imagery and inanimate imagery.

===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination and divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with, i.e. the objective things in poetry fusing the poet's subjective feelings and aspirations.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always employed to express sentiment attached to parting. In Han Dynasty, there formed the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “子规” or “子鹃” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”(bùrúguīqù), which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such sounds, which evoke their distress and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is to render the poet's appreciation of the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “玉弓”, “银盘”, “婵娟”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. Conversely, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before the imagery theory we understand today gradually formed. Due to its rich connotations, profound philosophy and unique spirit, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.

===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasty, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.

===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named as “mamian”, and the skirt itself is called mamianqun (also horseface skirt) (Cai Liming 1993,379).

The word “Ma Mian” first appeared in the ''Ming Palace''(Qi Ziyu 2012，2). And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So, what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal but independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of the texture, decoration, and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt evolved from a general skirt for men and women to a skirt only for women, and more forms appeared, such as pleated skirt, yuehua skirt, and fengwei skirt. In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

====The Structure of Horseface Skirt====
“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization, and horseface skirt is a kind of “Shang”, which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other. The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband functions to gird the waist with the help of beltloops. It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

====The Patterns of Horseface Skirt====
Let’s move on, and learn about its patterns! There are two types of horseface skirt patterns -- separate embroidery patterns and large embroidery patterns,among which the separate embroidery patterns account for the majority. Each pattern conveys a different meaning. Taking the animal patterns “dragon” and “phoenix” as an example, in the long history of China, dragon and phoenix are considered to be auspicious. They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines. Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）,which conveys the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony, which represents wealth and nobility; the undefiled lotus, which symbolizes purity; the golden chrysanthemum, which represents longevity; and lily, which represents sacredness and holiness, friendship and a bright future (Sun Hui ,Wu Yue 2017,11).

====The Colors of Horseface Skirt====
Generally speaking, in terms of color, horseface skirt can be divided into solid color horse face skirt and colorful horseface skirt (such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness, which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness. Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors, such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attractive. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity, thus making more peoplef fall in love with horseface skirt.

===Conclusion===
The horseface skirt did originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I still sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.

That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
1.horseface skirt/ mamianqun 马面裙
2.''Ming Palace'' 《明宫史》
3.shape and structure 形制
4.yuehua skirt 月华裙
5.fengwei skirt 凤尾裙
6.skirt door 裙门
7.skirt flank 裙胁
8.waistband 裙头
9.skirt couplet 裙联
10.beltloops 袢带
11.clothing form 服装形制
12.solid color horseface skirt 素色马面裙
13.colorful horseface skirt 五彩马面裙
14.separate embroidery patterns 独立的刺绣图案
15.large embroidery patterns 大面积刺绣图案
16.The Yi (the upper garment) and Shang (the lower skirt) 上衣下裳
17.prosperity brought by the dragon and the phoenix 龙凤呈祥

===Questions===
1.The word “Ma Mian” first appeared in______.
A.''Bible''
B.''Ming Palace''
C.''Journey to the West''
D.''The Seventh Day''

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.The beautiful Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?

A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)

A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?

A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)

A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?

A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:

1.C

2.ABC

3.B

4.ABC

5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief Introduction of Chinese History of Petting
<center> Zhou Zihao, 202270081702 </center>
===Abstract===
This chapter is on petting in Chinese history. Pets had been considered to be a component of Western lifestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China.
===Key Words===
Pet, Ancient Chinese History, Dogs
===中国蓄养宠物简史===
===摘要===
本文粗略介绍了中国从古代以来蓄养宠物的历史，希望在史料中总结出中国人养宠物的大概特点与历史变化，描绘出中国人对待动物与宠物的态度以及行为变化。
===关键词===
宠物，中国古代文化，狗
===Introduction===
Chinese were thought not so pet-friendly as Westerners, especially for its notorious dog-eating, and petting is indeed never considered by people home or abroad as a long-prevailing habit of Chinese. In fact, even nowadays petting in China cannot be described as anything related to “popular”. According to 2021 Chinese Pet Industry White Paper, the number of dog-and-cat owners totalled to 68.44 million in 2021 and was expected to increase to 71.68 million which took up only 5.12% of China’s total population. Other “non-traditional” pets, say, birds, other small mammals, reptiles are even rarer to public sight. Even though pet-owner are still a small proportion in China, petting is surely gaining more and more attention publicly and politically.
===Historical Overview of Chinese Petting===
Petting hasn’t been a popular thing since ancient times. For an agricultural country like China, “unpragmatic” animals like dogs and cats used to be quite uncommon because they were not beneficial for farming (Custer, 2021). Nevertheless, there were a few famous pet-lovers documented for their adoration for certain animals. In Pre-Qin periods, the emperor Yi of Wei loved raising cranes. The elegant and purely-white bird was terribly doted on by the emperor Yi who even ranked them with their appearances and qualities and “remunerated” them in accordance with their given “official positions” (Zuo, 2007). Zang Wenzhong, a contemporary of Yi, was obsessed with another unusual animal¬¬—turtles. Like Yi the emperor, Zang cosseted his pets by accommodating the turtles in luxury palaces and that solicited commotion leading to his own doomed end. Interestingly their pampery was harshly chastised by Confucius as a breach of ethical conventions. At that time petting had been exclusive for upper classes with wealth and power who despite the stereotypes of abusing animals pampered their pets with obscene extravagancy. During the Tang Dynasty (AC 618¬¬¬—AC 907) the royal members started raising exotic animals tributed by foreigners as their pets such as elephants, lions, and rhinos in the palace. At the same time petting was gaining popularity among public, and it was presented by the paintings that some people from middle and lower classes had small-sized pets like chicken, dogs, and cats. Animals were no longer merely food resources and pets were more than a time killer but an emotional support and religious and spiritual symbol as well (Li, 2017). Literati would also rest their hopes and sentiments on certain animals in poems. With an increasing demand in petting, a pet-friendly system was also built to condemn the animal-abusers and to compromise who thus lost their pets. In the Ming Dynasty (AC 1368¬¬—AC 1644), Wen Zhenheng recorded then elegant lifestyle of upper literati in his book Zhang Wu Zhi and described their choices of pets in one chapter. In the book Wen deemed pets as “a necessary art for those who live in solitude amongst the hills and woods” (Wen, 2015). By “necessary”, however, Wen meant it for upper class still since the book was written for them. In the Qing Dynasty (AC 1636¬—AC 1912), Man people brought with them nomadic culture and horses and birds were the majority of their choices of pets (She, 2019). In late Qing Dynasty people carrying a bird cage were common to be seen in the teahouses in Beijing as the symbol of their social statue. During the Cultural Revolution in 1960s and 1970s, pets were regarded as the component of the lifestyle of capitalism and therefore strictly forbidden. Pet owners have no choice but to hide, abandon, and even kill their pets. It was surely the most terrible era for pets and their owners. Nowadays in the 21th Century more and more Chinese have pets. Research showed that the pet market in China has increased 60% every year (Pitt, 2021). Analysts also expected that China’s pet industry will multiply 10 times that of a decade ago to 66 billion dollars. Even though petting system in China is still immature and still some people regard pet as emotionless animals, a more convenient society is being built for animal-lovers. Moreover, pets can get new jobs in cat-or-dog café and even make an income on social media. People’s attitude towards pets also changed a lot. Take dogs as example. Chinese used to treat dog as a source of meat. However, today the majority of dogs are viewed as companions and usually treated as family members (Coren, 2018).
===Conclusion===
In conclusion, pets were rare in ancient China, and most people who had pets were those in higher classes. Their pets were uncommon and exotic animals such as birds and fishes instead of dogs and cats. It is since the Tang Dynasty that people from lower classes started to have small animals as pets. However, in ancient times pets gained little popularity in general. In modern times with the increase of middle class and the influence of western culture, people’s attitude towards pets changed and dogs and cats are more accepted by public. Even though China has not been the most pet-friendly country, a mature petting system is now being built.
===References===
Li Xingxing李星星. (2017). 宠物与唐代社会生活 [Pets and Social Lives in the Tang Dynasty]. Hefei: Anhui University安徽大学.
She Yanwen佘燕文. (2019). 清代宠物饲养及其社会生活意义研究 [A Research on Petting in the Qing Dynasty and its Social Meaning]. Nanjing: Nanjing Agricultural University南京农业大学.
Wen Zhenheng文震亨. (2015). 《长物志》. Jingsu: Jiangsu Literature and Art Publishing House.
Zuo Qiuming左丘明. (2007). 《左传》. Beijing: Contemporary World Press.
Coren, Stanley. (2018, February 21). What Is China's Current Attitude Concerning Dogs? Retrieved from https://www.psychologytoday.com/us/blog/canine-corner/201802/what-is-chinas-current-attitude-concerning-dogs
Custer, Charles. (2021, September 8). How Does Chinese Culture View Dogs? Retrieved from https://www.thoughtco.com/dogs-in-china-687349
Pitt, Juliette. (2021, June 9). What has caused China’s booming pet economy? Retrieved from https://daoinsights.com/opinions/what-has-caused-chinas-booming-pet-economy/
===Terms and Expressions===
(This is an informative article with no professional jargons necessary to be affixed.)
===Questions===
1. How many cat-and-dog owners were there in China in 2021 according to 2021 Chinese Pet Industry White Paper?
.
A. 98.15 million B. 80.04 million C. 68.44 million D. 71.68 million
.
2. What was Confucius’ attitude towards the fact that people pampered their pets?
.
A. Agreeable B. Indifferent C. Objective D. Criticising
.
3. Why pets were abused during Cultural Revolution?
.
A. Pets were considered as a part of capitalism
B. People wanted to eat them
C. Pets were not practical for farming
D. All of above
.
4. Pets were popular among every class in China since ancient times.
.
A. True
B. False
===Answers===
Correct answers are:
.
1. C
.
2. D
.
3. A
.
4. B

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===题目===

中国文化与儿童教育

===摘要===

当涉及到长达数十年的根深蒂固的儿童教育文化和问题迅速老龄化的人口时，中国的社会状况从未如此沉重。中国长期以来对亲属关系的忠诚和集体主义相互依存的社会结构使父母对孩子产生了周期性的关注，因为一个人照顾另一个人以确保一个富有成果的经济未来。 1950 年代的独生子女政策不仅有助于降低出生率，而且无意中允许为独生子女的未来预留大量资金，以确保理想的经济成功。中国共产党已经认识到过去的政策给国家的未来带来的挑战，并正在寻求对教育文化进行革命性的改革，以使中国家庭能够成长，而不用担心错过一个有利可图和充实的未来。家庭单位。现代中共和古代哲学家孔子对家庭在中国社会未来健康发展中所扮演的重要角色的理解是一致的。

===关键词===

集体文化; 孝顺; 亲属文化; 私立教育; 标准化测试

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子 (house), 车子 (car), and 票子 (money) are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 (Double First-Class Initiative) higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 (chicken baby) parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 (to bring up children for the purpose of being looked after in old age) is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子 the three common conditions for marriage: a house, car, and money; 养儿防老 to bring up children for the purpose of being looked after in old age; 鸡娃 a parenting style known as "chicken babies"; 双一流 the Double First-Class Initiative of Chinese universities

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-31T06:00:48Z

Zhang Sishi: /* Headline text */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Chinese Spicy Food Culture==
<center>张祺葳 Zhang Qiwei，202270081677</center>
===Abstract===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. Pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".
===Key Words===
Pepper, chili, food
===题目===
中国吃辣文化
===摘要===
辣椒是在明末从美洲传入中国的，但起初只是作为观赏作物和药物，进入中国。清初，最先开始食用辣椒的是贵州及其相邻地区。嘉庆以后，黔、湘、川、赣几省辣椒种植普遍起来，嘉庆时有记载说，江西、湖南、贵州、四川等地已经开始“种以为蔬”了。
===Introduction===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. In Guizhou, where salt was scarce, during the reign of Emperor Kangxi (1662-1722), "soil seedlings were used to replace salt". Pepper played a role in replacing salt, which shows that it is closely related to life. From the Qianlong period (1736-1795), a large number of hot peppers were eaten in Guizhou. During the reign of Qianlong, Zhenxiong, Yunnan, which was adjacent to Guizhou, and Chenzhou Prefecture, Hunan, in the east of Guizhou, also began to eat chili. After Jiaqing (1796-1820), pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".

During Daoguang's reign (1821-1850), the northern part of Guizhou was already in a situation of"every meal must be filled with peppers". The rice wrapped in grain was popular in Tongzhi. The dish used mostly bean curd, that is, water soaked salt and sea pepper, which was used to dip in water, a little like the sea pepper dip in Sichuan Fushun bean curd today.

In some areas of Hunan, hot pepper was not very common during the Jiaqing period, but it was more common among Daoguang, Xianfeng, Tongzhi and Guangxu. According to the Qing barnyard banknotes in the late Qing Dynasty, "people in Yunnan, Guizhou, Hunan and Sichuan loved spicy food", "people in Hunan and Hubei liked spicy food", and "people in Hunan and Hubei could not eat spicy food without pepper and mustard, so there was plenty of soup", indicating that people in Hunan and Hubei had become accustomed to spicy food in the late Qing Dynasty, and they even put pepper into soup.

The record of edible pepper in Sichuan was later than Hubei’s. Neither in the book of Yongzheng's Sichuan Tongzhi nor Jiaqing's Sichuan Tongzhi recorded the cultivation and eating of pepper, and the earliest recorded pepper may be in Jiaqing. From the perspective of the areas where pepper was planted and eaten in Jiaqing, Sichuan, they are mainly located in the Chengdu Plain and the Daba Mountains area in the south and southwest of Sichuan and the borders of Sichuan, Hubei and Shaanxi. After Daoguang, Xianfeng and Tongzhi, Sichuan's edible chilies began to become popular, and even chilies were "planted all over the mountains" in Sichuan. After Guangxu, Sichuan's edible chili was more common. In addition to being widely eaten, there were a lot of records of eating chili in the classic recipes. According to Fu Chongju's Chengdu Overview in the late Qing Dynasty, there were 1328 kinds of dishes in Chengdu at that time. Pepper has become one of the main condiments in Sichuan cuisine, including hot oil sea pepper, sea pepper noodles, etc., especially the double cooked pork in Sichuan cuisine was officially recorded in written records. At the end of the Qing Dynasty, eating pepper has become an important feature of Sichuan people's diet. Xu Xinyu's Records of Traveling in Sichuan recorded that "Sichuan people must choose the most spicy ones to eat, and every meal and dish must be hot."

When did Yunnan begin to eat spicy food? Zhenxiong, Yunnan, which is close to Guizhou, ate hot pepper during the Qianlong Period, but it was not very common in Yunnan during the Qianjia Period. There was no record of chilli in the Tongzhi of Yunnan during the Guangxu period, but people began to eat chilli in large quantities as early as the Guangxu period. According to the Records of Visiting Sichuan by Xu Xinyu in the late Qing Dynasty, his father found in Ya'an that the chili peppers transported into Yunnan every year through Ya'an, Sichuan, were "quantity is nearly hundreds of thousands. The amount of chili peppers eaten by Yunnan people is not less than that of Sichuan people". Therefore, Xu Ke's Qing barnyard banknote at the end of the Qing Dynasty said: "Yunnan, Guizhou, Hunan and Sichuan people are fond of spicy food." According to the records in the Textual Research on the Names and Facts of Plants, edible chili peppers had been planted in Jiangxi during the Jiaqing period. During the Guangxu period, edible chili peppers had become more common in Jiangxi, and now Jiangxi Nankang chili sauce is very famous.

Pepper has been introduced into China for about 400 years, but this foreign spice soon became popular all over China, taking the position of traditional Chinese prickly ash, ginger and cornus officinalis. The consumption of Chinese prickly ash was squeezed into Sichuan Basin, the hometown of Chinese prickly ash. Cornus officinalis almost completely withdrew from the stage of Chinese food spice, and the position of ginger was largely withdrawn from the diet. The introduction of chili into Chinese food is undoubtedly a food revolution. The powerful chili makes it impossible for any traditional spice to compete with it. The revolution was only a little slow due to the constraints of traffic and information at that time.

What about court dishes?
one book records the dishes used to celebrate the Lantern Festival on the 15th day of the first lunar month, including "Spicy Rabbit". However, there was no detailed description of what kind of dish it was. In the following Qing Dynasty, a dish named "Spicy Rabbit Silk" also appeared in Tioding Collection. Shredded chicken soup simmer, add yellow rice wine, soy sauce, onion, ginger juice, Chinese prickly ash, and soybean powder to finish the soup.

No pepper is used, but pepper is added, so the name of the dish has the word "spicy". It should have the same taste as the "spicy" in the "spicy live rabbit" in the "Records of Drinking". There are two kinds of flavors without chilli. As for whether rabbit meat is used, why the dish is called "Spicy Rabbit" is an unsolved mystery. In the Records of Drinking, dozens of famous dishes in the imperial court are listed. In addition to the aforementioned "Spicy Rabbit", there is also a dish called "Spicy Soup", which is a soup to drink every morning to prevent cold in November. Nowadays, ginger soup is often drunk to prevent cold. The "hot soup" here may be of the same type. As for other places where pepper is used, none of them has been found.

===Conclusion===
Even in the Qing Dynasty, pepper still did not enter the court. The Manchu people did not even have the habit of eating mustard seeds. "A Dream of Red Mansions" describes the dishes made of vinegar, as well as various other cooking methods, but hot dishes never appeared.
===References===
▪Su Xiaonian 苏小年. (2019). 中国吃辣地图里,哪个地方最厉害?.[Which place is the best in the map of Chinese spicy food?] 旅游世界[Tourism World](11), 6.

▪Lan Yong蓝勇. (2001)中国饮食辛辣口味的地理分布及其成因研究[A Study on the Geographical Distribution and Causes of the Spicy Taste of Chinese Diet][J]. 地理研究[Geographic Studies]

▪Xiao Yi小易. (2011). 中国吃辣历史有多久[How long is the history of spicy food in China]. 记者观察:下.[Reporter observation]

▪ Lu, W. X. , & Zhou, J. H. . (2007). The promotion of chinese spicy pepper seeds industry and exploration of its cultural connotation in terms of ecological and economic benefit. Journal of Panzhihua University.

▪Dong, S. , Zhong, B. Y. , & Huang, C. R. . (2018). How do non-tastes taste? A corpus-based study on Chinese people's perception of spicy and numbing food.
===Questions===
1.When did pepper introduced into China? A. Tang Dynasty B. Song Dynasty C. Yuan Dynasty D. Ming Dynasty

2. Which province first ate pepper? A. Guizhou B. Hunan C.Sichuan D. Jiangxi

3.When did Hunan people widely ate pepper? A. Jiaqing period B.Daoguang period C. Xianfeng period D.Tongzhi period E.Guangxu period

4.In the Qing Dynasty, pepper still did not enter the court. True/Fause
===Answers===
1.D 2.A 3. BCDE 4.True

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

===Terms and Expressions===
music score乐谱
tone音律
silencing 消音
palace instruments 宫廷乐器
Zenghouyi Chime曾侯乙编钟
magnetic levitation chime磁悬浮编钟

===Questions===

===Answers===
1.
2.
3.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live Streaming Culture in Contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people’s daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people’s spiritual culture and entertainment pursuit. This article will give an introduction of live streaming, including its categories, patterns of interaction as well as influence in contemporary China.
===Key words===
Live streaming, culture
===题目===
当代中国的直播文化
===摘要===
随着直播行业的快速发展，直播已经广泛出现在人们的日常生活中。它不仅是一种经济现象，也是一种文化现象，反映了当代人的精神文化和娱乐追求的倾向和偏好。本文将对直播进行介绍，包括其类别、互动模式以及在当代中国的影响。
===关键词===
网络直播、文化
===Introduction===
Live streaming was not initially a product of the network. In The Radio and Television Dictionary, live streaming refers to the post-synthesis and broadcast of radio programs at the same time, and live television broadcast is the broadcast method of producing and broadcasting television programs simultaneously with the occurrence and development process of events.” It can be seen that live streaming firstly appeared on traditional media radio and television stations.
On January 1, 2008, the General Office of the State Council put forward a notice proposing to promote the integration of the Three Networks (telecommunication network, computer network and cable TV network). Until today, the integration of the three networks has experienced twelve years of development. Under the background of the continuous progress of interconnection technology, cell phone has been transformed from a simple communication tool to a multifunctional device integrating communication, TV watching and the internet access. With the increasing number of cell phones, the number of cell phone users also continues to go high, providing support for the development of cell phone live steaming. Taking advantage of a large number of live streaming platforms, the connotation of network live streaming also transformed from the early program broadcast into the broadcast of life scenes that the general public can participate in, which is a leap forward.
===Categories of Living Streaming===
(1)According to the main body of live streaming, it can be divided into star live streaming, net celebrity live streaming and common people live streaming. Star live is held by actors, athletes and other celebrities with a certain degree of fame and attention in the mass media, the audience of star live is mainly fans. The purpose of star live is often to let fans see the daily life of the stars to close the distance. Net celebrity live is held by the network celebrities who have become popular in micro blogging, short video platform or other social platforms, and some of them are professional anchors. As opposed to stars and net celebrities, the rest of the ordinary anchors who do not have great influence and attention are collectively referred to as common people live.
(2)According to the live content, live streaming can be generally divided into four categories: live show, live game, live pan-life broadcast and live streaming sale. Show live is the earliest type of live streaming, and it requires the anchors to show their talents. Game live is about electronic games, and most of them are competitive games and it has a certain threshold for both parties - the game anchor is generally required to be proficient or at least familiar with the game being broadcast; the audience is at least aware of the game, otherwise they cannot participate well in the live viewing. Pan-life live streaming refers to the live streaming that shows daily life, where the anchor simply sings, casually chats, eats and shows their daily life. It is live and casual and with no rehearsal, and anyone with a device can become an anchor by registering an account. As the fastest growing type of live streaming since 2016, pan-life live streaming is leading the wave of live streaming with a “mobile live for all” approach. Live streaming sale is an emerging commercial activity which aims to sale goods, and it is all about introduction and exhibition of products.
===Patterns of Interaction in Live Streaming===
(1)Get connected: anchor to anchor interaction
This is a way of interaction between two anchors to achieve a more interesting live broadcast and share fans through a common broadcasting room. It is to connect the live rooms of two hosts, and the way to get connected is that the host can choose to connect with a host they are familiar with or be randomly matched by the system. For viewers, they can see both hosts on the same live screen at the same time. The anchors will chat, sing, play games and so on to make the live streaming more interesting, and at the same time the anchor will also recommend their own fans to pay attention to the other anchor. The fans watching the live broadcast do not have the loyalty between traditional idols and fans, so the anchors can achieve the purpose of sharing fans and maximizing benefits.
(2)Pop-ups and gifts: fan-anchor interaction
The explosive growth of User Generated Content (UGC) attracts large-scale internet users to join the content interaction, and “gifts and pop-ups” constitute the basic ecology of live streaming culture. Pop-ups gives fans an opportunity to express their emotions, and gifts is another important way for fans to interact with anchors, which first existed in original literature websites, and then was introduced as an innovative payment function by self-media and gradually introduced by major platforms.
(3)Melt media interaction: the establishment of cross-platform fan group
Senior anchors do not limit themselves to interacting with their fans briefly on the live platform, but will establish WeChat or QQ fan groups to achieve cross-platform interaction. The establishment of fan groups can make the interaction between fans and anchors more intimate. The fan groups of popular anchors have certain requirements in terms of access qualifications, such as the amount of bounty, frequency of interaction, etc., and anchors will also use fan groups to give back to their fans, such as more interaction, red packets or other benefits.
===Conclusion===
On the one hand, live streaming has brought many beneficial effects to people’s lives. People have a new way to learn and express themselves. And also its platform advantages can make it a disseminator of excellent culture and promote people towards cultural confidence and cultural self-awareness.
On the other hand, the trend of network live entertainment is obvious, and overly entertaining and vulgarized content is popping up, which to some extent hinders the spread and popularization of socialist core values. Therefore, restrictions should be taken to standardize live streaming.
===Reference===
[1]叶南希. 作为文化生成空间的网络直播及其亚文化研究[D].浙江大学,2018.
[2]吴亚静. 文化狂欢视阈下“网络直播”现象及反思[D].重庆大学,2018.
[3]黄肖. 国内网络直播中的青年亚文化现象研究[D].黑龙江大学,2018.
[4]钟晴. 消费文化视角下的网络直播现象研究[D].湖南师范大学,2019.
[5]颜彬.粉丝文化视域下出版直播的内容生产、情感认同与符号建构[J].编辑之友,2022(08):50-54+61.
===Terms and Expressions===
Live streaming 网络直播
The Radio and Television Dictionary 《广播电视辞典》
The Three Networks 三网（电视网、计算机网和有线电视网）
Anchor 主播
Star live 明星直播
Net celebrity live 网红直播
Common people live 素人直播
Live pan-life broadcast 泛生活直播
Live streaming sale 直播带货
Broadcasting room 直播间
User Generated Content(UGC) 用户自己生成的内容
Pop-ups 弹幕
===Questions===
1、Where did live streaming firstly appear?
A.Mobile phones
B.Traditional media radio and television stations
C.International conference
2、According to the live content, how many categories can live streaming be divided into?
A.Three
B.Four
C.Five
3、Which is the earliest type of live streaming?
A.Show live
B.Game live
C.Pan-life broadcast
4、Did the function of giving gifts first exist in original literature websites?
Ture
False
===Answers===
1.B 2.B 3.A 4.True

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin and development, the author interprets some common imageries in detail according to three classifications. They are botanical imagery, animal imagery and inanimate imagery.

===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination and divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with, i.e. the objective things in poetry fusing the poet's subjective feelings and aspirations.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always employed to express sentiment attached to parting. In Han Dynasty, there formed the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “子规” or “子鹃” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”(bùrúguīqù), which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such sounds, which evoke their distress and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is to render the poet's appreciation of the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “玉弓”, “银盘”, “婵娟”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. Conversely, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before the imagery theory we understand today gradually formed. Due to its rich connotations, profound philosophy and unique spirit, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.

===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasty, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.

===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named as “mamian”, and the skirt itself is called mamianqun (also horseface skirt) (Cai Liming 1993,379).

The word “Ma Mian” first appeared in the ''Ming Palace''(Qi Ziyu 2012，2). And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So, what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal but independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of the texture, decoration, and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt evolved from a general skirt for men and women to a skirt only for women, and more forms appeared, such as pleated skirt, yuehua skirt, and fengwei skirt. In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

====The Structure of Horseface Skirt====
“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization, and horseface skirt is a kind of “Shang”, which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other. The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband functions to gird the waist with the help of beltloops. It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

====The Patterns of Horseface Skirt====
Let’s move on, and learn about its patterns! There are two types of horseface skirt patterns -- separate embroidery patterns and large embroidery patterns,among which the separate embroidery patterns account for the majority. Each pattern conveys a different meaning. Taking the animal patterns “dragon” and “phoenix” as an example, in the long history of China, dragon and phoenix are considered to be auspicious. They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines. Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）,which conveys the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony, which represents wealth and nobility; the undefiled lotus, which symbolizes purity; the golden chrysanthemum, which represents longevity; and lily, which represents sacredness and holiness, friendship and a bright future (Sun Hui ,Wu Yue 2017,11).

====The Colors of Horseface Skirt====
Generally speaking, in terms of color, horseface skirt can be divided into solid color horse face skirt and colorful horseface skirt (such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness, which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness. Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors, such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attractive. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity, thus making more peoplef fall in love with horseface skirt.

===Conclusion===
The horseface skirt did originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I still sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.

That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
1.horseface skirt/ mamianqun 马面裙
2.''Ming Palace'' 《明宫史》
3.shape and structure 形制
4.yuehua skirt 月华裙
5.fengwei skirt 凤尾裙
6.skirt door 裙门
7.skirt flank 裙胁
8.waistband 裙头
9.skirt couplet 裙联
10.beltloops 袢带
11.clothing form 服装形制
12.solid color horseface skirt 素色马面裙
13.colorful horseface skirt 五彩马面裙
14.separate embroidery patterns 独立的刺绣图案
15.large embroidery patterns 大面积刺绣图案
16.The Yi (the upper garment) and Shang (the lower skirt) 上衣下裳
17.prosperity brought by the dragon and the phoenix 龙凤呈祥

===Questions===
1.The word “Ma Mian” first appeared in______.
A.''Bible''
B.''Ming Palace''
C.''Journey to the West''
D.''The Seventh Day''

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.The beautiful Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?

A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)

A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?

A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)

A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?

A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:

1.C

2.ABC

3.B

4.ABC

5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief Introduction of Chinese History of Petting
<center> Zhou Zihao, 202270081702 </center>
===Abstract===
This chapter is on petting in Chinese history. Pets had been considered to be a component of Western lifestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China.
===Key Words===
Pet, Ancient Chinese History, Dogs
===中国蓄养宠物简史===
===摘要===
本文粗略介绍了中国从古代以来蓄养宠物的历史，希望在史料中总结出中国人养宠物的大概特点与历史变化，描绘出中国人对待动物与宠物的态度以及行为变化。
===关键词===
宠物，中国古代文化，狗
===Introduction===
Chinese were thought not so pet-friendly as Westerners, especially for its notorious dog-eating, and petting is indeed never considered by people home or abroad as a long-prevailing habit of Chinese. In fact, even nowadays petting in China cannot be described as anything related to “popular”. According to 2021 Chinese Pet Industry White Paper, the number of dog-and-cat owners totalled to 68.44 million in 2021 and was expected to increase to 71.68 million which took up only 5.12% of China’s total population. Other “non-traditional” pets, say, birds, other small mammals, reptiles are even rarer to public sight. Even though pet-owner are still a small proportion in China, petting is surely gaining more and more attention publicly and politically.
===Historical Overview of Chinese Petting===
Petting hasn’t been a popular thing since ancient times. For an agricultural country like China, “unpragmatic” animals like dogs and cats used to be quite uncommon because they were not beneficial for farming (Custer, 2021). Nevertheless, there were a few famous pet-lovers documented for their adoration for certain animals. In Pre-Qin periods, the emperor Yi of Wei loved raising cranes. The elegant and purely-white bird was terribly doted on by the emperor Yi who even ranked them with their appearances and qualities and “remunerated” them in accordance with their given “official positions” (Zuo, 2007). Zang Wenzhong, a contemporary of Yi, was obsessed with another unusual animal¬¬—turtles. Like Yi the emperor, Zang cosseted his pets by accommodating the turtles in luxury palaces and that solicited commotion leading to his own doomed end. Interestingly their pampery was harshly chastised by Confucius as a breach of ethical conventions. At that time petting had been exclusive for upper classes with wealth and power who despite the stereotypes of abusing animals pampered their pets with obscene extravagancy. During the Tang Dynasty (AC 618¬¬¬—AC 907) the royal members started raising exotic animals tributed by foreigners as their pets such as elephants, lions, and rhinos in the palace. At the same time petting was gaining popularity among public, and it was presented by the paintings that some people from middle and lower classes had small-sized pets like chicken, dogs, and cats. Animals were no longer merely food resources and pets were more than a time killer but an emotional support and religious and spiritual symbol as well (Li, 2017). Literati would also rest their hopes and sentiments on certain animals in poems. With an increasing demand in petting, a pet-friendly system was also built to condemn the animal-abusers and to compromise who thus lost their pets. In the Ming Dynasty (AC 1368¬¬—AC 1644), Wen Zhenheng recorded then elegant lifestyle of upper literati in his book Zhang Wu Zhi and described their choices of pets in one chapter. In the book Wen deemed pets as “a necessary art for those who live in solitude amongst the hills and woods” (Wen, 2015). By “necessary”, however, Wen meant it for upper class still since the book was written for them. In the Qing Dynasty (AC 1636¬—AC 1912), Man people brought with them nomadic culture and horses and birds were the majority of their choices of pets (She, 2019). In late Qing Dynasty people carrying a bird cage were common to be seen in the teahouses in Beijing as the symbol of their social statue. During the Cultural Revolution in 1960s and 1970s, pets were regarded as the component of the lifestyle of capitalism and therefore strictly forbidden. Pet owners have no choice but to hide, abandon, and even kill their pets. It was surely the most terrible era for pets and their owners. Nowadays in the 21th Century more and more Chinese have pets. Research showed that the pet market in China has increased 60% every year (Pitt, 2021). Analysts also expected that China’s pet industry will multiply 10 times that of a decade ago to 66 billion dollars. Even though petting system in China is still immature and still some people regard pet as emotionless animals, a more convenient society is being built for animal-lovers. Moreover, pets can get new jobs in cat-or-dog café and even make an income on social media. People’s attitude towards pets also changed a lot. Take dogs as example. Chinese used to treat dog as a source of meat. However, today the majority of dogs are viewed as companions and usually treated as family members (Coren, 2018).
===Conclusion===
In conclusion, pets were rare in ancient China, and most people who had pets were those in higher classes. Their pets were uncommon and exotic animals such as birds and fishes instead of dogs and cats. It is since the Tang Dynasty that people from lower classes started to have small animals as pets. However, in ancient times pets gained little popularity in general. In modern times with the increase of middle class and the influence of western culture, people’s attitude towards pets changed and dogs and cats are more accepted by public. Even though China has not been the most pet-friendly country, a mature petting system is now being built.
===References===
Li Xingxing李星星. (2017). 宠物与唐代社会生活 [Pets and Social Lives in the Tang Dynasty]. Hefei: Anhui University安徽大学.
She Yanwen佘燕文. (2019). 清代宠物饲养及其社会生活意义研究 [A Research on Petting in the Qing Dynasty and its Social Meaning]. Nanjing: Nanjing Agricultural University南京农业大学.
Wen Zhenheng文震亨. (2015). 《长物志》. Jingsu: Jiangsu Literature and Art Publishing House.
Zuo Qiuming左丘明. (2007). 《左传》. Beijing: Contemporary World Press.
Coren, Stanley. (2018, February 21). What Is China's Current Attitude Concerning Dogs? Retrieved from https://www.psychologytoday.com/us/blog/canine-corner/201802/what-is-chinas-current-attitude-concerning-dogs
Custer, Charles. (2021, September 8). How Does Chinese Culture View Dogs? Retrieved from https://www.thoughtco.com/dogs-in-china-687349
Pitt, Juliette. (2021, June 9). What has caused China’s booming pet economy? Retrieved from https://daoinsights.com/opinions/what-has-caused-chinas-booming-pet-economy/
===Terms and Expressions===
(This is an informative article with no professional jargons necessary to be affixed.)
===Questions===
1. How many cat-and-dog owners were there in China in 2021 according to 2021 Chinese Pet Industry White Paper?
.
A. 98.15 million B. 80.04 million C. 68.44 million D. 71.68 million
.
2. What was Confucius’ attitude towards the fact that people pampered their pets?
.
A. Agreeable B. Indifferent C. Objective D. Criticising
.
3. Why pets were abused during Cultural Revolution?
.
A. Pets were considered as a part of capitalism
B. People wanted to eat them
C. Pets were not practical for farming
D. All of above
.
4. Pets were popular among every class in China since ancient times.
.
A. True
B. False
===Answers===
Correct answers are:
.
1. C
.
2. D
.
3. A
.
4. B

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===题目===

中国文化与儿童教育

===摘要===

当涉及到长达数十年的根深蒂固的儿童教育文化和问题迅速老龄化的人口时，中国的社会状况从未如此沉重。中国长期以来对亲属关系的忠诚和集体主义相互依存的社会结构使父母对孩子产生了周期性的关注，因为一个人照顾另一个人以确保一个富有成果的经济未来。 1950 年代的独生子女政策不仅有助于降低出生率，而且无意中允许为独生子女的未来预留大量资金，以确保理想的经济成功。中国共产党已经认识到过去的政策给国家的未来带来的挑战，并正在寻求对教育文化进行革命性的改革，以使中国家庭能够成长，而不用担心错过一个有利可图和充实的未来。家庭单位。现代中共和古代哲学家孔子对家庭在中国社会未来健康发展中所扮演的重要角色的理解是一致的。

===关键词===

集体文化; 孝顺; 亲属文化; 私立教育; 标准化测试

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子 (house), 车子 (car), and 票子 (money) are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 (Double First-Class Initiative) higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 (chicken baby) parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 (to bring up children for the purpose of being looked after in old age) is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子 the three common conditions for marriage: a house, car, and money; 养儿防老 to bring up children for the purpose of being looked after in old age; 鸡娃 a parenting style known as "chicken babies"; 双一流 the Double First-Class Initiative of Chinese universities

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-31T05:59:57Z

Zhang Sishi: /* Terms and Expressions */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Chinese Spicy Food Culture==
<center>张祺葳 Zhang Qiwei，202270081677</center>
===Abstract===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. Pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".
===Key Words===
Pepper, chili, food
===题目===
中国吃辣文化
===摘要===
辣椒是在明末从美洲传入中国的，但起初只是作为观赏作物和药物，进入中国。清初，最先开始食用辣椒的是贵州及其相邻地区。嘉庆以后，黔、湘、川、赣几省辣椒种植普遍起来，嘉庆时有记载说，江西、湖南、贵州、四川等地已经开始“种以为蔬”了。
===Introduction===
Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. In Guizhou, where salt was scarce, during the reign of Emperor Kangxi (1662-1722), "soil seedlings were used to replace salt". Pepper played a role in replacing salt, which shows that it is closely related to life. From the Qianlong period (1736-1795), a large number of hot peppers were eaten in Guizhou. During the reign of Qianlong, Zhenxiong, Yunnan, which was adjacent to Guizhou, and Chenzhou Prefecture, Hunan, in the east of Guizhou, also began to eat chili. After Jiaqing (1796-1820), pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".

During Daoguang's reign (1821-1850), the northern part of Guizhou was already in a situation of"every meal must be filled with peppers". The rice wrapped in grain was popular in Tongzhi. The dish used mostly bean curd, that is, water soaked salt and sea pepper, which was used to dip in water, a little like the sea pepper dip in Sichuan Fushun bean curd today.

In some areas of Hunan, hot pepper was not very common during the Jiaqing period, but it was more common among Daoguang, Xianfeng, Tongzhi and Guangxu. According to the Qing barnyard banknotes in the late Qing Dynasty, "people in Yunnan, Guizhou, Hunan and Sichuan loved spicy food", "people in Hunan and Hubei liked spicy food", and "people in Hunan and Hubei could not eat spicy food without pepper and mustard, so there was plenty of soup", indicating that people in Hunan and Hubei had become accustomed to spicy food in the late Qing Dynasty, and they even put pepper into soup.

The record of edible pepper in Sichuan was later than Hubei’s. Neither in the book of Yongzheng's Sichuan Tongzhi nor Jiaqing's Sichuan Tongzhi recorded the cultivation and eating of pepper, and the earliest recorded pepper may be in Jiaqing. From the perspective of the areas where pepper was planted and eaten in Jiaqing, Sichuan, they are mainly located in the Chengdu Plain and the Daba Mountains area in the south and southwest of Sichuan and the borders of Sichuan, Hubei and Shaanxi. After Daoguang, Xianfeng and Tongzhi, Sichuan's edible chilies began to become popular, and even chilies were "planted all over the mountains" in Sichuan. After Guangxu, Sichuan's edible chili was more common. In addition to being widely eaten, there were a lot of records of eating chili in the classic recipes. According to Fu Chongju's Chengdu Overview in the late Qing Dynasty, there were 1328 kinds of dishes in Chengdu at that time. Pepper has become one of the main condiments in Sichuan cuisine, including hot oil sea pepper, sea pepper noodles, etc., especially the double cooked pork in Sichuan cuisine was officially recorded in written records. At the end of the Qing Dynasty, eating pepper has become an important feature of Sichuan people's diet. Xu Xinyu's Records of Traveling in Sichuan recorded that "Sichuan people must choose the most spicy ones to eat, and every meal and dish must be hot."

When did Yunnan begin to eat spicy food? Zhenxiong, Yunnan, which is close to Guizhou, ate hot pepper during the Qianlong Period, but it was not very common in Yunnan during the Qianjia Period. There was no record of chilli in the Tongzhi of Yunnan during the Guangxu period, but people began to eat chilli in large quantities as early as the Guangxu period. According to the Records of Visiting Sichuan by Xu Xinyu in the late Qing Dynasty, his father found in Ya'an that the chili peppers transported into Yunnan every year through Ya'an, Sichuan, were "quantity is nearly hundreds of thousands. The amount of chili peppers eaten by Yunnan people is not less than that of Sichuan people". Therefore, Xu Ke's Qing barnyard banknote at the end of the Qing Dynasty said: "Yunnan, Guizhou, Hunan and Sichuan people are fond of spicy food." According to the records in the Textual Research on the Names and Facts of Plants, edible chili peppers had been planted in Jiangxi during the Jiaqing period. During the Guangxu period, edible chili peppers had become more common in Jiangxi, and now Jiangxi Nankang chili sauce is very famous.

Pepper has been introduced into China for about 400 years, but this foreign spice soon became popular all over China, taking the position of traditional Chinese prickly ash, ginger and cornus officinalis. The consumption of Chinese prickly ash was squeezed into Sichuan Basin, the hometown of Chinese prickly ash. Cornus officinalis almost completely withdrew from the stage of Chinese food spice, and the position of ginger was largely withdrawn from the diet. The introduction of chili into Chinese food is undoubtedly a food revolution. The powerful chili makes it impossible for any traditional spice to compete with it. The revolution was only a little slow due to the constraints of traffic and information at that time.

What about court dishes?
one book records the dishes used to celebrate the Lantern Festival on the 15th day of the first lunar month, including "Spicy Rabbit". However, there was no detailed description of what kind of dish it was. In the following Qing Dynasty, a dish named "Spicy Rabbit Silk" also appeared in Tioding Collection. Shredded chicken soup simmer, add yellow rice wine, soy sauce, onion, ginger juice, Chinese prickly ash, and soybean powder to finish the soup.

No pepper is used, but pepper is added, so the name of the dish has the word "spicy". It should have the same taste as the "spicy" in the "spicy live rabbit" in the "Records of Drinking". There are two kinds of flavors without chilli. As for whether rabbit meat is used, why the dish is called "Spicy Rabbit" is an unsolved mystery. In the Records of Drinking, dozens of famous dishes in the imperial court are listed. In addition to the aforementioned "Spicy Rabbit", there is also a dish called "Spicy Soup", which is a soup to drink every morning to prevent cold in November. Nowadays, ginger soup is often drunk to prevent cold. The "hot soup" here may be of the same type. As for other places where pepper is used, none of them has been found.

===Conclusion===
Even in the Qing Dynasty, pepper still did not enter the court. The Manchu people did not even have the habit of eating mustard seeds. "A Dream of Red Mansions" describes the dishes made of vinegar, as well as various other cooking methods, but hot dishes never appeared.
===References===
▪Su Xiaonian 苏小年. (2019). 中国吃辣地图里,哪个地方最厉害?.[Which place is the best in the map of Chinese spicy food?] 旅游世界[Tourism World](11), 6.

▪Lan Yong蓝勇. (2001)中国饮食辛辣口味的地理分布及其成因研究[A Study on the Geographical Distribution and Causes of the Spicy Taste of Chinese Diet][J]. 地理研究[Geographic Studies]

▪Xiao Yi小易. (2011). 中国吃辣历史有多久[How long is the history of spicy food in China]. 记者观察:下.[Reporter observation]

▪ Lu, W. X. , & Zhou, J. H. . (2007). The promotion of chinese spicy pepper seeds industry and exploration of its cultural connotation in terms of ecological and economic benefit. Journal of Panzhihua University.

▪Dong, S. , Zhong, B. Y. , & Huang, C. R. . (2018). How do non-tastes taste? A corpus-based study on Chinese people's perception of spicy and numbing food.
===Questions===
1.When did pepper introduced into China? A. Tang Dynasty B. Song Dynasty C. Yuan Dynasty D. Ming Dynasty

2. Which province first ate pepper? A. Guizhou B. Hunan C.Sichuan D. Jiangxi

3.When did Hunan people widely ate pepper? A. Jiaqing period B.Daoguang period C. Xianfeng period D.Tongzhi period E.Guangxu period

4.In the Qing Dynasty, pepper still did not enter the court. True/Fause
===Answers===
1.D 2.A 3. BCDE 4.True

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

== Headline text ==
===Terms and Expressions===
music score乐谱
tone音律
silencing 消音
palace instruments 宫廷乐器
Zenghouyi Chime曾侯乙编钟
magnetic levitation chime磁悬浮编钟

===Questions===

===Answers===
1.
2.
3.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live Streaming Culture in Contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people’s daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people’s spiritual culture and entertainment pursuit. This article will give an introduction of live streaming, including its categories, patterns of interaction as well as influence in contemporary China.
===Key words===
Live streaming, culture
===题目===
当代中国的直播文化
===摘要===
随着直播行业的快速发展，直播已经广泛出现在人们的日常生活中。它不仅是一种经济现象，也是一种文化现象，反映了当代人的精神文化和娱乐追求的倾向和偏好。本文将对直播进行介绍，包括其类别、互动模式以及在当代中国的影响。
===关键词===
网络直播、文化
===Introduction===
Live streaming was not initially a product of the network. In The Radio and Television Dictionary, live streaming refers to the post-synthesis and broadcast of radio programs at the same time, and live television broadcast is the broadcast method of producing and broadcasting television programs simultaneously with the occurrence and development process of events.” It can be seen that live streaming firstly appeared on traditional media radio and television stations.
On January 1, 2008, the General Office of the State Council put forward a notice proposing to promote the integration of the Three Networks (telecommunication network, computer network and cable TV network). Until today, the integration of the three networks has experienced twelve years of development. Under the background of the continuous progress of interconnection technology, cell phone has been transformed from a simple communication tool to a multifunctional device integrating communication, TV watching and the internet access. With the increasing number of cell phones, the number of cell phone users also continues to go high, providing support for the development of cell phone live steaming. Taking advantage of a large number of live streaming platforms, the connotation of network live streaming also transformed from the early program broadcast into the broadcast of life scenes that the general public can participate in, which is a leap forward.
===Categories of Living Streaming===
(1)According to the main body of live streaming, it can be divided into star live streaming, net celebrity live streaming and common people live streaming. Star live is held by actors, athletes and other celebrities with a certain degree of fame and attention in the mass media, the audience of star live is mainly fans. The purpose of star live is often to let fans see the daily life of the stars to close the distance. Net celebrity live is held by the network celebrities who have become popular in micro blogging, short video platform or other social platforms, and some of them are professional anchors. As opposed to stars and net celebrities, the rest of the ordinary anchors who do not have great influence and attention are collectively referred to as common people live.
(2)According to the live content, live streaming can be generally divided into four categories: live show, live game, live pan-life broadcast and live streaming sale. Show live is the earliest type of live streaming, and it requires the anchors to show their talents. Game live is about electronic games, and most of them are competitive games and it has a certain threshold for both parties - the game anchor is generally required to be proficient or at least familiar with the game being broadcast; the audience is at least aware of the game, otherwise they cannot participate well in the live viewing. Pan-life live streaming refers to the live streaming that shows daily life, where the anchor simply sings, casually chats, eats and shows their daily life. It is live and casual and with no rehearsal, and anyone with a device can become an anchor by registering an account. As the fastest growing type of live streaming since 2016, pan-life live streaming is leading the wave of live streaming with a “mobile live for all” approach. Live streaming sale is an emerging commercial activity which aims to sale goods, and it is all about introduction and exhibition of products.
===Patterns of Interaction in Live Streaming===
(1)Get connected: anchor to anchor interaction
This is a way of interaction between two anchors to achieve a more interesting live broadcast and share fans through a common broadcasting room. It is to connect the live rooms of two hosts, and the way to get connected is that the host can choose to connect with a host they are familiar with or be randomly matched by the system. For viewers, they can see both hosts on the same live screen at the same time. The anchors will chat, sing, play games and so on to make the live streaming more interesting, and at the same time the anchor will also recommend their own fans to pay attention to the other anchor. The fans watching the live broadcast do not have the loyalty between traditional idols and fans, so the anchors can achieve the purpose of sharing fans and maximizing benefits.
(2)Pop-ups and gifts: fan-anchor interaction
The explosive growth of User Generated Content (UGC) attracts large-scale internet users to join the content interaction, and “gifts and pop-ups” constitute the basic ecology of live streaming culture. Pop-ups gives fans an opportunity to express their emotions, and gifts is another important way for fans to interact with anchors, which first existed in original literature websites, and then was introduced as an innovative payment function by self-media and gradually introduced by major platforms.
(3)Melt media interaction: the establishment of cross-platform fan group
Senior anchors do not limit themselves to interacting with their fans briefly on the live platform, but will establish WeChat or QQ fan groups to achieve cross-platform interaction. The establishment of fan groups can make the interaction between fans and anchors more intimate. The fan groups of popular anchors have certain requirements in terms of access qualifications, such as the amount of bounty, frequency of interaction, etc., and anchors will also use fan groups to give back to their fans, such as more interaction, red packets or other benefits.
===Conclusion===
On the one hand, live streaming has brought many beneficial effects to people’s lives. People have a new way to learn and express themselves. And also its platform advantages can make it a disseminator of excellent culture and promote people towards cultural confidence and cultural self-awareness.
On the other hand, the trend of network live entertainment is obvious, and overly entertaining and vulgarized content is popping up, which to some extent hinders the spread and popularization of socialist core values. Therefore, restrictions should be taken to standardize live streaming.
===Reference===
[1]叶南希. 作为文化生成空间的网络直播及其亚文化研究[D].浙江大学,2018.
[2]吴亚静. 文化狂欢视阈下“网络直播”现象及反思[D].重庆大学,2018.
[3]黄肖. 国内网络直播中的青年亚文化现象研究[D].黑龙江大学,2018.
[4]钟晴. 消费文化视角下的网络直播现象研究[D].湖南师范大学,2019.
[5]颜彬.粉丝文化视域下出版直播的内容生产、情感认同与符号建构[J].编辑之友,2022(08):50-54+61.
===Terms and Expressions===
Live streaming 网络直播
The Radio and Television Dictionary 《广播电视辞典》
The Three Networks 三网（电视网、计算机网和有线电视网）
Anchor 主播
Star live 明星直播
Net celebrity live 网红直播
Common people live 素人直播
Live pan-life broadcast 泛生活直播
Live streaming sale 直播带货
Broadcasting room 直播间
User Generated Content(UGC) 用户自己生成的内容
Pop-ups 弹幕
===Questions===
1、Where did live streaming firstly appear?
A.Mobile phones
B.Traditional media radio and television stations
C.International conference
2、According to the live content, how many categories can live streaming be divided into?
A.Three
B.Four
C.Five
3、Which is the earliest type of live streaming?
A.Show live
B.Game live
C.Pan-life broadcast
4、Did the function of giving gifts first exist in original literature websites?
Ture
False
===Answers===
1.B 2.B 3.A 4.True

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin and development, the author interprets some common imageries in detail according to three classifications. They are botanical imagery, animal imagery and inanimate imagery.

===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination and divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with, i.e. the objective things in poetry fusing the poet's subjective feelings and aspirations.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always employed to express sentiment attached to parting. In Han Dynasty, there formed the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “子规” or “子鹃” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”(bùrúguīqù), which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such sounds, which evoke their distress and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is to render the poet's appreciation of the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “玉弓”, “银盘”, “婵娟”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. Conversely, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before the imagery theory we understand today gradually formed. Due to its rich connotations, profound philosophy and unique spirit, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.

===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasty, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.

===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named as “mamian”, and the skirt itself is called mamianqun (also horseface skirt) (Cai Liming 1993,379).

The word “Ma Mian” first appeared in the ''Ming Palace''(Qi Ziyu 2012，2). And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So, what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal but independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of the texture, decoration, and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt evolved from a general skirt for men and women to a skirt only for women, and more forms appeared, such as pleated skirt, yuehua skirt, and fengwei skirt. In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

====The Structure of Horseface Skirt====
“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization, and horseface skirt is a kind of “Shang”, which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other. The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband functions to gird the waist with the help of beltloops. It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

====The Patterns of Horseface Skirt====
Let’s move on, and learn about its patterns! There are two types of horseface skirt patterns -- separate embroidery patterns and large embroidery patterns,among which the separate embroidery patterns account for the majority. Each pattern conveys a different meaning. Taking the animal patterns “dragon” and “phoenix” as an example, in the long history of China, dragon and phoenix are considered to be auspicious. They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines. Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）,which conveys the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony, which represents wealth and nobility; the undefiled lotus, which symbolizes purity; the golden chrysanthemum, which represents longevity; and lily, which represents sacredness and holiness, friendship and a bright future (Sun Hui ,Wu Yue 2017,11).

====The Colors of Horseface Skirt====
Generally speaking, in terms of color, horseface skirt can be divided into solid color horse face skirt and colorful horseface skirt (such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness, which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness. Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors, such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attractive. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity, thus making more peoplef fall in love with horseface skirt.

===Conclusion===
The horseface skirt did originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I still sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.

That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
1.horseface skirt/ mamianqun 马面裙
2.''Ming Palace'' 《明宫史》
3.shape and structure 形制
4.yuehua skirt 月华裙
5.fengwei skirt 凤尾裙
6.skirt door 裙门
7.skirt flank 裙胁
8.waistband 裙头
9.skirt couplet 裙联
10.beltloops 袢带
11.clothing form 服装形制
12.solid color horseface skirt 素色马面裙
13.colorful horseface skirt 五彩马面裙
14.separate embroidery patterns 独立的刺绣图案
15.large embroidery patterns 大面积刺绣图案
16.The Yi (the upper garment) and Shang (the lower skirt) 上衣下裳
17.prosperity brought by the dragon and the phoenix 龙凤呈祥

===Questions===
1.The word “Ma Mian” first appeared in______.
A.''Bible''
B.''Ming Palace''
C.''Journey to the West''
D.''The Seventh Day''

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.The beautiful Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?

A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)

A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?

A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)

A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?

A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:

1.C

2.ABC

3.B

4.ABC

5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief Introduction of Chinese History of Petting
<center> Zhou Zihao, 202270081702 </center>
===Abstract===
This chapter is on petting in Chinese history. Pets had been considered to be a component of Western lifestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China.
===Key Words===
Pet, Ancient Chinese History, Dogs
===中国蓄养宠物简史===
===摘要===
本文粗略介绍了中国从古代以来蓄养宠物的历史，希望在史料中总结出中国人养宠物的大概特点与历史变化，描绘出中国人对待动物与宠物的态度以及行为变化。
===关键词===
宠物，中国古代文化，狗
===Introduction===
Chinese were thought not so pet-friendly as Westerners, especially for its notorious dog-eating, and petting is indeed never considered by people home or abroad as a long-prevailing habit of Chinese. In fact, even nowadays petting in China cannot be described as anything related to “popular”. According to 2021 Chinese Pet Industry White Paper, the number of dog-and-cat owners totalled to 68.44 million in 2021 and was expected to increase to 71.68 million which took up only 5.12% of China’s total population. Other “non-traditional” pets, say, birds, other small mammals, reptiles are even rarer to public sight. Even though pet-owner are still a small proportion in China, petting is surely gaining more and more attention publicly and politically.
===Historical Overview of Chinese Petting===
Petting hasn’t been a popular thing since ancient times. For an agricultural country like China, “unpragmatic” animals like dogs and cats used to be quite uncommon because they were not beneficial for farming (Custer, 2021). Nevertheless, there were a few famous pet-lovers documented for their adoration for certain animals. In Pre-Qin periods, the emperor Yi of Wei loved raising cranes. The elegant and purely-white bird was terribly doted on by the emperor Yi who even ranked them with their appearances and qualities and “remunerated” them in accordance with their given “official positions” (Zuo, 2007). Zang Wenzhong, a contemporary of Yi, was obsessed with another unusual animal¬¬—turtles. Like Yi the emperor, Zang cosseted his pets by accommodating the turtles in luxury palaces and that solicited commotion leading to his own doomed end. Interestingly their pampery was harshly chastised by Confucius as a breach of ethical conventions. At that time petting had been exclusive for upper classes with wealth and power who despite the stereotypes of abusing animals pampered their pets with obscene extravagancy. During the Tang Dynasty (AC 618¬¬¬—AC 907) the royal members started raising exotic animals tributed by foreigners as their pets such as elephants, lions, and rhinos in the palace. At the same time petting was gaining popularity among public, and it was presented by the paintings that some people from middle and lower classes had small-sized pets like chicken, dogs, and cats. Animals were no longer merely food resources and pets were more than a time killer but an emotional support and religious and spiritual symbol as well (Li, 2017). Literati would also rest their hopes and sentiments on certain animals in poems. With an increasing demand in petting, a pet-friendly system was also built to condemn the animal-abusers and to compromise who thus lost their pets. In the Ming Dynasty (AC 1368¬¬—AC 1644), Wen Zhenheng recorded then elegant lifestyle of upper literati in his book Zhang Wu Zhi and described their choices of pets in one chapter. In the book Wen deemed pets as “a necessary art for those who live in solitude amongst the hills and woods” (Wen, 2015). By “necessary”, however, Wen meant it for upper class still since the book was written for them. In the Qing Dynasty (AC 1636¬—AC 1912), Man people brought with them nomadic culture and horses and birds were the majority of their choices of pets (She, 2019). In late Qing Dynasty people carrying a bird cage were common to be seen in the teahouses in Beijing as the symbol of their social statue. During the Cultural Revolution in 1960s and 1970s, pets were regarded as the component of the lifestyle of capitalism and therefore strictly forbidden. Pet owners have no choice but to hide, abandon, and even kill their pets. It was surely the most terrible era for pets and their owners. Nowadays in the 21th Century more and more Chinese have pets. Research showed that the pet market in China has increased 60% every year (Pitt, 2021). Analysts also expected that China’s pet industry will multiply 10 times that of a decade ago to 66 billion dollars. Even though petting system in China is still immature and still some people regard pet as emotionless animals, a more convenient society is being built for animal-lovers. Moreover, pets can get new jobs in cat-or-dog café and even make an income on social media. People’s attitude towards pets also changed a lot. Take dogs as example. Chinese used to treat dog as a source of meat. However, today the majority of dogs are viewed as companions and usually treated as family members (Coren, 2018).
===Conclusion===
In conclusion, pets were rare in ancient China, and most people who had pets were those in higher classes. Their pets were uncommon and exotic animals such as birds and fishes instead of dogs and cats. It is since the Tang Dynasty that people from lower classes started to have small animals as pets. However, in ancient times pets gained little popularity in general. In modern times with the increase of middle class and the influence of western culture, people’s attitude towards pets changed and dogs and cats are more accepted by public. Even though China has not been the most pet-friendly country, a mature petting system is now being built.
===References===
Li Xingxing李星星. (2017). 宠物与唐代社会生活 [Pets and Social Lives in the Tang Dynasty]. Hefei: Anhui University安徽大学.
She Yanwen佘燕文. (2019). 清代宠物饲养及其社会生活意义研究 [A Research on Petting in the Qing Dynasty and its Social Meaning]. Nanjing: Nanjing Agricultural University南京农业大学.
Wen Zhenheng文震亨. (2015). 《长物志》. Jingsu: Jiangsu Literature and Art Publishing House.
Zuo Qiuming左丘明. (2007). 《左传》. Beijing: Contemporary World Press.
Coren, Stanley. (2018, February 21). What Is China's Current Attitude Concerning Dogs? Retrieved from https://www.psychologytoday.com/us/blog/canine-corner/201802/what-is-chinas-current-attitude-concerning-dogs
Custer, Charles. (2021, September 8). How Does Chinese Culture View Dogs? Retrieved from https://www.thoughtco.com/dogs-in-china-687349
Pitt, Juliette. (2021, June 9). What has caused China’s booming pet economy? Retrieved from https://daoinsights.com/opinions/what-has-caused-chinas-booming-pet-economy/
===Terms and Expressions===
(This is an informative article with no professional jargons necessary to be affixed.)
===Questions===
1. How many cat-and-dog owners were there in China in 2021 according to 2021 Chinese Pet Industry White Paper?
.
A. 98.15 million B. 80.04 million C. 68.44 million D. 71.68 million
.
2. What was Confucius’ attitude towards the fact that people pampered their pets?
.
A. Agreeable B. Indifferent C. Objective D. Criticising
.
3. Why pets were abused during Cultural Revolution?
.
A. Pets were considered as a part of capitalism
B. People wanted to eat them
C. Pets were not practical for farming
D. All of above
.
4. Pets were popular among every class in China since ancient times.
.
A. True
B. False
===Answers===
Correct answers are:
.
1. C
.
2. D
.
3. A
.
4. B

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===题目===

中国文化与儿童教育

===摘要===

当涉及到长达数十年的根深蒂固的儿童教育文化和问题迅速老龄化的人口时，中国的社会状况从未如此沉重。中国长期以来对亲属关系的忠诚和集体主义相互依存的社会结构使父母对孩子产生了周期性的关注，因为一个人照顾另一个人以确保一个富有成果的经济未来。 1950 年代的独生子女政策不仅有助于降低出生率，而且无意中允许为独生子女的未来预留大量资金，以确保理想的经济成功。中国共产党已经认识到过去的政策给国家的未来带来的挑战，并正在寻求对教育文化进行革命性的改革，以使中国家庭能够成长，而不用担心错过一个有利可图和充实的未来。家庭单位。现代中共和古代哲学家孔子对家庭在中国社会未来健康发展中所扮演的重要角色的理解是一致的。

===关键词===

集体文化; 孝顺; 亲属文化; 私立教育; 标准化测试

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子 (house), 车子 (car), and 票子 (money) are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 (Double First-Class Initiative) higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 (chicken baby) parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 (to bring up children for the purpose of being looked after in old age) is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子 the three common conditions for marriage: a house, car, and money; 养儿防老 to bring up children for the purpose of being looked after in old age; 鸡娃 a parenting style known as "chicken babies"; 双一流 the Double First-Class Initiative of Chinese universities

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

Goldbank Englisch 1

2022-12-30T08:14:07Z

Zhang Sishi: /* 张祺葳 Zhang Qiwei */

==Part 4c==

====白婷 Bai Ting====

物研究所牵头，研究将在金银潭医院等多家临床一线接诊新型冠状病毒感染肺炎患者的医院中进行，拟入组761例患者，采用随机、双盲、安慰剂对照方法展开。
在科技部、国家卫健委、国家药监局等多部门支持下，抗病毒药物瑞德西韦很快完成临床试验的注册审批工作，第一批病例入组工作也已就位。
2月6日，首批新冠病毒感染的肺炎重症患者接受用药，首位用药者是金银潭医院收治的一位68岁的男性重症患者。
探索利用康复期血浆“免疫性治疗”

Under the leadership of the Institute of Physical Sciences, the study will be carried out in many clinical front-line hospitals, such as Jinyintan Hospital, which receives patients with novel coronavirus infection pneumonia. Seven hundred sixty-one patients are proposed to be enrolled in the study, and they will be randomized, double-blind, and placebo controlled. With the support of the Ministry of Science and Technology, the National Health Commission, the State Food and Drug Administration, and other departments, the registration and approval of the clinical trial of the antiviral drug Remdesivir was soon completed, and the first batch of cases was enrolled. On February 6, the first batch of severe pneumonia patients infected with COVID-19 received drugs. The first drug was a 68-year-old male severe patient admitted to Jinyintan Hospital, who was treated with plasma "immune therapy" during rehabilitation.

Under the leadership of the Institute of Physical Sciences, the study will be carried out in many clinical front-line hospitals, such as Jinyintan Hospital, which receives patients with novel coronavirus infection pneumonia. Seven hundred sixty-one patients are proposed to be enrolled in the study, and they will be randomized, double-blind, and placebo controlled. With the support of the Ministry of Science and Technology, the National Health Commission, the State Food and Drug Administration, and other departments, the registration and approval of the clinical trial of the antiviral drug Remdesivir was soon completed, and the first batch of cases was enrolled. On February 6, the first batch of severe pneumonia patients infected with COVID-19 received medication. The first drug was a 68-year-old male critically ill patient admitted to Jinyintan Hospital, who was treated with plasma "immune therapy" during rehabilitation.

====蔡思 Cai Si====

2月13日，张定宇在湖北省新冠肺炎疫情防控指挥部召开的第23次新闻发布会上发出呼吁：“康复期患者，请伸出您的胳膊，捐献宝贵的血浆，共同拯救还在与病魔作斗争的患者。”
“康复后的患者体内有大量中和抗体，可以抵抗新型冠状病毒。”张定宇介绍说，在缺乏疫苗和特效治疗药物的前提下，采用这种特免血浆制品治疗新冠病毒感染是较为有效的方法。“康复者捐献的血浆，会经过一系列处理，得到一个相对纯化的对抗新冠病毒中和抗体，用于新冠肺炎危重患者的治疗。”
专家认为，从临床病理发生过程看，大部分新冠肺炎患者经过治疗康复后，身体内会产生针对新冠病毒的特异性抗体，可杀灭和清除病毒。
金银潭医院配合相关研究团队立即开展了康复期患者血浆的釆集工作。

On February 13, Zhang Dingyu issued an appeal at the 23rd press conference held by Hubei Province Epidemic Prevention and Control Headquarters: "Convalescent patients, please stretch out your arms and donate precious plasma to jointly save patients who are still struggling with the disease." "Patients who recover have a large number of neutralizing antibodies that can resist the COVID-19." Zhang Dingyu said that in the absence of vaccines and specific therapeutic drugs, the use of this special immune plasma products to treat the new crown virus infection is a more effective method. "The plasma donated by rehabilitated patients will undergo a series of treatments to obtain a relatively purified neutralizing antibody against the COVID-19 for the treatment of critically ill patients." Experts believe that, from the clinical pathology process, most patients with COVID-19 after treatment and rehabilitation, the body will produce specific antibodies against the COVID-19 , can kill and eliminate the virus. Jinyintan Hospital cooperated with relevant research teams to immediately carry out plasma collection of patients in rehabilitation period.

On February 13, Zhang Dingyu issued an appeal at the 23rd press conference held by Hubei Province Epidemic Prevention and Control Command: "Patients in recovery, please stretch out your arms and donate your precious plasma to save patients who are still fighting against the disease." "Recovered patients have a high level of neutralizing antibodies against the new coronavirus," introduced by Zhang Dingyu. In the absence of a vaccine and specific therapeutic drugs, the use of this special immune plasma product is a more effective treatment for coronavirus infection. "The plasma donated by rehabilitated patients will undergo a series of treatments to obtain a relatively purified neutralizing antibody against the COVID-19 for the treatment of critically ill patients." According to experts,in the clinical pathology process, most patients with COVID-19 will develop specific antibodies against coronavirus after treatment and recovery, which can kill and clear the virus. Jinyintan Hospital, in cooperation with the research team, immediately started collecting plasma from patients in rehabilitation period.

====陈婧 Chen Jing====

捐献血浆必须符合三项条件：一、年龄在18—60周岁之间；二、确诊感染过新型冠状病毒（核酸检测阳性）；三、病愈出院一周以上。
金银潭医院在门诊部二楼设立采血机构。捐献者经过电话预约到医院后，先进行身份登记并填写健康征询表及知情同意书，再进行健康状况问诊、血液检查，经最后确认后，每人采集血量在200—400毫升之间，采血完成后，向献血者发放一定数额的经济补偿。

2020年2月18日，张定宇的夫人程琳来到金银潭医院,捐献了 400毫升血浆。（新华社发武汉市金银潭医院供图）

张定宇在发布会上发出呼吁后，社会广泛关注。
2月13日晚，中国生物技术股份有限公司、武汉市血液中心也联合向新冠肺炎康复者发出献血倡议书，并在湖北省人民医院开放爱心献血屋。

Three conditions must be met to donate plasma: 1. Aged between 18 and 60; 2. Confirmed infection with COVID-19 (positive nucleic acid test); 3. Be discharged from hospital for more than one week after recovery.

Jinyintan Hospital has a blood collection facility on the second floor of the outpatient clinic. Donors who arrive at the hospital after making a phonecall appointment will first register and fill out a health questionnaire and informed consent form, then undergo a health consultation and blood test. After the final confirmation, the blood collection volumn per person is between 200 and 400 ml. After the blood collection, a certain amount of financial compensation will be given to the donors.

On Feb 18, 2020, Zhang Dingyu's wife Cheng Lin came to the hospital and donated 400 ml of blood plasma. (Xinhua News Agency issued, Wuhan Jinyintan Hospital for the picture)

Zhang Dingyu made the call at the press conference, which attracted wide attention from the public.

On the evening of Feb 13, China Biotechnology Co., Ltd. and Wuhan Blood Center jointly issued a blood donation initiative to people recovering from COVID-19 and opened a blood donation house at Hubei Provincial People's Hospital.

Three conditions must be met to donate plasma: 1. Aged between 18 and 60; 2. Confirmed infection with COVID-19 (positive nucleic acid test); 3. Be discharged from hospital for more than one week after recovery.

Jinyintan Hospital sets a blood collection facility on the second floor of the outpatient clinic. Donors who arrive at the hospital after making a phonecall appointment will first register and fill out a health questionnaire and informed consent form, then undergo a health consultation and blood test. After the final confirmation, the blood collection volumn per person is between 200 and 400 ml. After the blood collection, a certain amount of financial compensation will be given to the donors.

On Feb 18, 2020, Zhang Dingyu's wife Cheng Lin came to the hospital and donated 400 ml of blood plasma. (Xinhua News Agency issued, Wuhan Jinyintan Hospital for the picture)

Zhang Dingyu made the call at the press conference, which attracted wide attention from the public.

On the evening of Feb 13, China Biotechnology Co., Ltd. and Wuhan Blood Center jointly issued a blood donation initiative to people recovering from COVID-19 and opened a blood donation house at Hubei Provincial People's Hospital.

====陈淑敏 Chen Shumin====

从第二天开始，就有不少康复者来电咨询，表示支持金银潭医院的这项研究。
金银潭医院将这一方法很快用于4个重症患者的治疗。
4个患者的病情都有好转。从整体来看，患者自我感觉喘气等症状减缓了，精神状态、食欲都有提升；从指标上看，血氧饱和度比以前稳定些，淋巴细胞的绝对值也得到了提升。
“这类指标对患者康复是很重要的参考。”但张定宇提醒说, 采用特免血浆制品治疗的方式并不是“灵丹妙药”，最终战胜病魔更多的还是要靠患者自身的免疫力。这种治疗主要是给患者一个喘息的机会，使病情往好的方向发展，同时也给医生抢救危重患者赢得更多的时间。
已于1月29日康复出院的张定宇的夫人程琳，也来到金银潭医院捐献了 400毫升血浆。
首例遗体解剖完成并送检
Since the next day, many patients called in support of the study.
Jinyintan Hospital soon used this method to treat four seriously ill patients. All of them showed improvement. On the whole, patients felt that their symptoms, such as wheezing, were reduced, and their mental state and appetite were improved. In terms of indicators, blood oxygen saturation was more stable than before, and the absolute value of lymphocytes was also increased. "Such indicators are important references for patients' recovery." But Zhang Dingyu cautioned that the use of special plasma products was not a "panacea", and ultimately the recovery of disease more depended on the patient's own immunity. This kind of treatment was mainly to give the patient a chance to breathe, making the condition progress toward a better direction, but also help doctors to fight for critically ill patients more time. Zhang Dingyu's wife Cheng Lin, who was discharged from hospital on January 29, also donated 400 ml of blood plasma to Jinyintan Hospital. The first autopsy was completed and submitted for examination.

From the next day, many rehabilitated people called for consultation and expressed support for the study by Jinyintan Hospital.
Jinyintan Hospital quickly applied this method to the treatment of four critically ill patients.
All four patients improved. On the whole, the patient felt that the symptoms such as wheezing were alleviated, and the mental state and appetite were improved; From the index point of view, blood oxygen saturation is more stable than before, the absolute value of lymphocytes has also been improved. "This kind of index is very important reference to the patient's rehabilitation." However, Zhang Dingyu warned that the use of special immune plasma products treatment is not a "panacea," the final victory over the disease more depends on the patient's own immunity. This kind of treatment is mainly to give the patient a chance to breathe, make the condition develop in a good direction, but also to the doctor to save critically ill patients to win more time.
Zhang Dingyu's wife Cheng Lin, who recovered from hospital on January 29, also came to Jinyintan Hospital to donate 400 ml of plasma. The first autopsy was completed and submitted for inspection.

==Part 4d==

====陈思阳 Chen Siyang====

对于一种致人死亡的新型疾病，遗体解剖对掌握其病理意义重大。解剖新冠肺炎死亡者遗体，对于探索新冠肺炎患者临床的病理改变、疾病机制等有重大帮助，能从根本上探究新冠肺炎的致病性、致死性，给临床抢救和治疗危重症患者提供依据。
实际上，新冠肺炎疫情暴发后的一个多月里，有关方面一直呼吁对死亡病例进行病理解剖。但由于新冠肺炎属烈性传染病，解剖风险过高，加上国内少有针对甲级传染病、达到P3 级生物实验室标准的病理解剖实验室，使得相关工作迟迟难以落实。
国际上根据生物安全的防护等级将生物实验室分为四级： Pl、P2、P3和P4实验室。P是Protection的缩写，其中1级的防护级别最低，4级最高。

For a new type of disease that causes death, autopsy is of great significance to grasp its pathology. Anatomy of the dead body of new crown pneumonia is of great help to explore the clinical pathological changes and disease mechanism of patients with new crown pneumonia, and can fundamentally explore the pathogenicity and lethality of new crown pneumonia, and provide basis for clinical rescue and treatment of critically ill patients. In fact, more than a month after the outbreak of new crown pneumonia, there have been calls for pathological autopsy of deaths. However, because Xinguan pneumonia is a severe infectious disease, the anatomical risk is too high, and there are few pathological anatomy laboratories aiming at Class A infectious diseases and reaching the standard of P3 biological laboratory in China, it is difficult to implement the relevant work. Internationally, biological laboratories are divided into four levels according to the protection level of biological safety: Pl, P2, P3 and P4 laboratories. P is the abbreviation of Protection, where Level 1 is the lowest protection level and Level 4 is the highest.

For a new type of disease that causes death, the autopsy is of great significance to grasp its pathology. Anatomy of the dead body of new crown pneumonia is of great help to explore the clinical pathological changes and disease mechanism of patients with new crown pneumonia, and can fundamentally explore the pathogenicity and lethality of new crown pneumonia, and provide the basis for clinical rescue and treatment of critically ill patients. In fact, more than a month after the outbreak of new crown pneumonia, there have been calls for a pathological autopsy of deaths. However, because Xinguan pneumonia is a severe infectious disease, the anatomical risk is too high, and there are few pathological anatomy laboratories aiming at Class A infectious diseases and reaching the standard of P3 biological laboratories in China, it is difficult to implement the relevant work. Internationally, biological laboratories are divided into four levels according to the protection level of biological safety: Pl, P2, P3, and P4 laboratories. P is the abbreviation of Protection, where Level 1 is the lowest protection level and Level 4 is the highest.

====陈彦希 Chen Yanxi====

在国家法律政策允许下，并征得患者家属同意，2月15日深夜，华中科技大学同济医学院法医病理学专家来到金银潭医院，在金银潭的医护人员配合下，开始了全国第一例新冠肺炎遗体解剖工作。

Permitted by national laws and policies and with the consent of the patients' families, late on the night of Feb. 15, forensic pathology experts from Tongji Medical College of Huazhong University of Science and Technology came to Jinyintan Hospital. With the cooperation of medical staff from Jinyintan Hospital, they began the autopsy of the first human corpse dying of COVID-19 in China.

Permitted by national laws and policies and with the consent of the patients' families, late on the night of February 15, forensic pathology experts from Tongji Medical College of Huazhong University of Science and Technology came to Jinyintan Hospital. With the cooperation of medical staff of Jinyintan Hospital, they began the autopsy of the first human corpse dying of COVID-19 in China.

由于整个湖北都没有专门的负压解剖室，金银潭医院临时腾出一间负压手术室用来做解剖工作。

Since there is no special negative pressure dissection room in Hubei province, Jinyintan Hospital temporarily vacated a negative pressure operating room for dissection work.

As there is no special negative pressure dissection room in Hubei province, Jinyintan Hospital temporarily vacated a negative pressure operating room for dissection.

解剖从16日凌晨1点开始，4点结束，休息两个小时后展开讨论；上午11点，第二例病理解剖工作敲定,下午4点开始, 6点半结束……不到18个小时，即完成两例病理解剖，并于当日送检。

On Feb. 16, the autopsy began at 1 a.m. and ended at 4 a.m., and discussion began after a two-hour break; at 11 a.m., the second pathological autopsy was finalized, starting at 4 p.m., finishing at 6:30 p.m.... In less than 18 hours, the two cases were completed and submitted for examination that day.

The autopsy began at 1 a.m. and ended at 4 a.m. on February 16, and the discussion began after a two-hour break; at 11 a.m., the second pathological autopsy was finalized, starting at 4 p.m., and ending at 6:30 p.m.... In less than 18 hours, two cases of pathological autopsy were completed and submitted for examination that day.

首战告捷，随后的几例遗体解剖工作开展得也是格外顺利： 2月17日下午5点，第三例病理解剖；紧接着，第四例……2 月22日，是解剖团队最为忙碌的一天，“24小时之内做了五例解剖”。

After a successful first battle, subsequent autopsies went exceptionally smoothly: at 5 p.m. on Feb. 17, they did the third pathological autopsy; then, the fourth... Feb. 22 was the team's busiest day, "five autopsies were done in 24 hours."

After a successful first battle, the subsequent autopsies was carried out exceptionally smoothly: at 5 p.m. on February 17, they did the third pathological autopsy; then, the fourth... February 22 was the team's busiest day, "five autopsies were done within 24 hours."

中医武汉抗疫临床发挥重要作用。

TCM plays a significant role in fighting against the pandemic in Wuhan.

TCM（Traditional Chinese Medicine） plays a significant role in fighting against the pandemic in Wuhan.

====丁粤 Ding Yue====

2月3日，武汉市金银潭医院首批以中医药或中西医结合方式治愈的新型冠状病毒感染的肺炎患者出院。

On February 3rd, the first batch of novel coronavirus infected pneumonia patients in the Jinyintan Hospital of Wuhan city who were cured by traditional Chinese medicine or integrated traditional and western medicine were discharged.

On February 3rd, the first batch of novel coronavirus infected pneumonia patients in the Jinyintan Hospital of Wuhan city were discharged,who were cured by traditional Chinese medicine or integrated traditional and western medicine.(Fu Jing)

这批出院的患者共有8名，包括6名女性、2名男性，其中重症6例、轻症2例，最大年龄68岁，最小年龄26岁。中医中药参与治疗后，患者呼吸困难、乏力、口干口苦、胸闷、腹泻等症状明显改善，精神状态也明显好转。

There were 8 patients discharged from the hospital, including 6 women and 2 men. Among them, 6 patients were with severe symptoms and 2 patients were with mild symptoms. The oldest patient was 68 years old，while the youngest patient was 26 years old. After the treatment with traditional Chinese medicine, the symptoms of the patients such as dyspnea, fatigue, dry mouth and bitter mouth, chest tightness and diarrhea were significantly improved, as well as their mental state.

There were 8 patients discharged from the hospital, including 6 women and 2 men. Among them, 6 patients were with severe symptoms and 2 patients were with mild symptoms. The oldest patient was 68 years old，while the youngest patient was 26 years old. After the treatment with traditional Chinese medicine, the symptoms of the patients such as dyspnea, fatigue, dry mouth and bitter mouth, chest tightness and diarrhea were significantly improved, as well as their mental state.(Fu Jing)

1月28日，国家中医药管理局应对新型冠状病毒感染的肺炎联防联控工作专家组组长、中国工程院院士黄璐琦带领北京西苑医院和广安门医院医疗团队支援武汉市金银潭医院，对这批患者采用中西医结合、辨证治疗。出院时，金银潭医院赠送了每位患者2周用量的中药调理药剂，并嘱咐他们适当增强运动、合理饮食，以加速身体恢复。

On January 28th, Huang Luqi, the leader of the expert group of the State Administration of Traditional Chinese Medicine on joint prevention and control of pneumonia caused by infection with novel coronavirus and an academician of the Chinese Academy of Engineering, led the medical teams of Beijing Xiyuan Hospital and Guang'anmen Hospital to support the Jinyintan Hospital of Wuhan city, and used integrated traditional and western medicine and syndrome differentiation treatment for these patients. When these patients were discharged, Jinyintan Hospital presented each patient with a 2-week dose of Chinese herbal medicine conditioning agent, and instructed them to properly enhance exercise and eat reasonable food to speed up their recovery.

On January 28th, Huang Luqi, the leader of the expert group of the State Administration of Traditional Chinese Medicine on joint prevention and control of pneumonia caused by infection with novel coronavirus and an academician of the Chinese Academy of Engineering, led the medical teams of Beijing Xiyuan Hospital and Guang'anmen Hospital to support the Jinyintan Hospital of Wuhan city, and used integrated traditional and western medicine and syndrome differentiation treatment for these patients. When these patients were discharged, Jinyintan Hospital presented each patient with a 2-week dose of Chinese herbal medicine conditioning agent, and instructed them to properly enhance exercise and eat reasonable food to speed up their recovery.(Fu Jing)

3月2日，新华社播发记者廖君、黎昌政在武汉抗击疫情第一线采写的报道，称中医经验方在减轻发热咳嗽症状、控制病情进展、提升人体免疫力方面有独特优势。
报道说，新冠肺炎疫情发生后，全国中医药系统医疗队员 3350人、5支国家中医医疗队739名医务人员驰援武汉，进驻武汉市金银潭医院、湖北省中西医结合医院、雷神山医院救治患者，同时在武汉市江夏区整建制托管大花山方舱医院，收治患者416人，开展中医药特色救治。

On March 2nd, Xinhua News Agency broadcast a report written by reporters Liao Jun and Li Changzheng on the front line of the fight against the epidemic in Wuhan, saying that traditional Chinese medicine has unique advantages in relieving fever and cough symptoms, controlling disease progress, and improving human immunity.
It was reported that after the occurrence of the COVID-19, 3350 medical personnel from the national TCM（Traditional Chinese Medicine）system and 739 medical personnel from five national TCM medical teams came to support Wuhan. They were stationed in the Jinyintan Hospital of Wuhan city, Integrated Traditional Chinese and Western Medicine Hospital of Hubei province, and Leishen Mountain Hospital to treat patients. At the same time, they received and treated 416 patients and carried out characteristic cure with traditional Chinese medicine in Dahuashan mobile cabin hospital, which was restructured and entrusted in Jiangxia District of Wuhan city.

On March 2nd, Xinhua News Agency broadcast a report written by reporters Liao Jun and Li Changzheng on the front line of the fight against the epidemic in Wuhan, saying that traditional Chinese medicine has unique advantages in relieving fever and cough symptoms, controlling disease progress, and improving human immunity.
It was reported that after the occurrence of the COVID-19, 3350 medical personnel from the national TCM（Traditional Chinese Medicine）system and 739 medical personnel from five national TCM medical teams came to support Wuhan. They were stationed in the Jinyintan Hospital of Wuhan city, Integrated Traditional Chinese and Western Medicine Hospital of Hubei province, and Leishen Mountain Hospital to treat patients. At the same time, they received and treated 416 patients and carried out characteristic cure with traditional Chinese medicine in Dahuashan mobile cabin hospital, which was restructured and entrusted in Jiangxia District of Wuhan city.(Fu Jing)

==Part 4e==

====付静 Fu Jing====

“中医药早期介入干预，稳定人心，减少新发患者，从源头上防控疫情蔓延发挥了作用。”湖北省卫健委中医综合处负责人介绍说，仅武汉市面向集中隔离观察点隔离人员和有需求的居家密切接触者，发放中药汤剂近32.1万人份，发放中成药 24.8万人份，隔离人员基本做到中药应服尽服。

"The early intervention of traditional Chinese medicine (TCM) has played a role in reassuring people, reducing new patients and preventing the spread of the epidemic from the source." According to the head of TCM general office of Hubei Provincial Health Commission, in Hubei, all infected people isolated in centralized isolation of observation points and close contacts in home quarantine have been distributed nearly 321,000 portions of TCM decoction, and 248,000 Chinese patent medicine, with all isolated people in need basically taking TCM.

湖北还以方舱医院为重点，推动中医药全面参与治疗。16 个方舱医院累计收治病例11740人，同步配送中药汤剂和金花清感胶囊等4种中成药，中药使用率99.93%。在14家定点医疗机构的重症、危重症患者中，也强化中医药全程参与。
Hubei also focuses on shelter hospitals to promote the full participation of TCM in treatment. A total of 11,740 cases were admitted to 16 shelter hospitals, and 4 kinds of Chinese patent medicines including traditional Chinese medicine decoction and Jinhua Qinggan capsule were distributed simultaneously, with the utilization rate of traditional Chinese medicine reaching 99.93%. Among the severe and critically ill patients in 14 designated medical institutions, participation of traditional Chinese medicine in whole treatment process has been strengthened.

2020年2月25日，在江夏方舱医院，湖南中医药大学第一附属医院护士长涂丽准备为新冠肺炎患者实施中医耳穴压豆治疗。武汉江夏方舱是武汉首个以中医院运转模式来迸行临床治疗、管理的方舱医院。医疗团队由釆白多个省份中医院的数百名医护人员组成。（新华社记者沈伯韩摄）
On February 25, 2020, in Jiangxia Square Cabin Hospital, the head nurse of the First Affiliated Hospital of Hunan University of Traditional Chinese Medicine, Tu Li, was prepared to carry out traditional Chinese medicine ear acupoint bean pressing treatment for patients with COVID-19 patients. Jiangxia shelter is the first shelter hospital in Wuhan to carry out clinical treatment and management in the operation mode of traditional Chinese medicine hospital. The medical team consists of hundreds of medical staff from traditional Chinese medicine hospitals in many provinces.(Photographed by Shen Bohan, reporter of Xinhua Agency)

====高燕 Gao Yan====

1月25日，61岁的钱先生因持续高热、呼吸困难被送到湖北省中医院光谷院区急诊科，随后确诊为新冠肺炎，由于基础疾病多，病情发展快，曾先后两次被宣告病危。
钱先生后经湖北省中医院急诊科主任李刚副教授团队进行十多天中西医结合治疗和调理，于2月17日康复出院。
李刚说：“中医药治疗贯穿钱先生治疗全病程。根据不同病程，开具’肺炎2号’’肺炎3号’’肺炎4号’和’肺炎5号' 方。他能转危为安，中医药发挥了重要作用。”
68岁的重症患者霍先生与钱先生同一天出院。两人病程发展有所不同，治疗过程中，中药使用也略有差异。

On January 25,61-year-old Mr. Qian was sent to the emergency department in the Guanggu district of Hospital of Hubei Province Hospital of Traditional Chinese Medicine due to persistent high fever and dyspnea. Later, he was diagnosed with COVID-19. Due to many underlying conditions and rapid development of the disease, he was declared to be terminally ill twice. After more than ten days of integrated traditional Chinese and western medicine treatment and conditioning by the team of associate professor Li Gang, director of the emergency department of Hubei Province Hospital of Traditional Chinese Medicine, Mr. Qian recovered and was discharged from the hospital on February 17. Li Gang said: "Chinese medicine treatment is intergrated with the whole course of treatment of Mr. Qian. Prescriptions of "pneumonia No.2,""pneumonia No.3,""pneumonia No.4" and "pneumonia No.5" were prescribed according to different courses of disease. He was able to turn the corner, and Chinese medicine played an important role." Mr. Huo, a 68-year-old critically ill patient, was discharged from the hospital on the same day as Mr. Qian. The course of disease of the two people is different, and the use of traditional Chinese medicine is also slightly different during the treatment.

On January 25, 61-year-old Mr. Qian was sent to the emergency department in the Guanggu district of Hubei Province Hospital of Traditional Chinese Medicine due to persistent high fever and dyspnea. Later, he was diagnosed with COVID-19. Due to many underlying diseases and rapid development of COVID-19, he was declared to be terminally ill twice. After he was treated and conditioned more than ten days by associate professor Li Gang and his team by integrating TCM and western medicine, Mr. Qian recovered and was discharged from the hospital on February 17. Li Gang, director of the emergency department of Hubei Province Hospital of TCM, said: "TCM treatment was applied into the whole course of Mr. Qian' treatment. Prescriptions of "pneumonia No.2,""pneumonia No.3,""pneumonia No.4" and "pneumonia No.5" were prescribed according to different courses of disease. TCM played an important role in curing him." Mr. Huo, a 68-year-old critically ill patient, was discharged from the hospital on the same day with Mr. Qian. The disease courses of these two people were different, so the uses of TCM were also slightly different correspondingly.

====关娜 Guan Na====

霍先生入院后，是先采用抗感染的西药，控制炎症反应，再用中药对症调理的。
湖北省中医院肺病五科负责人冯毅说，中医药参与治疗，能促进肺部病灶吸收，减少甚至解决肺组织损伤、肺纤维化等并发症和后遗症。目前，随访出院患者，均反馈病情稳定且在逐步康复中。
相关统计数据显示，湖北确诊病例中医药使用率为 88.93%o截至2月28日24时，全省43家定点中医医院累计收治确诊病例7246 A,中医药使用率为97.71%，患者发烧、乏力、咳嗽等症状和影像学表现均明显改善。
张伯礼等3位院士领导的团队，在武汉临床研究初步结果也表明，中西医结合总体疗效，明显优于单纯西药治疗。

After he was admitted to the hospital, Mr.Huo was first treated with anti-infective western medicine to control the inflammatory reaction, and then with Chinese medicine for symptomatic treatment. Feng Yi, the director of the fifth Department of pulmonary Diseases of Hubei Provincial Hospital of Traditional Chinese Medicine, said that the participation of TCM in the treatment can promote the absorption of lung lesions, reduce or even cure complications and sequelae such as lung tissue damage and pulmonary fibrosis. At present, all discharged patients were followed up and reported that their condition was in gradual recovery. According to some related statistics, the usage of TCM can be up to 88.93% in the confirmed cases in Hubei. By 24 o'clock on February 28, 7,246 confirmed cases have been admitted into 43 designated TCM hospitals in Hubei and the usage of TCM is up to 97.71%. The symptoms such as fever, fatigue, cough and imaging manifestations of these patients are significantly improved. The preliminary results of clinical research, which was obtained by the team leading by Zhang Boli and other academicians, shows that the concerted efficacy integrated TCM and western medicine is superior to that of western medicine.

After admission, Mr. Huo first adopted anti-infective Western medicine to control inflammation, then used traditional Chinese medicine to recuperate. Feng Yi, Head of the fifth Department of Pulmonary Diseases at Hubei Hospital of Traditional Chinese Medicine, implied that the participation of traditional Chinese medicine in treatment could promote the absorption of lung lesions, reduce or even solve the complications and sequelae of lung tissue damage and pulmonary fibrosis. At present, all discharged patients were reported to be in stable state and recovering during follow-up. Relevant statistics showed that the utilization rate of TCM of confirmed cases in Hubei was 88.93%. As of 24:00 on February 28, a total of 7246 confirmed cases had been treated in 43 designated TCM hospitals in Hubei, and the utilization rate of TCM was 97.71%, while significantly improved the symptoms of fever, fatigue, cough and imaging manifestations. The preliminary results of the clinical study in Wuhan led by Zhang Boli and three other academicians also showed that the overall effect of integrated Chinese and Western medicine was much better than that of only Western medicine application.

==Part 5==

====郝天钰 Hao Tianyu====

中西医协同作战成效显著
金银潭医院是最早尝试中西医结合抢救重症患者和治疗轻症患者的医院。
1月25日，大年初一，国家中医药局组织中国中医科学院广安门医院、中国中医科学院西苑医院中医专家组成25人的医疗队，赶赴湖北省武汉市新型冠状病毒感染的肺炎防疫一线参与防治工作。
医疗队由国家中医药局副局长闫树江带队，中国中医科学院院长黄璐琦院士领队，广安门医院和西苑医院各派出呼吸科、急诊科、ICU等科室的6名医师和4名护士，携N95 口罩、手术衣以及部分中药等物资，乘火车前往武汉，提供中医医疗援助。
此前，由中国科学院院士、中国中医科学院首席研究员仝小林，广东省中医院副院长张忠德，中国中医科学院西苑医院呼吸科主任苗青，首都医科大学附属北京中医医院呼吸科主任兼肺病研究室主任王玉光组成的高级别中医专家组已经抵达武汉。

Remarkable Results with the Cooperation between Chinese and Western Medicine
Yinyintan Hospital was the first hospital to apply the combination of traditional Chinese and Western medicine to rescue severe patients and treat mild patients. On January 25, the first day of the Chinese New Year, the State Administration of Traditional Chinese Medicine organized a medical team consisting of 25 TCM experts from Guang 'anmen Hospital of the China Academy of Chinese Medical Sciences and Xiyuan Hospital of the China Academy of Chinese Medical Sciences to participate in the prevention and control of the COVID-19 in Wuhan, Hubei province. The medical team was led by Yan Shujiang, Deputy Director of the State Administration of Traditional Chinese Medicine, and Huang Luqi, Academician, President of the China Academy of Chinese Medical Sciences. Guang 'anmen Hospital and Xiyuan Hospital each sent six physicians and four nurses from the Respiratory, Emergency and ICU Departments to Wuhan by train, carrying N95 masks, surgical gowns and some traditional Chinese medicine and other supplies to provide TCM medical assistance. Earlier, Tong Xiaolin, Academician of the Chinese Academy of Sciences and Chief Researcher of the China Academy of Chinese Medical Sciences, Zhang Zhongde, vice president of Guangdong Provincial Hospital of Traditional Chinese Medicine, Miao Qing, director of the Respiratory Department of Xiyuan Hospital of the China Academy of Chinese Medical Sciences, and Wang Yuguang, Director of the Respiratory Department and Director of the Pulmonary Disease Laboratory of Beijing Hospital of Traditional Chinese Medicine Affiliated to Capital Medical University, have arrived in Wuhan.

Remarkable Results under the Cooperation between Chinese and Western Medicine
Yinyintan Hospital was the first hospital to apply the combination of traditional Chinese and Western medicine to rescue severe patients and treat mild patients. On January 25, the first day of the Chinese New Year, the State Administration of Traditional Chinese Medicine organized a medical team consisting of 25 TCM experts from Guang 'anmen Hospital of the China Academy of Chinese Medical Sciences and Xiyuan Hospital of the China Academy of Chinese Medical Sciences to participate in the prevention and control of the COVID-19 in Wuhan, Hubei province. The medical team was led by Yan Shujiang, Deputy Director of the State Administration of Traditional Chinese Medicine, and Huang Luqi, Academician, President of the China Academy of Chinese Medical Sciences. Guang 'anmen Hospital and Xiyuan Hospital each sent six physicians and four nurses from the Respiratory, Emergency and ICU Departments to Wuhan by train, carrying N95 masks, surgical gowns and some traditional Chinese medicine and other supplies to provide TCM medical assistance. Earlier,Many people have arrived in Wuhan, including Tong Xiaolin, Academician of the Chinese Academy of Sciences and Chief Researcher of the China Academy of Chinese Medical Sciences, Zhang Zhongde, vice president of Guangdong Provincial Hospital of Traditional Chinese Medicine, Miao Qing, director of the Respiratory Department of Xiyuan Hospital of the China Academy of Chinese Medical Sciences, and Wang Yuguang, Director of the Respiratory Department and Director of the Pulmonary Disease Laboratory of Beijing Hospital of Traditional Chinese Medicine Affiliated to Capital Medical University.

====侯永芬 Hou Yongfen====

出发前，黄璐琦就做了充足准备：研读疫情有关报道和科研文章，分析非典期间中医药发挥的优势和特色，梳理治疗方案；组建医疗队，培训呼吸科、急诊科、ICU等科室的医务人员；协调沟通武汉医务人员，了解武汉情况，准备防护物资。
金银潭医院是抗疫的最前沿和主战场之一。在该院坚持中西医结合，推动中医药全面参与治疗，搭建一个中医药的保障平台，积极完善中西医结合诊疗方案，对于抗击疫情有着重要作用。
1月29日，经过连续几天病区布局、人员调配、药品保障等准备，国家中医医疗队接管金银潭南一区。这也是疫情发生后第一个接管重病区的中医医疗队。
针对医院中药药品不足的现状，医疗队迅速搭建中药供应保障平台，保证医院药品供应。

Before setting out, Huang had made adequate preparations: reading relevant reports and scientific research articles on the epidemic, analyzing the advantages and characteristics of traditional Chinese medicine during SARS, and sorting out treatment plans; Medical teams have been set up to train medical staff in respiratory, emergency and ICU departments and coordinating and communicating with medical personnel in Wuhan to understand the situation in Wuhan and prepare protective materials.
Jinyintan Hospital is one of the forefront and main battlefields in the fight against the epidemic. The hospital adheres to the combination of Chinese and Western medicine, promotes the full participation of traditional Chinese medicine in the treatment, builds a platform for the protection of traditional Chinese medicine, and actively improves the diagnosis and treatment plan of integrated traditional Chinese and Western medicine, which plays an important role in the fight against the epidemic.
On January 29, after several days of preparation, such as ward layout, staff allocation, and drug support, the National TCM medical team took over the first district of Jinyintan South. This is also the first TCM medical team to take over the critically ill area after the outbreak of the epidemic.
In view of the shortage of traditional Chinese medicine in hospitals, the medical team quickly set up a platform to ensure the supply of traditional Chinese medicine.

Before setting out, Huang had made adequate preparations, such as reading relevant reports and scientific research articles on the epidemic, analyzing the advantages and characteristics of traditional Chinese medicine during SARS, and sorting out treatment plans; Medical teams have been set up to train medical staff in respiratory, emergency and ICU departments and coordinating and communicating with medical personnel in Wuhan to understand the situation in Wuhan and prepare protective materials.
Jinyintan Hospital is one of the forefront and main battlefields in the fight against the epidemic. The hospital adheres to the combination of Chinese and Western medicine, promotes the full participation of traditional Chinese medicine in the treatment, builds a platform for the protection of traditional Chinese medicine, and actively improves the diagnosis and treatment plan of integrated traditional Chinese and Western medicine, which plays an important role in the fight against the epidemic.
On January 29, after several days of preparation, such as ward layout, staff allocation, and drug support, the National TCM medical team took over the first district of Jinyintan South. This is also the first TCM medical team to take over the critically ill area after the outbreak of the epidemic.
Given the shortage of traditional Chinese medicine in hospitals, the medical team quickly set up a platform to ensure the supply of traditional Chinese medicine.

====胡欣怡 Hu Xinyi====

“接管病区奠定了中医药防控新型冠状病毒肺炎的基础”, 黄璐琦说，当时医疗队主管的32张病床开辟了中医药防控新冠肺炎的战场，使中医药能够与西医同台合作。
病区第一批患者服用中药，第二天就有患者反映：睡眠好转，咳喘、乏力症状减轻。
“寻找中医药疗效的高级别循证证据，有利于优化临床方案并加以推广，提高临床救治率。”黄璐琦介绍说，在医疗队接管金银潭医院病区的同时，中国中医科学院后方科研攻关组也同步成立，配合武汉前方进行临床数据分析，优化治疗方案。科研攻关组紧急设计开发了供医护人员使用的症状信息和舌诊图像采集程序，以及针对方舱医院的患者自述症状采集系统，为全面开展临床研究提供了技术支撑。

"Taking over the ward laid the foundation for TCM to prevent and control novel coronavirus pneumonia", Huang Luqi said that the 32 beds in charge of the medical team at that time opened up a battlefield for TCM to prevent and control COVID-19, enabling TCM to cooperate with western medicine on the same stage. The first batch of patients in the ward took traditional Chinese medicine, and the next day, some patients reported that their sleep improved, cough, asthma, and fatigue symptoms were relieved. "The search for high-level evidence of the efficacy of traditional Chinese medicine is conducive to optimizing the clinical plan and promoting it to improve the clinical treatment rate." Huang Luqi said that while the medical team took over the ward area of Jinyintan Hospital, the rear scientific research team of the Chinese Academy of Traditional Chinese Medicine was also set up synchronously to cooperate with the front of Wuhan to analyze clinical data and optimize the treatment plan. The scientific research team has urgently designed and developed the symptom information and tongue image acquisition program for medical staff, as well as the patient's self-reported symptom acquisition system for the shelter hospital, providing technical support for comprehensive clinical research.

====黄舒威 Huang Shuwei ====

金银潭8名患者经中西医结合治疗，2月3日病愈出院后不久，张定宇找到黄璐琦和苗青商量，希望在全院进行中西医结合治疗。
2月14日晚，湖北省新型冠状病毒肺炎疫情防控工作指挥部召开第24场新闻发布会，介绍中医药参与湖北省疫情防控有关情况。
黄璐琦在发布会上介绍说，截至2月14日，中国中医科学院医疗队在金银潭医院负责的床位42张，共收治患者86例，其中重症65例，危重21例，目前治愈的有33人。
他说：“我们把出院的患者进行统计对比，中西医结合在核酸转阴的时间上比纯西药效果显著，在降低发热、咳嗽、乏力、食欲减退、心慌等十个症状上比西医组的改善也更明显，对淋巴细胞中性粒细胞的改善也更明显，且中西医结合的平均住院时间小于西医治疗时间。”

Eight patients in Jinyintan were treated with integrated traditional Chinese and western medicine. Shortly after they were discharged from the hospital on February 3, Zhang Dingyu found Huang Luqi and Miao Qing to discuss, hoping to have integrated traditional Chinese and western medicine in the hospital. On the evening of February 14, the Headquarters for the Prevention and Control of novel coronavirus Pneumonia in Hubei Province held the 24th press conference to introduce the participation of traditional Chinese medicine in the prevention and control of the epidemic in Hubei Province. Huang Luqi said at the press conference that as of February 14, the medical team of the Chinese Academy of Traditional Chinese Medicine had 42 beds in charge of the Jinyintan Hospital, and 86 patients had been admitted, including 65 patients with severe diseases and 21 patients with critical diseases. At present, 33 patients have been cured. He said: "We statistically compare the discharged patients. The combination of traditional Chinese medicine and western medicine has a significant effect on the time when nucleic acid turns negative compared with pure western medicine. It also has a more significant improvement on the ten symptoms, such as fever, cough, fatigue, anorexia, and palpitation, than the western medicine group. It also has a more significant improvement on the sex granulocytes in lymphocytes, and the average hospitalization time of the combination of traditional Chinese medicine and western medicine is less than the western medicine treatment time."

Eight patients in the Jinyintan Hospital were treated with the combination of traditional Chinese and western medicine. Shortly after their discharge on February 3, Zhang Dingyu found Huang Luqi and Miao Qing to discuss, hoping to realize the treatment with the integration of traditional Chinese and western medicine in the whole hospital. On the evening of February 14, the 24th press conference was held by the Headquarters for the Prevention and Control of novel coronavirus Pneumonia in Hubei Province to introduce the participation of traditional Chinese medicine in the prevention and control of the epidemic in Hubei Province. Huang Luqi said at the conference that there had been 42 beds in charge of the medical team of the Chinese Academy of Traditional Chinese Medicine in the Jinyintan Hospital up to February 14, which has admitted 86 patients, including 65 patients with severe diseases and 21 patients with critical diseases. At present, 33 patients have been cured. “ Through the statistics and comparison of the patients that have been discharged, we can find that the combination of traditional Chinese medicine and western medicine has a more significant effect on the time when nucleic acid turns negative compared with pure western medicine, as well as on the improvement of fever, cough, fatigue, anorexia, and palpitation and other ten symptoms and on the recovery of the sex granulocytes in lymphocytes. Meanwhile, the average hospitalization time of the combination of traditional Chinese medicine and western medicine is less than the western medicine treatment time.” he said.

====姜雨露 Jiang Yulu ====

2020年2月25日,在武汉江夏方舱医院，湖南中医药大学第一附属医院医护人员易琴（前）带领新冠肺炎患者习练八段锦。（新华社记者沈伯韩摄）

On February 25, 2020, Yi Qin (the former), a medical staff from the First Affiliated Hospital of Hunan University of Traditional Chinese Medicine, led patients afflicted with COVID-19 to practice Baduanjin, a way to exercise, at the mobile cabin hospital of Wuhan Jiangxia. (Photographed by Shen Bohan, a reporter from Xinhua News Agency)

2020年2月26日，在武汉江夏方舱医院院内的“流动应急智能中药房”里, 工作人员吴志婷把盛有药方中包含的单味药的药瓶取下来后，逐一扫描确认，准备制药。（新华社记者沈伯韩摄）

On February 26, 2020, in the "Mobile Emergency Intelligent Chinese Pharmacy" of Wuhan Jiangxia mobile cabin hospital, Wu Zhiting, a staff member, took down the bottles containing the single medicine listed in the prescription, scanned them one by one for confirmation and preparation. (Photographed by Shen Bohan, a reporter from Xinhua News Agency)

3月4日，在发布的最新版诊疗方案中，由黄璐琦及团队根据临床不断优化的“化湿败毒方”被列入新冠肺炎重型患者推荐用药处方。“临床疗效才是评价中医药优势的金标准。”黄璐琦介绍说, 截至3月4日，他们这一团队共收治新冠肺炎患者121例，其中中医辨证纯中药治疗出院41例、中西医结合治疗出院32例。所收治新冠肺炎重症患者的病情好转率达到83.61%。

On March 4, in the latest version of the diagnosis and treatment plan released, "the prescription for removing dampness and detoxification", continuously optimized by Huang Luqi and his team according to the clinical practice, was included in the recommended prescription for COVID-19 patients with severe disease. "Clinical efficacy is the gold standard for evaluating the advantages of traditional Chinese medicine." Huang Luqi said. Up to March 4, their team had treated 121 patients with COVID-19, including 41 discharged patients treated with traditional Chinese medicine based on syndrome differentiation and 32 discharged patients treated with integrated traditional and western medicine. The improvement rate of severe patients with COVID-19 reached 83.61%.

====蒋正君 Jiang Zhengjun====

截至3月上旬，中国中医科学院，北京中医药大学和天津、江苏、河南、湖南、陕西等地中医院抽调3300多名医务人员，组成多支国家医疗队驰援湖北和武汉，分别进驻金银潭医院、湖北省中西医结合医院、雷神山医院等重点院区，接管部分方舱医院。

2020年2月25日，在武汉江夏方舱医院，湖南中医药大学第一附属医院副院长、江夏方舱医院副院长朱莹（左）和湖南中医药大学第一附属医院医生戴飞跃（中）为一名新冠肺炎患者号脉。（新华社记者沈伯韩摄）

金银潭医院等几家重点医院中西医结合治疗的成功经验，很快在武汉推广开来。截至2月28日，武汉已开放的16家方舱医院收治的7600多位患者基本做到中医治疗全覆盖；湖北地区中医药参与救治确诊病例57910例，其中治愈出院 21193 例。

As of early March, more than 3,300 medical personnels from the China Academy of Chinese Medical Sciences, Beijing University of Chinese Medicine and Chinese hospitals in Tianjin, Jiangsu, Henan, Hunan and Shaanxi formed several national medical teams to assist Hubei and Wuhan. They were stationed at key hospitals such as Wuhan Jinyintan Hospital, Hubei Provincial Hospital of Integrated Chinese and Western Medicine, and Thunder God Mountain Hospital and also took over some mobile cabin hospitals.
Zhu Ying (left), vice president of the First Hospital of Hunan University of Chinese Medicine and vice President of Jiangxia cabin hospital, and Dai Feiyue (center), a doctor of the First Hospital of Hunan University of Chinese Medicine, were checking the pulse of a patient infected by coronavirus at the Jiangxia cabin hospital in Wuhan, February 25, 2020. (Photo by Shen Bohan, Xinhua News Agency)
The successful treatment of combining Chinese and Western medicine in several key hospitals, such as Jinyintan Hospital, soon spread in Wuhan. As of February 28, more than 7,600 patients admitted to 16 hospitals in Wuhan have been treated with TCM (Traditional Chinese Medicine) to a full coverage. TCM in Hubei has been applied to the treatment in 57,910 confirmed cases, of which 21,193 were cured and discharged.

As of early March, more than 3,300 medical personnel from the China Academy of Chinese Medical Sciences, Beijing University of Chinese Medicine and Chinese hospitals in Tianjin, Jiangsu, Henan, Hunan and Shaanxi formed several national medical teams to assist Hubei and Wuhan. They were stationed at key hospitals such as Wuhan Jinyintan Hospital, Hubei Provincial Hospital of Integrated Chinese and Western Medicine, and Thunder God Mountain Hospital and also took over some mobile cabin hospitals.
The successful treatment of combining Chinese and Western medicine in several key hospitals, such as Jinyintan Hospital, soon goes viral in Wuhan. As of February 28, more than 7,600 patients admitted to 16 hospitals in Wuhan have been treated with TCM (Traditional Chinese Medicine) to a full coverage. TCM in Hubei has been applied to the treatment in 57,910 confirmed cases, of which 21,193 were cured and discharged.

====李鸿 Li Hong====

延伸阅读：
一位医生的确诊和治疗康复之路
从一名医生，到一名新冠肺炎患者，对左东波来说，不过是两天时间。
左东波，38岁，武汉东西湖第二人民医院的一名骨科医生。 2020年1月初，他在工作岗位上感染新冠肺炎。
“因为在门诊上班，遇到的患者比较多，也有医生出现发烧。我没有太在意，口服了奥司他韦，但是效果不好。”左东波回应说。出现症状后，病情发展之快，是左东波所没有预料到的。
1月7号，他开始严重发烧，咳嗽更加厉害。他自行打了吊针，都是门诊上自己开的方子，主要是头抱等药物。当天，左东波做了一个胸部CT,胸部CT显示肺部有轻度感染。
“一直熬到了 1月9号。9号上午我在上班，当时就已经高烧到39度多。"
左东波有种不好的预感，直觉告诉他，这不是简单的感冒。

Extended Reading: A Doctor’s Experience of Diagnosis, Treatment and Rehabilitation
It only took two days for Zuo Dongbo to go from a doctor to a patient with COVID-19. Zuo Dongbo, 38 years old, was an orthopedic doctor in Wuhan Dongxihu Second People’s Hospital. At the beginning of January 2020, he was infected with COVID-19 on his job. He recalled, “Since I worked in the outpatient department where I met many patients and some doctors also had a fever, so I didn’t care too much about it. I took oseltamivir, but it didn’t work.” However, he did not expect how rapid the disease can go after the onset of symptoms. On January 7th, he began to have a severe fever and cough even badly. He took a sling on his own, which were prescribed by the department, mainly were cephalosporins etc. On the same day, Zuo Dongbo had a chest CT, which showed that there was a slight infection in the lungs. “I was at work on the morning of the 9th, when my fever reached 39 degrees.” Zuo Dongbo had a bad feeling, and his intuition told him that it was not a simple cold.

====李佳珺 Li Jiajun====

“我从来没有过这样糟糕的感觉。自己平时身体状况很好，喜欢游泳，连药都没买过。” 1月9号，他在化验的时候加做了一个查血，随后又去做了一次CT。
这次他有点被吓到了：和之前的CT相比，肺部毛玻璃更加明显，而且双肺都有毛玻璃。
发现病情加重之后，左东波直接住到了东西湖区人民医院感染科，因为这个医院和他所在的东西湖区第二人民医院对口。科室的刘主任跟他是好朋友。
住院后，左东波一直备受煎熬，“从东西湖区人民医院转院时，感觉自己都快不行了。有一种濒死感，就像人淹到水里面一样，一脱离高压氧，根本没办法呼吸。”
从1月9日入住东西湖人民医院本部，到1月16日下午转到金银潭医院重症监护室，左东波经历了人生最难熬的一周。
从东西湖到金银潭，救护车载着左东波驶向生的希望。

“I have never had this kind of bad feeling. I’m always fighting fit. I love swimming. And I have never bought medicine.” On January 9th, he did an extra blood test when he had the coronavirus test, and then, he had a CT scan examination.
This time he was shocked by the result: compared with the former CT, ground-glass opacity was much more obvious, and the whole lung had GGO.
Knowing his health condition turned worse, Zuo Dongbo was directly hospitalized in the Dongxihu District People’s Hospital Infection Department. This hospital was opposite to the Second Dongxihu District Hospital which he worked at, and the office director Dr liu was his good friend.
Being hospitalized, Zoo Dongbo was suffering from the illness.“On the way leaving the hospital, I felt like I was dying. It’s like drowning, once I stopped having HPO, I cannot breathe.”
From January 9th, moving into the Dongxihu District People’s Hospital, to January 16th, transferring to the Jinyintan Hospital, Zuo Dongbo had had his most unbearable week in his life.
From Dongxihu to Jinyintan, the ambulance carried Zuo Dongbo to the hope of life.

“I have never had this kind of bad feeling. I’m always fighting fit. I love swimming. And I have never bought medicine.” On January 9th, he did an extra blood test when he had the coronavirus test, and then, he had a CT scan examination. This time he was shocked by the result: compared with the former CT, ground-glass opacity was much more obvious, and the whole lung had GGO. Knowing his health condition turned worse, Zuo Dongbo was directly hospitalized in the Dongxihu District People’s Hospital Infection Department. This hospital was opposite to the Second Dongxihu District Hospital which he worked at, and the office director liu was his good friend. Being hospitalized, Zoo Dongbo was suffering from the illness.“On the way transferring to the hospital, I felt like I was dying. It’s like drowning, once I stopped having HPO, I cannot breathe.” From January 9th, moving into the Dongxihu District People’s Hospital, to January 16th, transferring to the ICU of Jinyintan Hospital, Zuo Dongbo had had his most unbearable week in his life. From Dongxihu to Jinyintan, the ambulance carried Zuo Dongbo to the hope of life.

====李可依 Li Keyi ====

当他再次醒来时，发现自己已经在金银潭医院了， “我很庆幸，多亏了我妹妹和妹夫，替我做了一个很重要的决定—— 转到金银潭医院。”
刚转到金银潭医院，左东波话也说不出来。慢慢地恢复意识后，他的第一个感受是，这里的护士对待每个患者都如同自己家人。危重患者治疗要求不能脱氧，只能在床上大小便。年纪大的患者，翻身时需要几个护士一起做。身为同行和患者，左东波对于护士们的付出第一次感受得如此深入。

When he woke up again, he found himself in Jinyintan Hospital, "I am very lucky that thanks to my sister and brother-in-law, they made a very important decision for me - to transfer me to Jinyintan Hospital." When he was first transferred to Jinyintan Hospital, Zuo Dongbo couldn't even speak. After slowly regaining consciousness, his first feeling was that the nurses here treated every patient like their own family. The treatment for critically ill patients requires that they cannot go off oxygen and can only urinate and defecate in bed. For older patients, it takes several nurses to turn them over. As a peer and a patient, Zuo Dongbo felt the nurses' dedication so deeply for the first time.

When he woke up again, he found himself in Jinyintan Hospital, "I am very lucky that thanks to my sister and brother-in-law, they made a very important decision for me - to transfer me to Jinyintan Hospital." When he was first transferred to Jinyintan Hospital, Zuo Dongbo couldn't even speak. After slowly regaining consciousness, his first feeling was that the nurses here treated every patient like their own family. The treatment for critical patients requires that they cannot go off oxygen and can only urinate and defecate in bed. For older patients, it takes several nurses to turn them over. As a peer and a patient, Zuo Dongbo felt the nurses' dedication so deeply for the first time.

====李玮瑶 Li Weiyao====

同病房有四个重症患者，左东波眼看着他们一个个地离去，心里很不是滋味。在转入轻症病房前，左东波主动提议和护理他的上海支援湖北医疗队队员、复旦大学附属金山医院神经外科重症监护室主管护师张文英合影留念，互相加油鼓劲。

There were four critically ill patients in the same ward. Zuo Dongbo was very upset when he watched them leave one by one. Before he was transferred to the mild illness ward, Zuo Dongbo actively proposed to take a group photo with Zhang Wenying, the member of the Shanghai Support Hubei Medical Team and the nurse in charge of the neurosurgery intensive care unit of Jinshan Hospital affiliated to Fudan University, to cheer each other on.

There were four critically ill patients in the same ward. Zuo Dongbo was very upset when he watched the other three leave one by one. Before he was transferred to the mild illness ward, Zuo Dongbo suggested to take a photo with Zhang Wenying, a member of the Hubei-Supporting Medical Team of Shanghai and the nurse in charge of the neurosurgery intensive care unit of Jinshan Hospital affiliated to Fudan University, to cheer each other on.

1月31号，因不需要高流量给氧，左东波转到了普通病房。

On January 31, Zuo Dongbo was transferred to the general ward because he did not need high flow oxygen.

On January 31, Zuo Dongbo was transferred to the general ward because he did not need high flow oxygen any more.

在普通病房，左东波经常跟护士们交流防护方面的问题，叮嘱他们多注意穿脱细节。“因为穿着防护服，我其实记不住他们的长相，但确实很感激。”

In the general ward, Zuo Dongbo often communicated with nurses about protection issues, and told them to pay more attention to the details of wearing and taking off. "I can't remember their looks because I wore protective clothing, but I really appreciate it."

In the general ward, Zuo Dongbo often communicated with nurses about protection issues, and told them to pay more attention to the details of wearing and taking off. "I can't remember their looks because they wore protective clothing, but I'm really grateful to them."

从金银潭出院后，左东波进行了 14天的隔离观察。隔离观察期结束后，左东波又奔赴抗疫战场。
（李杰）

After discharge from Jinyintan hospital, Zuo Dongbo carried out an isolation observation for 14 days. After the isolation and observation period, Zuo Dongbo went to the anti epidemic battlefield again.
(Li Jie)

After discharge from Jinyintan hospital, Zuo Dongbo carried out an isolation observation for 14 days. After the isolation and observation period, Zuo Dongbo went to the anti-epidemic battlefield again.
(Li Jie)

金银潭抗疫纪爭

Anti epidemic Disciplinary Struggle in Jinyintan

Anti-epidemic in Jinyintan Hospital A record

==Part 6==

====李心田 Li Xintian====

第二早

坚守阵地的金银潭战士们

白衣作战袍，塵战金银潭。

金银潭医院作为抗击新冠肺炎疫情之战的风暴眼中心，可以说是战争最激烈的地方。医院所有在职干部职工坚守阵地，毫不退缩，与疫魔展开塵战。
院长张定宇是这一片战场的主心骨。在他的身后，是亲密无间的战友——“以身试药”的副院长黄朝林、为前线战士输送弹药的医院药师们、“生命摆渡人” 120团队、医院南二病区楼道和病房中进进出出的白衣天使、为所有医护人员和患者守着“一盏灯”的后勤员工、争分夺秒寻找病毒“解药”的医院 GCP机构、比任何人都更接近病毒的检验科员工

拼渐冻生命与疫魔竟速

记疫情“风暴眼”中武汉金银潭医院院长张定宇

The second morning

The ground-holding soldiers of Jinyintan Hospital

With white coat being campaign gown, fighting fiercely in Jinyintan Hospital.

As the storm eye center of the anti-pandemic battle, Jinyintan Hospital can be seen as the fiercest place of this battle. All the hospital’s cadres in work held the ground without any thought of retreating back and fought fiercely against the evil pandemic. Director Zhang Dingyu was the backbone of this field. Behind him were his close fellow fighters: vice director Huang Chaolin who “tested medicine in person”, pharmacists providing medicine “bullets” for the fighters in the front, the 120 work team who ferried lives, doctors in and out of the corridors and wards of the hospital south No. 2 department, the logistic staff supporting all medical staff and patients, the hospital GCP agency seizing every minute and second to find the cure for the virus, and the clinical laboratory staff who were the closest to the virus.

Strain an ALS life and race against evil pandemic

A recording of Director Zhang Dingyu of the Wuhan Jinyintan Hospital in the “storm eye” of the pandemic.

Correction：The second morning

The ground-holding soldiers of Jinyintan Hospital

With white coat being campaign gown, fighting fiercely in Jinyintan Hospital.

As the storm eye center of the anti-pandemic battle, Jinyintan Hospital can be seen as the fiercest place of this battle. All the hospital’s cadres in work held the ground without any thought of retreating back and fought fiercely against the evil pandemic. Director Zhang Dingyu was the backbone of this field. Behind him were his close fellow fighters: vice director Huang Chaolin who “tested medicine in person”, pharmacists providing medicine “bullets” for the fighters in the front, the 120 work team who ferried lives, doctors in and out of the corridors and wards of the hospital south No. 2 department, the logistic staff supporting all medical staff and patients, the hospital GCP agency seizing every minute and second to find the cure for the virus, and the clinical laboratory staff who were the closest to the virus.

Strain an ALS life and race against evil pandemic

A recording of Director Zhang Dingyu of the Wuhan Jinyintan Hospital in the “storm eye” of the pandemic.

====李彦 Li Yan====

生命，有起点，也会有终点。张定宇——武汉抗疫一线一位医护人员，似乎在按倒计时的方式与生命和时间进行着搏斗。
手里接打着一个又一个几乎不间断的电话，脚下步子也不停，还不忘对身边人发出一个又一个清晰的指令……
这，是武汉市金银潭医院院长张定宇给人的第一印象。
金银潭，老武汉人都未必熟悉的一家传染病专科医院，这些天频繁见诸媒体。这里，是最早集中收治不明肺炎患者的医院，是这场全民抗“疫”之战最早打响的地方。
张定宇在这场与病毒赛跑、与死神竞速的战事中，已经战斗了 33天。而他自己，也在同“渐冻症”进行着顽强斗争。
个性“粗糙”的院长：“幸亏靠了他的暴脾气和果断！”

Life has a beginning and an end. Zhang Dingyu, a paramedic on the front line of the fight against the epidemic in Wuhan, seems to be fighting for his life and time in a countdown manner.
With phone call after phone call almost non-stop in his hands and his feet on the ground, he is still giving clear instructions to those around him. ......
This, is the first impression given by Zhang Dingyu, the director of Wuhan Jinyintan Hospital.
The first thing that struck me was that Zhang Dingyu, the director of the Jinyintan Hospital in Wuhan, a specialist hospital for infectious diseases that may not be familiar to any old Wuhaner, is frequently seen in the media these days. It was the first hospital to focus on patients with unknown pneumonia and the first place where the battle against the epidemic was fought.
Zhang Dingyu has been fighting for 33 days in this race against the virus and death. He, too, has been fighting a tough battle against the disease.
The "rough" personality of the dean: "Fortunately, we can rely on his temper and determination!

'''Li Ziyu's Version:'''
Life has its beginning as well as its end. Zhang Dingyu, who are fighting on the front line against the epidemic in Wuhan, seems to be fighting for his life against the clock on a countdown basis at the same time.

As the president of Wuhan Jinyintan Hospital, the first impression he gives is that he almost never stops answering the phone in his hands, never stops walking, and never forgets to issue a clear instruction to other medical workers.

Jinyintan, a specialist hospital for infectious diseases that old Wuhan residents may not be familiar with, has been frequently reported in the media these days. It was the first hospital where patients with unknown pneumonia were gathered and treated and therefore is seen as the first place where the fight against the epidemic was waged. Zhang Dingyu has been fighting for 33 days in this race against the virus and death, while he is also battling tenaciously against the amyotrophic lateral sclerosis at the same time. When talking about this president with a "rough" personality, people often say: "Fortunately, we can rely on his temper and decisiveness!"

----

====李梓玉 Li Ziyu====

2019年12月29日，武汉，雾，多云。
武汉华南海鲜批发市场首批不明肺炎患者转入位于武汉三环外的金银潭医院。
“当时不少医疗机构也陆续出现不明原因肺炎患者，绝对不能大意。”多年从事传染病防治，职业敏感让张定宇第一时间判断，这不是普通的传染病。
果断决策：他将这些患者迅速集中到隔离病房，穿上防护服，进隔离区查看症状，分析研判。
隆冬，一股寒意向张定宇袭来，情况比他想象的要糟。

'''Li Ziyu's version:'''

29 December, 2019, Wuhan, foggy and cloudy. The first batch of patients with pneumonia of unknown cause from Wuhan South China Seafood Wholesale Market were transferred to Jinyintan, a hospital located outside Wuhan's Third Ring Road.

"At that time, many medical institutions also received patients with pneumonia of unknown cause in succession, which should never be taken lightly." said Zhang Dingyu. His professional sensitivity that has been developed over many years in the field of infectious disease control led him to make an immediate judgement: this was not an ordinary infectious disease.

He made a quick decision that all the patients should be gathered in the isolation ward. All medical staff should check the patients' symptoms with protective clothing and then carry out research and analyses. In the middle of winter, Zhang Dingyu was struck by a chill: it could be worse than he had expected.

correction: In 29 December, 2019, Wuhan was foggy and cloudy. The first batch of patients with pneumonia of unknown cause from Wuhan South China Seafood Wholesale Market were transferred to Jinyintan, a hospital located outside Wuhan's Third Ring Road.

"At that time, many medical institutions also received patients with pneumonia of unknown cause in succession. This is definitely not something that can be taken lightly." Having been involving in infectious disease control for many years, Zhang Dingyu's professional sensitivity allowed him to determine at the first time: this was not an ordinary infectious disease.

He made a quick decision: he quickly gathered these patients in the isolation ward, then went into the isolation area in protective clothing and then carry out research and analyses.In the middle of winter, Zhang Dingyu was struck by a chill: it could be worse than he had expected.
----

====梁昕璐 Liang Xinlu====

12月30日一早，他再度决策：紧急布置腾退病房，抽调更多医疗力量，新开两个病区，转入80多名患者，完成清洁消毒，设备物资人员调配……
平时少有人知晓的金银潭，拌和着空气中浓浓消毒水味的，还有凝重紧张的气氛。
人类与重大疾病斗争史上，未知和恐惧，从来都如影随形；清醒和果敢，也愈加珍贵地相生相伴。

2020年1月2 9S,武汉市金银潭医院院长张定宇回到医院后马上换装投入工作。（新华社记者肖艺九摄）

2020年1月29日，武汉金银潭医院院长张定宇接受新华社记者采访。（新华社记者肖艺九摄）

Early in the morning of December 30, he made another decision: emergency arrangements to vacate the wards, the deployment of more medical forces, the opening of two new wards, the transfer of more than 80 patients, the completion of the cleaning and disinfection, equipment and materials and personnel deployment ...... usually little-known Jinyintan, mixed with the strong smell of disinfectant water in the air, and the atmosphere of gloomy tension. In the history of mankind's struggle with major diseases, the unknown and fear have always followed each other; sobriety and boldness have become more and more precious together.

Zhang Dingyu, president of Wuhan Jinyintan Hospital, returns to the hospital and immediately dresses for work on January 2, 2020. (Xinhua News Agency reporter Xiao Yijiu) On January 29, 2020, Zhang Dingyu, president of Wuhan Jinyintan Hospital, was interviewed by Xinhua News Agency. (Photo by Xiao Yijiu, Xinhua News Agency)

correction：

Early in the morning of December 30, he made another decision: emergency arrangements to vacate the wards, the deployment of more medical forces, the opening of two new wards, the transfer of more than 80 patients, the completion of the cleaning and disinfection, the deployment of equipment, materials and personnel... Usually little-known Jinyintan is mixed with the strong smell of disinfectant water in the air and the atmosphere of tension. In the history of mankind's struggle with major diseases, the unknown and fear have always followed people; sobriety and boldness have intertwined and become more precious.

Zhang Dingyu, president of Jinyintan Hospital in Wuhan, returned to the hospital and immediately dresses for work on January 29, 2020. (Photo/Xinhua News Agency reporter Xiao Yijiu) On January 29, 2020, Zhang Dingyu, president of Wuhan Jinyintan Hospital, was interviewed by Xinhua News Agency. (Photo/Xiao Yijiu, Xinhua News Agency)

====廖璐佳 Liao Lujia ====

之后的日子，时钟的钟摆对金银潭、对张定宇、对已知和未知的所有，似乎都踏上了加速度的轨道。
不断有新患者转入，相当于医院要不断“换水”，任何一丝不细致都会弄出乱子。
早上7点半，往往换班的医护人员还没到，张定宇就已经到了。“今天收了多少患者？ ” “多少出院？ ”他每次问，都要回答者脱口而出说出精确数字。“收患者、转患者、管患者，按道理有些事他可以不管，但他都会到现场亲自过问。”南三病区主任张丽说。
张丽2003年曾参与过抗击非典，对传染病防治是见过大场面的。搁平时，这位资深传染病医生，见了张定宇却多少会躲着走。“脾气粗糙，你和他说话都不许插嘴”，张丽说。

In the days that followed, the pendulum of the clock seemed to accelerate for Jin Yintan, Zhang Dingyu, and everything known and unknown. New patients were transferred to the hospital, which means hospital constantly cured former patients, and lack of meticulousness will make a mess. At 7:30 a.m., Zhang Dingyu had already arrived before the medical staff who worked the shift arrived. "How many patients were admitted today? How many are discharges?" Every time he asked, he had the respondents blurt out the exact number. “Accepting, transferring and managing patients are not his business and he can ignore some things, but he will go to the scene to personally inquire.” Zhang Li, director of the South Three ward, said. Zhang Li participated in the fight against SARS in 2003 and has seen big scenes in the prevention and control of infectious diseases. Usually, this senior infectious disease doctor would hide away to some extent when he saw Zhang Dingyu. "You have a rough temper, so you are not allowed to interrupt him when you talk to him." Zhang Li said.

correction:
In the following days, the pendulum of the clock seemed to have accelerated for Jin Yintan, Zhang Dingyu, and everything known and unknown. New patients were transferred to the hospital, which means hospital constantly cured former patients, and lack of meticulousness will make a mess. At 7:30 a.m., Zhang Dingyu had already arrived before the medical staff who worked the shift arrived. "How many patients were admitted today? How many are discharges?" Every time he asked, he had the respondents blurt out the exact number. “Accepting, transferring and managing patients are not his business and he can ignore some things, but he will go to the scene to personally inquire.” Zhang Li, director of the South Three ward, said. Zhang Li participated in the fight against SARS in 2003 and has seen big scenes in the prevention and control of infectious diseases. In normal times, this senior infectious disease doctor would hide away somewhat when he sees Zhang Dingyu. "He has a rough temper, so you are not allowed to interrupt him when you talk to him." Zhang Li said.

====刘丛领 Liu Congling ====

张丽没想到的是，这次不仅是“粗糙”，更是躲不过去的 “折磨”。“任务布置急、要求高，事无巨细，骂起人来都不留情面。”
被“折磨”的张丽在这次危机中却感觉到张定宇“粗糙” 脾气下的细致。“幸亏靠了他的暴脾气和果断。有困难找他，总会有办法。现在看到他的身影，有种踏实的感觉。”
1月8日，国家卫健委公布，初步确认“新型冠状病毒” 为此次疫情的病原。
武汉，九省通衢，有1100万人口。几乎一夜间，成为一场波及全球疫情的“风暴眼”。
“风暴眼”中：“有他在，医护人员、患者、家属心里都有底。” 疫情袭来，冲击着每一个人。坚毅，能不能战胜恐慌？武汉，紧张中蕴含着不安和骚动。金银潭医院病区内，呼叫医务服务的铃声此起彼伏，与病楼外疏落的人影形成强烈的反差。
Zhang Li did not expect that this time is not only "rough", but also an unavoidable "torture". "The task is urgent and demanding, so there is no mercy in scolding people." "Tortured" Zhang Li in this crisis found Zhang Dingyu’ meticulousness under his cover of "rough" temper. "Thanks to his temper and determination. He can always find out a solution when you are stuck in trouble. I feel a sense of security when I see him." On January 8, the National Health Commission announced that the novel coronavirus was initially identified as the cause of the outbreak. Wuhan, a thoroughfare of nine provinces and home to 11 million people, became the epicentre of a global pandemic all but overnight. In the "eye of the storm", his being makes medical staff, patients, family members feel secure. The rampant epidemic was affecting everyone. Can perseverance conquer panic? In Wuhan, there is unease and commotion in the tension. In the ward of Jinyintan Hospital, the sound of the bell calling for medical services is repeated one after another, in sharp contrast to the scattered figures outside the building.

Correction:
Zhang Li did not expect that this time it was not only “rough”, but also an unavoidable “torture”. “The task is urgent and demanding, so there is no mercy in scolding people.” “Tortured” Zhang Li in this crisis found Zhang Dingyu’s meticulousness under his cover of “rough” temper. “Thanks to his hot temper and determination, he can always find out a solution when you are stuck in trouble. I feel a sense of security when I see him.” On January 8, the National Health Commission announced that the novel coronavirus was initially identified as the cause of the outbreak. Wuhan, a thoroughfare of nine provinces and home to 11 million people, became the epicentre of a global pandemic all but overnight. In the “eye of the storm”, having him there, the medical staff, patients and all family members felt secure. The rampant epidemic was affecting everyone. Could perseverance conquer panic? In Wuhan, there was unease and commotion in the tension. In the ward of Jinyintan Hospital, the sound of the bell calling for medical services rang one after another, in sharp contrast to the scattered figures outside the building.

====刘佳玉 Liu Jiayu ====

“风暴眼”中，张定宇走着、说着。
对患者，他是一种语气。
“您家莫急莫急，我马上安排人出来接。”
对下级，他是另一种态度。
“搞快点，搞快点，这个事情一点都等不得，马上就搞。” 严厉，但是镇定。
张定宇告诉大家：对呼吸道传染病不必过于恐慌，按要求做好防护就没危险。“我们要胆大心细！有什么责任有我担着。”
他身后，从一个病区，到一栋楼，到三栋楼；护士从两小时交接班一次，延长到四五个小时一次；医生更是恨不得把一个人掰成两个人来用……
“去年12月29日到现在，他没休过一天，只有两个晚上离开医院稍微早些。”金银潭医院党委书记王先广说。给他留下深刻印象的还有这位搭档蹒跚的身影。

In the “eye of the storm”, Zhang Dingyu walked and talked. To the patient, he said in a soothing voice, “Don’t worry. I’ll have someone pick you up right away.” To his subordinates, however, he has a different attitude, “Hurry up, hurry up! This can’t be put off. We must do it right now.” He was strict, but calm. Zhang Dingyu told everyone: there was no need to panic about respiratory infections. There would be no danger if everyone took proper precautions as required. “We must be bold but careful! I will take responsibility for whatever it is.” Behind him, it went from one ward, to one building, then to three buildings; nurses shift from once every two hours to once every four or five hours; doctors wished they could divide themselves into two... “Since December 29th last year, he has not taken a day off. Only two nights did he leave the hospital a little early.” said Wang Xianguang, the party secretary of Jinyintan Hospital. He was also impressed by the staggering figure of his partner.

In the “eye of the storm”, Zhang Dingyu walked and talked. To the patient, he said in a soothing voice, “Don’t worry. I’ll have someone pick you up right away.” To his subordinates, however, he has a different attitude, “Hurry up, hurry up! This can’t be put off. We must do it right now.” He was strict but calm. Zhang told everyone: there was no need to be over panic about respiratory infections. There would be no danger if everyone took proper precautions as required. “We must be bold but careful! I will take responsibility for everything.” Behind him, it went from one ward, to one building, then to three buildings; nurses shift from once every two hours to once every four or five hours; doctors wished they could divide themselves into two... “Since December 29th last year, he has not taken a day off. Only two nights did he leave the hospital a little early.” said Wang Xianguang, the party secretary of Jinyintan Hospital. He was also impressed by the staggering figure of his partner.

====刘婷婷 Liu Tingting====

越来越多的同事发现，一向脚步如风的院长下楼梯脚步越来越慢。面对越来越多人的追问，张定宇终于承认：“我得了渐冻症，两年前就犯病了，下楼吃力，更怕摔倒。”
渐冻症是一种罕见病症，慢慢会进展为全身肌肉萎缩和吞咽困难，直至呼吸衰竭。“我特别怕下楼，必须扶着。平时，我下楼都会抓住我爱人。”
“多少次问他，都说膝关节动过手术。”感染科主任文丹宁说。直至这次，她和其他同事才回过神来，“为什么他脚步高低不平，上下楼一定要抓紧扶手，慢慢挪。”
北七病区护士长贾春敏却不承认。“他明明走得好快！ ” 1 月21日晚腾退完病房后，正等待转入新患者，贾春敏就接到张定宇电话：“五分钟到北7楼，看新病区还差些什么？ ”
放下电话，贾春敏赶着拉上装物资的小推车一路小跑。“他从办公室到北7楼比我远，等我到的时候，他已经在那儿了。” 贾春敏说，“平时他老跟不上我们，但他拼的时候，我们跟不上他。”
“有他在，医护人员、患者、家属心里都有底。”文丹宁说。

More and more colleagues found that the director who walked so fast in the past now was slow when walking down the stairs. Facing with increased questions, Zhang Dingyu eventually admitted that, “I got ALS two years ago. At that time, it was hard for me to walk down the stairs, and I was more afraid of falling.” ALS (Amyotrophic Lateral Sclerosis) is a rare disease, and it would gradually cause systemic amyotrophy and dysphagia until respiratory failure happens. “I specially terrify of going downstairs, so I must hold something when I doing that. I usually grasp my wife when walking down.” Wen Danning, the head of infectious disease department, said, “I have asked him for several times, but he just told me that he had a surgery on his knee.” She and her colleagues were not realized that until this time, “That is why his steps are uneven and he always walks slowly while going up and down the stairs with grasping the handrail firmly.” Jia Chunmin, the head nurse of North No.7 ward area, didn’t acknowledge that, “He walks so fast obviously!” After clearing all the wards and waiting for new patients on January 21, Jia received Zhang’s call, “I will arrive the North No.7 building, please check what should be implemented.” Jia ran with a small cart to carry supplies immediately after putting down her phone. “The distance between his office and the building is further than I have. But when I arrive there, he is already there.” Jia said, “He can’t follow us in ordinary time, but we can’t follow him when he works so hard.” Wen Daning said, “Medical workers, patients and family members of them are relieved for he is being there.”

====刘雅琴 Liu Yaqin====

33天和30分钟：“没说太多话，都很疲惫，只是离开时叮嘱了下：保重。”
慢和快，在张定宇身上，在疫情发生后，组成奇妙的复合体。
清早6点钟起床、次日凌晨1点左右睡觉，不知不觉成了常态。好几个夜晚，张定宇凌晨2点刚躺下，4点就被手机叫醒。
情和痛，也不知从什么地方会来个突然袭击。
金银潭医院收治首批患者22天后，张定宇得到消息：在武汉另一家医院工作的妻子，在工作中被感染新型冠状病毒，住进相隔十多公里的另一家医院。
妻子入院三天后，晚上11点多，张定宇赶紧跑去探望，却只待了不到半小时。“没说太多话，都很疲惫，只是离开时叮嘱了下：保重。”采访时，张定宇不愿多回忆那宝贵的30 分钟。
“实在是没时间。我很内疚，我也许是个好医生，但不是个好丈夫。”眼前这位五大三粗，和普通人眼中医生形象很不匹配的硬汉，眼圈忽然红了。“我们结婚28年了，刚开始两天她状态不好，我就怕她扛不过去。”

33 days and 30 minutes: "He didn't say much, very tired, but when he left, he told me to take care."
Slow and fast, in Zhang Dingyu, after the outbreak, form a wonderful compound.
Waking up at 6 a.m. and going to bed at 1 a.m. the next morning became the routine without realizing it. On several nights, Zhang was woken up by his cell phone at 4 a.m. after just lying down at 2 a.m.
He didn't know where and when the pain and emotions would come out of nowhere.
Twenty-two days after the first patients were hospitalized at Jinyintan Hospital, Zhang got the news that his wife, who worked at another hospital in Wuhan, had been infected with the new coronavirus at work and was sent to another hospital more than 10 kilometers away.
Three days after his wife was sent to the hospital, at 11 p.m., Zhang rushed to visit, but stayed less than half an hour. He didn't say much, he was very exhausted, but when he left, he said, "Take care." At the time of the interview, Zhang Dingyu did not want to recall the precious 30 minutes.
"I really didn't have time. I feel guilty, I may be a good doctor, but I'm not a good husband." The man in front of me, who is big and bold and does not match the image of a doctor in the eyes of ordinary people, suddenly has red eyes. "We've been married for 28 years, and when she was in bad condition for the first two days, I was afraid she wouldn't make it."

====刘雨晴 Liu Yuqing====

不能完全停下来，也不能时时刻刻在动。张定宇的渐冻病需要比别人更好掌握这个度。
几乎没时间去看患病的妻子，却又搁不下、放不了挂念，没法想象张定宇心里怎么过的这道坎。
一个多月，夜以继日，张定宇病了。躺在床上输液时，手里仍拿着各种材料数据了解患者情况、重症人数、救治进展，布置各项工作……刚刚好一点，只要可能，张定宇都会再穿上被称为“猴服”的防护服，从患者通道走到隔离病房，走到重症室查房。
“穿着防护服，走路都能听到呼吸、心跳，出来前心后背都湿透了。”张定宇的感受，是疫情笼罩下，医护人员最真实的感受。
好在，坎过去了。妻子在入院十天后的1月29日下午，痊愈出院。这个消息让已经了解张定宇，知道了这样一位战“疫” 勇士事迹的人们，都松了一口气。
急切的记者电话核实这个压抑中难得的好消息时，已经是晚上11点了。开车回家路上的张定宇说了一句话：“对，两次核酸检测呈阴性。”
张定宇的“三重身份”：“无论哪个身份，在这非常时期、危急时刻，都没理由退半步，必须坚决顶上去！”
共产党员、院长、医生，是张定宇的三重身份。
“无论哪个身份，在这非常时期、危急时刻，都没理由退半步，必须坚决顶上去！”张定宇说。
You can't stop completely, nor can you move all the time. Zhang Dingyu's acromegaly requires a better grasp of this than others.
It is impossible to imagine how Zhang Dingyu's heart can survive this hurdle when he barely has time to see his sick wife, but cannot put aside or let go of his worries.
For more than a month, night and day, Zhang Dingyu became ill. While lying in bed receiving an infusion, he was still holding various materials and data to understand the situation of the patients, the number of serious cases, the progress of treatment, and to set up various tasks. ...... Whenever possible, Zhang Dingyu would put on his protective suit, known as the "monkey suit", and walk from the patient corridor to the isolation ward and to the intensive care unit. The first time I saw him, I was in the hospital.
"In the suit, I could hear my breathing and heartbeat when I walked, and the back of my heart was soaked through before I came out." Zhang Dingyu's feelings are the most realistic of the health care workers in the grip of the epidemic.
The good news is that the hurdle has passed. Ten days after his wife was admitted to hospital, on the afternoon of 29 January, she was discharged. The news was a relief to those who already knew about Zhang Dingyu and the story of such a warrior in the battle against the epidemic.
It was already 11pm when an eager reporter called to verify this rare and depressing news. On the drive home, Zhang Dingyu said, "Yes, the two nucleic acid tests were negative.
Zhang Dingyu's "triple identity": "No matter which identity, there is no reason to take a half-step back at this extraordinary and critical time, we must resolutely go up!
The triple identity of Zhang Dingyu is that of a Communist Party member, a director and a doctor.
"No matter which identity he has, there is no reason to take a half-step back in these extraordinary and critical times. Zhang Dingyu said.

You can't stop completely, nor can you move all the time. Zhang Dingyu's Als requires a better grasp of this than others.For more than a month, night and day, Zhang Dingyu was sick. While lying in bed getting an infusion, he still had various materials and data in his hand to understand the patient's condition, the number of serious cases, the progress of treatment, and to set up various tasks ...... Whenever possible, Zhang Dingyu would put on the protective suit called "monkey suit" again and walk from the patient's passage to the isolation ward and to the intensive care unit. The company's main business is to provide a wide range of products and services.
"Wearing a protective suit, you can hear breathing and heartbeat when you walk, and you come out all wet." Zhang Dingyu's feelings are the most realistic feelings of health care workers under the epidemic's grip."In the suit, I could hear my breathing and heartbeat when I walked, and the back of my heart was soaked through before I came out." Zhang Dingyu's feelings are the most realistic of the health care workers in the grip of the epidemic.
The good news is that the hurdle has passed. Ten days after his wife was admitted to hospital, on the afternoon of 29 January, she was discharged. The news was a relief to those who already knew about Zhang Dingyu and the story of such a warrior in the battle against the epidemic.
It was already 11pm when an eager reporter called to verify this rare and depressing news. On the drive home, Zhang Dingyu said, "Yes, the two nucleic acid tests were negative.
Zhang Dingyu's "triple identity": "No matter which identity, there is no reason to take a half-step back at this extraordinary and critical time, we must resolutely go up!
The triple identity of Zhang Dingyu is that of a Communist Party member, a director and a doctor.
"No matter which identity he has, there is no reason to take a half-step back in these extraordinary and critical times. Zhang Dingyu said.

====鲁思 Lu Si ====

57岁的张定宇，从一名普通医生起步，先后担任武汉市四医院副院长，武汉血液中心主任。
从医33年，他曾随中国医疗队出征，援助阿尔及利亚； 2011年除夕，作为湖北第一位“无国界医生”，出现在巴基斯坦西北的蒂默加拉医院……
他和同事们的身影，也曾出现在重大灾害发生的现场。 2008年5月14日，四川汶川地震第三天，他带领湖北省第三医疗队出现在重灾区什都市……
“像张定宇这样的党员干部，始终冲在最前线，让大家都感觉特别有主心骨。”张丽说。

2020年1月29日，由于渐冻症的关系，张定宇爬起楼时十分不便。（新华社记者肖艺九摄）

Zhang Dingyu, 57, started out as a general practitioner and has served as vice president of Wuhan Hospital IV and director of Wuhan Blood Center. On New Year's Eve 2011, as the first "Doctors Without Borders" in Hubei, he appeared at the Timergala Hospital in northwest Pakistan ....... He and his colleagues have also appeared at the scene of major disasters. He and his colleagues have also been on the scene of major disasters. On May 14, 2008, the third day of the Wenchuan earthquake in Sichuan Province, he led the third medical team from Hubei Province in the hardest-hit city of Shidu. ......Zhang Li said, "Party members like Zhang Dingyu are always at the front line, making everyone feel especially at ease."

January 29, 2020, due to the relationship of acromegaly, Zhang Dingyu climb up the building is very inconvenient.

Zhang Dingyu, 57, started out as a general practitioner and has served as vice president of Wuhan Hospital IV and director of Wuhan Blood Center. With 33 years of medical service, he once went on an expedition with the Chinese medical team to help Algeria. On New Year's Eve 2011, as the first "Doctors Without Borders" in Hubei, he appeared at the Timergala Hospital in northwest Pakistan ....... He and his colleagues have also been on the scene of major disasters. On May 14, 2008, the third day of the Wenchuan earthquake in Sichuan Province, he led the third medical team from Hubei Province in the hardest-hit city of Shidu. ......Zhang Li said, "Party members and cadres like Zhang Dingyu are always at the front line, making everyone feel especially at ease."

January 29, 2020, it was very inconvenient for Zhang Dingyu to climb up the building due to the ALS.

====陆玉琴 Lu Yuqin ====

55岁的南六病区主任陈南山顶上去了！

Chen Nanshan, the 55 year old director of South No.6 Ward, pressed on!

Chen Nanshan, the 55 year old director of South No.6 Ward, pressed on!

在春节期间人手最紧张的时候，临危受命，参与两个ICU病区建立，最多的时候1人管理3个病区近百名患者。

During the Spring Festival, when the staff was most scarce, he was assigned to take part in the establishment of two ICU wards. At most, one person managed nearly 100 patients in three wards.

During the Spring Festival, when the staff was most scarce, he was assigned to take part in the establishment of two ICU wards. At most, one person managed nearly 100 patients in three wards.

南四病区副主任余婷和同在医院护士岗位的妻子顶上去 T!夫妻俩把上小学的孩子丢给父母，坚守一线30多天。

Yu Ting, the deputy director of South No.4 Ward, and his wife, who was also a nurse in the hospital, pressed on! The couple left their children in primary school to their parents and stuck to the front line for more than 30 days.

Yu Ting, the deputy director of South No.4 Ward, and his wife, who was also a nurse in the hospital, pressed on! The couple left their children in primary school to their parents and stuck to the front line for more than 30 days.

一米五出头，看着柔弱的ICU病区主任吴文娟顶上去了！从首批不明原因肺炎患者入院，直到自己因疑似感染新型冠状病毒被隔离才下火线。

At a height of just over 150 centemeters, Wu Wenjuan, the ICU ward director who looked delicate, pressed on! From the first batch of patients with unexplained pneumonia were admitted to the hospital, Wu continued working in the front line until she was quarantined for suspected infection with novel coronavirus.

At a height of just over 150 centemeters, Wu Wenjuan, the ICU ward director who looked delicate, pressed on! From the first batch of patients with unexplained pneumonia were admitted to the hospital, Wu continued working in the front line until she was quarantined for suspected infection with the COVID-19.

金银潭医院240多名党员顶上去了!没有一个人迟疑、退缩，全部挺在急难险重岗位。有了张定宇和党员们，600多名职工全部坚守岗位，从未有人主动要“下火线”。

More than 240 Party members of Jinyintan Hospital pressed on! No one hesitated or retreated, and they were all in urgent and dangerous positions. With Zhang Dingyu and the Party members, more than 600 employees all stuck to their posts, and no one had ever taken the initiative to leave the front line.

More than 240 Party members of Jinyintan Hospital pressed on! No one hesitated or retreated, and they were all in urgent and dangerous positions. With Zhang Dingyu and the Party members, more than 600 employees all stuck to their posts, and no one had ever taken the initiative to leave the front line.

====马明宇 Ma Mingyu====

战疫魔，金银潭医院动起来了，武汉动起来了，全中国动起来了。战事还远未结束，还会有惨烈，有悲壮，甚至牺牲。

The plague whisperer, Jinyintan Hospital has moved, Wuhan has moved, and the whole of China has moved. The war is far from over, there will be miserable, tragic and even sacrifice.

The war against the epidemic is on, the Jinyintan Hospital is on the move, Wuhan is on the move, and all of China is on the move. The war is far from over, and there will be tragedy, tragedy and even sacrifice.

“健康所系，性命相托”。对张定宇们，这是践行的誓言！对无数民众，这是力量所在，希望所在。

"Tie with health, entrust by life." For Zhang Dingyu and other doctors, this is the oath to practice! For millions of people, this is where strength lies and hope lies.

"When health is at stake, lives are at stake". For Zhang Dingyu and other doctors, this is a vow to be fulfilled! For countless people, this is where strength and hope lie.

动如风火的张定宇也有个希望，在自己能动的时候，跑赢这次与新型冠状病毒的赛跑。

Zhang Dingyu, who moves like wind and fire, also has a hope that he will win the race against the COVID-19 when he is active.

Zhang Dingyu, who moves like wind and fire, also has a hope that he will win the race against the COVID-19 when he is active.

“我会慢慢失去知觉，将来会真的跟冻住了一样。”张定宇下意识地摸了摸腿，“慢慢我会缩成小小一团，固定在轮椅上。每个渐冻患者，都是看着自己一点点消逝的……”

"I'll lose consciousness slowly, and I'll be really frozen in the future." Zhang Dingyu subconsciously touched his leg. "Slowly I will shrink into a small ball and stay in a wheelchair." Every patient who has amyotrophic lateral sclerosis is watching himself disappear little by little..."

"I'll lose consciousness slowly, and I'll be really frozen in the future." Zhang Dingyu subconsciously touched his leg. "Slowly I will shrink into a small ball and stay in a wheelchair." Every patient who has amyotrophic lateral sclerosis is watching himself disappear little by little..."

“生命留给我的时间不多了。必须跑得更快，才能跑赢时间，把重要的事情做完。”

"I don't have much time left. So I have to run faster to beat the time and get the important things done."

"I don't have much time left. So I have to run faster to beat the time and get the important things done."

====彭琦 Peng Qi ====

2020年1月27 B,在武汉金银潭医院综合病区楼，张定宇在联系协调工作。（新华社发柯皓摄）
伴着高低不平的脚步，和电话那头急促的声音,张定宇转身，朝着隔离病区走去……
1月31日，难得的冬日暖阳照进了这座非常的江城。
下午5点左右，消息传来：20名新型冠状病毒感染的肺炎患者从金银潭医院集体出院，最大年龄患者64岁，最小年龄 15岁。这是疫情发生以来同时出院人数最多的一次。
截至目前，金银潭医院累计出院确诊患者72例。
（新华社武汉2020年1月31日电记者钱彤、李鹏翔、侯文坤、黎昌政）
Zhang Dingyu contacts and coordinates work in the general ward building of Jinyintan Hospital in Wuhan on January 27, 2020. (Xinhua News Agency photo by Ke Hao)
With uneven footsteps and an urgent voice on the other end of the phone, Zhang Dingyu turns around and walks towards the isolation ward ......
The rare warm winter sun shone into the city of Wuhan on January 31.
At around 5 pm, the news came in that 20 pneumonia patients with novel coronavirus infection were discharged from Jinyintan Hospital, the oldest patient 64 years old and the youngest 15 years old. This is the largest number of patients discharged at the same time since the outbreak began.
So far, a total of 72 patients have been discharged from Jinyintan Hospital with confirmed cases.
(Xinhua News Agency, Wuhan, January 31, 2020 - Reporters Qian Tong, Li Pengxiang, Hou Wenkun and Li Changzheng)

On January 27, 2020, Zhang Dingyu (pictured by Ke Hao at Xinhua News Agency) worked on contacts and coordination in the general ward building of Jinyintan Hospital in Wuhan. With uneven footsteps and an urgent voice from the phone, Zhang Dingyu turned around and walked towards the isolation ward…
The warm winter sun rarely shone into the city of Wuhan on January 31.
At around 5 P.M., the news came in that, 20 pneumonia patients with novel coronavirus infection, ranging from 15 to 64 years old, were discharged from Jinyintan Hospital. It the largest release since the epidemic outbreak.
So far, 72 patients in total have been discharged from Jinyintan Hospital with confirmed cases. (Xinhua News Agency, Wuhan, January 31, 2020 - Reporters Qian Tong, Li Pengxiang, Hou Wenkun and Li Changzheng)

====漆羿鑫 Qi Yixin====

老搭档眼中的张定宇
“好搭档好同事，好兄弟好战友。作风硬朗，遇到问题从来不退缩。”这是金银潭医院党委书记王先广对张定宇的评价。王先广和张定宇搭班子，两人再熟悉不过。他也比医院任何人都早一些知道张定宇渐冻症的病情。
王先广和张定宇都是医生，比常人更加了解渐冻症的后果和危险性。王先广说，其实张定宇这个病，是需要好好回家洗个热水澡的，既不能完全停下来，也不能时时刻刻在动。他需要掌握这个度，但是他又不能掌握这个度，因为工作在不断推着他动，最初30多天，张定宇有好几个通宵只是在办公室沙发上打了个盹。
尽管张定宇用了一些治疗方法，但仍然没有明显向好的方向转化的迹象。王先广心里也很难受,渐冻症患者肌肉萎缩以后，力量就会受限制，有一次下楼的时候，张定宇差一点摔倒下去，因为腿没有支撑能力。张定宇私下多次跟他说，两个人在一起的时候让王先广扶一下他。

Eyed as an excellent partner, nice colleague, intimate brother and reliable comrade by the old partner, resolutely Zhang Dingyu keeps moving on when encountering problems. This is what Wang Xianguang, secretary of the Party committee of Jinyintan Hospital, said about Zhang. Owing to common shifts, Wang and Zhang are familiar with each other. Wang also knows how Zhang 's progressive frostbite is like earlier than anyone in the hospital. Wang and Zhang, both doctors, are much clear about the consequences and risks of progressive frostbite than ordinary people. In fact, Zhang's illness needs to go home and take a warm bath, said Wang. It can neither stop completely nor be active all the time. The degree needs to be under control but he can't, because his work keeps pushing him. In the first 30 days, Zhang just took a nap on the office sofa several nights. Although Zhang has used some treatment methods, there is still no obvious sign of improvement. Wang was also very upset. After the muscle atrophy of the patients with progressive frostbite, their strength would be limited. Once, when he went downstairs, Zhang almost fell down because his legs could not support him. Zhang told him many times in private that Wang would help him when they were together.

In the eyes of his old partner， Zhang Dingyu is a "Good partner, good colleague, good brother, good comrade. His style is tough, and he never flinches when he encounters problems." This is the evaluation of Zhang Dingyu by Wang Xianguang, secretary of the Party Committee of Jinyintan Hospital. Wang Xianguang and Zhang Dingyu team up, the two are familiar with each other. He also knew about Zhang Dingyu's acromegaly earlier than anyone else in the hospital.
Wang Xianguang and Zhang Dingyu are both doctors and understand the consequences and dangers of acromegaly better than normal people. Wang Xianguang said, in fact, Zhang Dingyu's disease, is the need to go home and take a hot bath, can not completely stop, but also can not move all the time. He needs to master this degree, but he can not, because the work is constantly pushing him to move, the first 30 days, Zhang Dingyu just stayed in the office sofa doze for a number of overnight.
Despite the treatment methods Zhang Dingyu used, there were no obvious signs of transformation for the better. Wang Xianguang was also very upset, because after the muscle atrophy of patients with acromegaly, their strength would be limited, and once when he went downstairs, Zhang Dingyu almost fell down because his legs had no support. Zhang Dingyu told him many times in private that he should let Wang Xianguang help him when they were together.

====覃诗雅 Qin Shiya====

疫情发生以来，来金银潭医院指导交流的专家越来越多，原本就很疲乏的张定宇，脚步跟不上，只好叫班子其他领导送。
“不是因为他自己受不了，而是来了这么多专家，没有接送，对不住大家。大家来支援指导我们，没有按照礼节做到位，所以把原因说明下，更多人也就知道了他渐冻症的情况。”
“没有誓师，没有举旗喊口号，就是一线战地动员，像张定宇这样的党员自觉往前线走，带动其他医院员工动起来。” 在王先广眼里，张定宇真的是面对生死而不变色，“有险情他一定第一个冲上去”。
很多人都说张定宇是个“急脾气”，对此王先广非常理解，作为院长，张定宇做事风风火火，敢于担当，冲在前、干在前，这是他的优点。有时候如果拖延一点，甚至会耽误一条生命， “所以他说话做事都不喜欢拖泥带水，不管是我跟他讨论问题，还是其他下属向他汇报工作，他都会让大家直入主题”。
在王先广眼里，张定宇是一头狮子，敢冲敢拼，发起脾气来, 暴跳如雷，但是一头温情的狮子，很细心、很细致、很关心人。

Since the outbreak, more and more experts came to Jinyintan Hospital for guidance and exchange. Zhang Dingyu, who was already very tired, could not keep up and had to ask other leaders of the team to send him.
"It's not because he couldn't stand it, but he felt sorry for all the experts who came without transportation. You guys all came to support and guide us, but we didn't do it according to the etiquette. So I decided to explain the reason, and more people will know about his acromegaly."
"No pledge, no flag， no slogans, as if a front-line battlefield mobilization, all of the party members like Zhang Dingyu consciously to the front line, driving other hospital staff to act." In the eyes of Wang Xianguang, Zhang Dingyu really can not cahnge color when he face the life and death, "when there are dangerous situations he must be the first to rush up".
Many people say Zhang Dingyu is a "impetuous temper", which Wang Xianguang understands very well. As a dean, Zhang Dingyu do things very quick, daring to take charge, rushing ahead, trying in front, that are all his advantages. Sometimes if you delay a little, you would even delay a life, "so he does not like to drag out things, whether I discuss issues with him, or other subordinates to report on the work, he will let everyone straight to the point."
In the eyes of Wang Xianguang, Zhang Dingyu is a lion, daring to fight. Once the temper strikes, he will storm out. But he is still a warm lion, very careful, very meticulous, very caring.

Since the outbreak of the epidemic, more and more experts came to Jinyintan Hospital for guidance and exchange. Zhang Dingyu, who was already very tired, could not keep up and had to ask other leaders of the team to send him. "It's not because he couldn't stand it, but he felt sorry for all the experts who came without transportation. You guys all came to support and guide us, but we didn't do it according to the etiquette. So I decided to explain the reason, and more people will know about his acromegaly." "No pledge, no flag， no slogans, as if a front-line battlefield mobilization, all of the party members like Zhang Dingyu consciously to the front line, driving other hospital staff to act." In the eyes of Wang Xianguang, Zhang Dingyu really can not cahnge color when he face the life and death, "when there are dangerous situations he must be the first to rush up". Many people say Zhang Dingyu is a "impetuous temper", which Wang Xianguang understands very well. As a dean, Zhang Dingyu do things very quick, daring to take charge, rushing ahead, trying in front, that are all his advantages. Sometimes if you delay a little, you would even delay a life, "so he does not like to drag out things, whether I discuss issues with him, or other subordinates to report on the work, he will let everyone straight to the point." In the eyes of Wang Xianguang, Zhang Dingyu is a lion, daring to fight. Once the temper strikes, he will storm out. But he is still a warm lion who is very careful, very meticulous, very caring.

====卿子晔 Qing Ziye====

王先广说，作为院长的张定宇要布置全局，要调动力量，有重大险情的时候也会第一个冲上去。他用实际行动践行了对党忠诚、热爱人民的初心和使命！他是这次抗击新冠肺炎疫情中产生的诸多优秀共产党员中的杰出代表。
在张定宇身上，集中体现了无私无畏、担当作为的政治品格和勇毅果敢、雷厉风行的工作作风。作为共产党员，他时刻把人民群众生命安全和身体健康放在第一位，他默默承受着个人身体疾病的巨大痛苦，而用“渐冻的生命”托起了患者生的希望和信心。作为领导干部，他临危不惧、冲锋在前，应对危机镇定自若，是全院干部职工的“主心骨”和抗击疫情的“中流砥柱”。作为医生，凭借多年深厚的职业素养，成就了首战告捷，为全面打赢这场阻击战奠定了坚实基础。用他自己的话说：“我是共产党员、医务工作者，非常时期、危急时刻，必须坚决顶上去。”他是这么说的，也是这么做的，在面对重大疫情的危急时刻，他能够豁得出去，没有丝毫的畏惧和退缩，义无反顾。他是一条硬汉子、一个真英雄。

Wang Xianguang said: as dean, Zhang Dingyu should make the overall arrangements, mobilize strength, and be the first to resolve major dangers. With practical actions, Zhang fulfilled his original mission of being loyal to the party and loving the people. He was an outstanding representative of Communist Party members in the fight against COVID-19. Zhang showed the political character of selflessness, fearlessness and responsibility, as well as the brave, resolute and vigorous work style. As a member of the Communist Party, he always put the safety and health of the people in the first place. He silently accepted the great pain of personal physical diseases, and propped up the hope and confidence of the patients with his "gradually frozen body." As a leading cadre, he was not afraid of danger. He dealt with the crisis calmly as the "backbone" of the cadres and workers of the whole hospital and the "mainstay" of fighting the epidemic. As a doctor, with years of profound professionalism, he achieved victory in the first battle and laid a solid foundation for winning this blocking war in an all-round way. In his own words: "I am a member of the Communist Party and a medical staff. In extraordinary times and in times of crisis, I must resolutely stand up to it." He did exactly what he said. In the face of the epidemic, he was able to risk everything without the slightest fear or flinching. He was a tough guy and a real hero.

Wang Xianguang said that as President Zhang Dingyu had to set up the whole situation, to mobilise forces, and would be the first to rush up when there was a major danger. He has lived up to his original intention and mission of being loyal to the Party and loving the people! He is an outstanding representative of the many outstanding communists who emerged from this fight against the New Crown Pneumonia epidemic.Zhang showed the political character of selflessness, fearlessness and responsibility, as well as the brave, resolute and vigorous work style. As a member of the Communist Party, he always put the safety and health of the people in the first place. He silently accepted the great pain of personal physical diseases, and propped up the hope and confidence of the patients with his "gradually frozen body." As a leading cadre, he was not afraid of danger. He dealt with the crisis calmly as the "backbone" of the cadres and workers of the whole hospital and the "mainstay" of fighting the epidemic. As a doctor, with years of profound professionalism, he achieved victory in the first battle and laid a solid foundation for winning this blocking war in an all-round way. In his own words: "I am a member of the Communist Party and a medical staff. In extraordinary times and in times of crisis, I must resolutely stand up to it." He did exactly what he said. In the face of the epidemic, he was able to risk everything without the slightest fear or flinching. He was a tough guy and a real hero.

====仇绪 Qiu Xu ====

王先广说，张定宇的事迹和鲜为人知的病痛被曝光以后，感动了中国，同时更加深深打动了医院所有人。在他强大的精神力量感召下，医院内产生了巨大的冲击波，凝聚起了满满的正能量！
2月1。日，习近平总书记远程连线慰问金银潭医院医务人员代表之后，金银潭医院党委及时组织学习贯彻习近平总书记指示精神，再动员、再鼓劲、再部署。金银潭医院迅速掀起了学习先进典型、营造“比学赶超”浓厚氛围的热潮，全院党员干部职工以张定宇为榜样，在各自岗位上加班加点、奋力拼搏。尽管50多天没有休息，大家任劳任怨，不叫苦不怕累。钏足一股劲，咬咬牙，拼一拼，坚决顶上去。
张定宇就像一面旗帜，在抗击疫情的主战场上高高飘扬。在他的带动下，全院上下充满了决战决胜的责任感、使命感，大家的工作积极性和主动性更强，工作效率更高。
王先广说，抗击疫情的过程中，金银潭医院涌现出来一大批优秀的党员、干部和职工，如副院长黄朝林，科主任陈南山、夏家安，护士长瞿昭辉、吴静，医生涂盛锦、余振兴，护士胡绪娟、樊莉……

Wang Xianguang said that after Zhang Dingyu's story and little-known illness was exposed, it moved China and at the same time touched everyone in the hospital even more deeply. Inspired by his powerful spirit, the hospital has generated a huge shockwave of positive energy!
On February 1, after General Secretary Xi Jinping's remote link condolences to the medical staff representatives of Jinyintan Hospital, the Party Committee of Jinyintan Hospital promptly organised the study and implementation of General Secretary Xi Jinping's instructions, remobilised, re-energised and redeployed. Jinyintan Hospital quickly set off a wave of learning from advanced models and creating a strong atmosphere of "learning from each other and catching up with each other", and all party members and cadres and staff of the hospital followed Zhang Dingyu's example and worked overtime and hard at their respective posts. Although there was no rest for more than 50 days, everyone worked hard and was not afraid of suffering. They gritted their teeth, put up a fight and were determined to go on top.
Zhang Dingyu was like a flag flying high on the main battlefield of the epidemic. Led by him, the whole hospital was filled with a sense of responsibility and mission to win the battle, and everyone was more active and proactive in their work and worked more efficiently.
Wang Xianguang said that in the process of fighting the epidemic, a large number of outstanding party members, cadres and staff emerged from Jinyintan Hospital, such as Vice President Huang Chaolin, department heads Chen Nanshan and Xia Jia'an, head nurses Qu Zhaohui and Wu Jing, doctors Tu Shengjin and Yu Zhenxing, and nurses Hu Xujuan and Fan Li.

Wang Xianguang said that after Zhang Dingyu's story and little-known illness was exposed, which moved China and at the same time touched everyone in the hospital even more deeply. Inspired by his powerful spirit, the hospital has generated a huge shockwave of positive energy! On February 1, after General Secretary Xi Jinping's remote link condolences to the medical staff representatives of Jinyintan Hospital, the Party Committee of Jinyintan Hospital promptly organised the study and implementation of Xi’s instructions: re-mobilization, re-encouragement and re-deployment. Jinyintan Hospital quickly set off a wave of learning from advanced models and creating a strong atmosphere of "learning from each other and catching up with each other", and all party members, cadres and staff of the hospital followed Zhang Dingyu's example and worked overtime and hard at their respective posts. Although there was no rest for more than 50 days, everyone worked hard and was not afraid of suffering. They gritted their teeth, put up a fight and were determined to go on top. Zhang Dingyu was like a flag flying high on the main battlefield of the epidemic. Led by him, the whole hospital was filled with a sense of responsibility and mission to win the battle, and everyone was more active and proactive in their work and worked more efficiently. Wang Xianguang said that in the process of fighting the epidemic, a large number of outstanding party members, cadres and staff emerged from Jinyintan Hospital, such as Vice President Huang Chaolin, department heads Chen Nanshan and Xia Jia'an, head nurses Qu Zhaohui and Wu Jing, doctors Tu Shengjin and Yu Zhenxing, and nurses Hu Xujuan and Fan Li.

====全永慧 Quan Yonghui====

一个人的多身份战“疫”历程
武汉市金银潭医院，与病房里面的忙碌相比，院区的过道上显得特别的安静。
在这里，希望与失望交织，生存与死亡较量，人类与疫病决斗。
这两者，金银潭医院副院长黄朝林都是亲历者。
1月19日,武汉市卫健委举行新闻发布会，针对武汉市新型冠状病毒感染的肺炎综合防控答记者问。当时，湖北省医疗组专家、武汉市金银潭医院副院长黄朝林作为专家出席，并在发布会上介绍，武汉市不明原因的病毒性肺炎被确定为新型冠状病毒感染所致后，国家相关科研机构迅速研发出病毒核酸检测试剂盒，随后进行技术优化。1月16日,湖北省疾病预防控制中心收到国家下发的试剂盒后，开始对武汉市送检的不明原因的病毒性肺炎患者标本进行病原学检测。
三天后，1月22日,黄朝林的新型冠状病毒核酸检测结果显示为阳性，他也确诊被感染了。

The story of a person's battle against COVID-19 with multi-identity.
In the Wuhan Jinyintan Hospital, compared with the busyness inside the ward, the quietness in the aisle of the hospital was particularly apparent. Here, hope intertwined with disappointment, life competed with death, and human fought with diseases. Huang Chaolin, vice president of Jinyintan Hospital, is a witness to both of them. On January 19, Wuhan Healthcare Commission held a press conference to answer questions about the comprehensive prevention and control of pneumonia caused by a novel coronavirus in Wuhan. At that time, Huang Chaolin, an expert of Hubei medical group and vice president of Wuhan Jinyintan Hospital, attended the meeting, at which he introduced that after pneumonia of unknown cause was identified as the infection of a novel coronavirus, related national scientific research institutions quickly developed nucleic acid detection kits and then optimized that technology. On January 16, Hubei CDC received the kit issued by the state, and then medical staff began to carry out etiological detection on the specimens of patients of unknown etiology. Three days later, on January 22, Huang Zhaolin tested positive for COVID.

The experience of a person's battle against COVID-19 with multi-identity.
In the Wuhan Jinyintan Hospital, compared with the business inside the ward, the quietness in the corridor of the hospital was particularly apparent. Here, hope intertwined with disappointment, life competed with death, and human beings fought with diseases. Huang Chaolin, vice president of Jinyintan Hospital, is a witness to both of them. On January 19, Wuhan Healthcare Commission held a press conference to answer questions about the comprehensive prevention and control of pneumonia caused by a novel coronavirus in Wuhan. At that time, Huang Chaolin, an expert of Hubei medical group and vice president of Wuhan Jinyintan Hospital, attended the meeting, at which he introduced that after pneumonia of unknown cause was identified as the infection of a novel coronavirus, related national scientific research institutions quickly developed nucleic acid detection kits and then optimized that technology. On January 16, Hubei CDC received the kit issued by the state, and then medical staff began to carry out etiological detection on the specimens of patients of unknown etiology. Three days later, on January 22, Huang Zhaolin tested positive for COVID.

====任嫚嫚 Ren Manman====

3月2日，黄朝林历经40天的隔离治疗和康复，回到工作岗位再战新冠肺炎疫情。
一个人的多身份战“疫”历程要从2019年12月27日说起。
2019年12月27日晩，黄朝林和张定宇正在办公室讨论事情，其间他接到一个武汉同济医院打来的电话，请求将一名冠状病毒肺炎患者转至金银潭医院。对方在电话中说，已在病例样本中检测出冠状病毒基因序列。
凭借职业敏感，黄朝林和张定宇，立即拨通了北京地坛医院专家的电话，得到的建议是接收患者，展开调查和研究。后来因患者家属不同意，未能转入金银潭。
2019年12月29日，对黄朝林来说，是一个特殊的日子。
这一天，也是黄朝林个人战“疫”打响的第一天。
On March 2, after 40 days of isolation treatment and rehabilitation, Huang Chaolin returned to work to fight the COVID-19 again. The course of a person's multi identity war "epidemic" would start on December 27, 2019. On the evening of December 27, 2019, Huang Chaolin and Zhang Dingyu were discussing matters in the office. During the discussion, he received a call from Wuhan Tongji Hospital requesting that a patient with coronavirus pneumonia be transferred to Jinyintan Hospital. The other person said on the phone that the coronavirus gene sequence had been detected in the case samples. With occupational sensitivity, Huang Chaolin and Zhang Dingyu immediately called the experts of Beijing Ditan Hospital, and they were advised to receive patients for investigation and research. Later, because the patient's family members did not agree, they were unable to transfer to Jinyintan. December 29, 2019 is a special day for Huang Chaolin. This day is also the first day of Huang Chaolin's personal battle against the epidemic.

On March 2, after 40 days of isolated treatment and rehabilitation, Huang Chaolin returned to work to fight the COVID-19 again. A person's multi identity war against "epidemic" would start on December 27, 2019. On the evening of December 27, 2019, Huang Chaolin and Zhang Dingyu were discussing matters in the office. During the discussion, he received a call from Wuhan Tongji Hospital requesting that a patient with coronavirus pneumonia be transferred to Jinyintan Hospital. The other person said on the phone that the coronavirus gene sequence had been detected in the case samples. With the sensitivity as a doctor, Huang Chaolin and Zhang Dingyu immediately called the experts of Beijing Ditan Hospital, and they were advised to receive patients for investigation and research. Later, because the patient's family members did not agree, they were unable to transfer to Jinyintan. December 29, 2019 is a special day for Huang Chaolin. This day is also the first day of Huang Chaolin's personal battle against the epidemic.

====疏珊 Shu Shan====

黄朝林得到通知，让他到湖北省中西医结合医院，对不明原因的肺炎患者进行会诊。一一看完患者后，黄朝林说，这些患者可能有传染性，收治在综合医院存在安全隐患。
黄朝林回忆，当天接到通知后，他和另外一名医院同事戴 ±N95 口罩，穿了件普通工作服，迅速赶往湖北省中西医结合医院，发现这些患者已被安排在呼吸科相对独立的区域进行了隔离。
到医院后，呼吸内科主任张继先向他们介绍了这些患者的收治情况、可疑状况等，并和他们一一查看患者。坐下来充分讨论后，专家们决定，把患者转去金银潭。随后，黄朝林通过电话向张定宇和武汉市卫生健康委做了汇报，调来了负压救护车。
一次传染病患者的转运，对一家传染病医院来说习以为常。始料不及的是，随后的这场战“疫”，却前所未有地艰难。
安排好转运的事，黄朝林和同事又赶紧赶回自己的医院。

Huang Chaolin was informed that he had been sent to the Hubei Integrated Hospital of Traditional Chinese and Western Medicine to consult with patients with unexplained pneumonia. After seeing the patients one by one, Huang said that these patients might be infectious and that there was a safety risk if they were admitted to a general hospital.
He and another hospital colleague, wearing a ±N95 mask and ordinary work clothes, quickly rushed to the Hospital, where the patients had been isolated in a relatively separate area of the respiratory department.
On arrival at the hospital, Zhang Jixian, Director of the Respiratory Medicine Department, briefed them on the admissions and suspicious conditions of the patients, and examined them one by one. After a thorough discussion, the experts decided to transfer the patients to Jinyintan. Huang Zhaolin then reported to Zhang Dingyu and the Wuhan Health and Wellness Commission by telephone, and a negative pressure ambulance was brought in.
A transfer of a patient with an infectious disease is not unusual for a hospital. What was unexpected was that the subsequent battle against the "epidemic" was more difficult than ever.
After arranging the transfer, Huang Chaolin and his colleagues rushed back to their hospital.

As informed, Huang Chaolin was going to Hubei Integrated Hospital of Traditional Chinese and Western Medicine to consult with patients with unexplained pneumonia. After seeing the patients one by one, Huang said that these patients might be infectious and that there was a safety risk if they were admitted to a general hospital. He and another hospital colleague, wearing a ±N95 mask and ordinary work clothes, quickly rushed to the Hospital, where the patients had been isolated in a relatively separate area of the respiratory department. On arrival at the hospital, Zhang Jixian, Director of the Respiratory Medicine Department, briefed them on the admissions and suspicious conditions of the patients, and examined them one by one. After a thorough discussion, the experts decided to transfer the patients to Jinyintan. Huang Zhaolin then reported to Zhang Dingyu and the Wuhan Health and Wellness Commission by telephone, and a negative pressure ambulance was brought in. A transfer of a patient with an infectious disease is not unusual for a hospital. What was unexpected was that the subsequent battle against the "pandemic" was more difficult than ever. The transfer arranged, Huang Chaolin and his colleagues rushed back to their hospital.

====王芳玲 Wang Fangling====

为防止传染，他们要用最快的速度，把南七楼的患者转移，腾出病房。
因为南七楼是金银潭医院的重症病区，从外院转来的疑难传染患者，会先安排到这里。
医院给参加转运的医护人员全部上了三级防护，每转一个患者，救护车就要彻底消毒一次，再接下一个患者。
患者全部转入后，金银潭医院的专家立刻开始会诊。您住哪里？在哪里上班？最近接触过什么人？接触过什么动物？……他们一边会诊，一边对患者展开了流行病学调查，直到凌晨三四点……
这次转运从傍晚一直持续到深夜。

To prevent infection, they had to move the patients on the south seventh floor and vacate the wards as quickly as possible. The south seventh floor as the intensive care ward of Jinyintan Hospital, patients who are transferred from other hospitals with difficult infections will be arranged here first. All the medical and nursing staffs who participated in the transfer were put on protection suits, masks at highest-level, and every time a patient was transferred, the ambulance had to be thoroughly disinfected before receiving the next patient. After all the patients transferred, specialists from Jinyintan Hospital immediately started the consultation. Where do you live? Where do you work? Who have you been in contact with recently? What animals have you been in contact with? ...... They started an epidemiological investigation of the patients while consulting them until three or four in the morning. ...... The transfer lasted from late afternoon until late at night.

To prevent infection, the patients on the south seventh floor had to be transferred to other facilities as quickly as possible to vacate the wards because the south seventh floor is the intensive care ward of Jinyintan Hospital and patients who are transferred from other hospitals with difficult infections will be arranged here first. All the medical and nursing staffs who participated in the transfer were put on protection suits, masks at highest-level, and every time a patient was transferred, the ambulance had to be thoroughly disinfected before receiving the next patient. After all the patients transferred, specialists from Jinyintan Hospital immediately started the consultation. Where do you live? Where do you work? Who have you been in contact with recently? What animals have you been in contact with? ...... They started an epidemiological investigation of the patients while consulting them until three or four in the morning. ...... The transfer lasted from early evening until late at night.

====王纪龙 Wang Jilong====

此后，黄朝林几乎没有休息，没有外出，没有回过家，几乎夜以继日地奋战在抗疫火力最猛的第一线。
随着时间的推移，这类感染者日益增加，金银潭医院开始人满为患。后来，湖北省卫健委从武汉地区抽调了医护人员支援金银潭医院。
清腾病房、添置各种必须的仪器、安置患者、安排前来支援的外院医护人员……医疗上的事，在他的职责范围，他得管；作为专家，本院外院的会诊他要参加，他还以专家的身份出席了两场疫情发布会。对他来说，每天能睡上4个小时就算是很奢侈了……
进展快，是新冠肺炎的一个特点。作为医生，黄朝林参加了一些危重患者的抢救和病例讨论。当时对这个疾病真的是一无所知，病原不知道，感染途径不知道，患者的病情都比较重。直到几天后，才陆续发现有些轻症患者。

Since then, Huang Chaolin has hardly rested, gone out, or returned home. He has been working on the frontline of fighting the epidemic almost day and night. Over time, the number of such infections has progressively increased, and Jinyintan Hospital has become overcrowded. Later, under the Hubei Provincial Health Commission’s command, health workers were drafted from Wuhan to staff Jinyintan Hospital. Cleaning wards, adding various necessary instruments, hospitalizing patients, and arranging health workers coming from other hospitals for support... As a doctor, he had to take charge of medical matters; As an expert, he had to participate in the internal and external consultations. What’s more, he also attended two COVID-19 briefings as a specialist. For him, it is a luxury to sleep for 4 hours every day... Rapid progress is a feature of COVID-19. As a doctor, Huang Chaolin participated in the rescue and case discussion of some patients who were in dire straits. At that time, there were a lot of unanswered questions about the disease such as the pathogen and the route of infection, and the patients' conditions were relatively serious. It was not until a few days later that some mild patients were found.

Since then, Huang Chaolin had hardly rested, gone out, or returned home. He had been working on the frontline of fighting the epidemic almost day and night. Over time, the number of such infections had progressively increased, and Jinyintan Hospital had become overcrowded. Later, under the Hubei Provincial Health Commission’s command, health workers were drafted from Wuhan to staff Jinyintan Hospital. Cleaning wards, adding various necessary instruments, hospitalizing patients, and arranging health workers coming from other hospitals for support... As a doctor, he had to take charge of medical matters; As an expert, he had to participate in the internal and external consultations. What’s more, he also attended two COVID-19 briefings as a specialist. For him, it was a luxury to sleep for 4 hours every day... One of the hallmarks of Covid-19 is its rapid growth. As a doctor, Huang Chaolin participated in the rescue and case discussion of some patients who were in dire straits. At that time, there were a lot of unanswered questions about the disease such as the pathogen and the route of infection, and the patients' conditions were relatively serious. It was not until a few days later that some mild patients were found.

====王露 Wang Lu====

连续超负荷工作带来的疲劳和压力让黄朝林的免疫力下降, 每天与之塵战的病毒已不知不觉潜入他的体内，正在等待发作的时机。从1月17日开始，他感到人很不舒服。22日那天，他的核酸检测结果出来，是阳性，他感染了。晚上，他抽空去拍了 CT,双肺已有毛玻璃样病灶。
那天之后，黄朝林再次走进病房时，他的身份已经变成患者, 血氧饱和度不到93%,属于重症。也是同一天，他在参加克力芝试药的临床观察知情同意书上签下自己的名字，以身试药，成为了 “试药人”中的一员，他想要通过自己的治疗，来验证克力芝治疗新冠肺炎的临床疗效和安全性。
服药后，腹泻、呕吐等严重不良反应接踵而来。

Huang Chaolin’s continuous overwork made him exhausted and stressed out, leading to decreased immunity. The coronavirus he fought against every day had crept into his body and was waiting for the right moment to attack. On January 17th, he began to feel unwell. And 5 days later, the result of his Covid test came out. It’s positive which meant he was infected. In the evening, he got a chance to have a CT scan, and it showed that there was ground-glass opacity in his lungs. After that, stepping into the ward, he became the patient in severe condition because his blood oxygen saturation level is less than 93%. At the same day, he signed the informed consent for clinical observation of Corizol test. From then on, he became one of the testers. He wanted to verify the effect and security of Corizol against Covid-19. However, the severe adverse reaction such as diarrhea and emesis kept coming.

Continuous overwork made Huang Chaolin exhausted and stressed out, leading to his decreased immunity. The coronavirus he fought against every day had crept into his body and was waiting for the right moment to attack him. On January 17th, he began to feel ill. And 5 days later, his Covid test showed positive, which meant he was infected. In the evening, he got a chance to have a CT scan, and it showed that there was ground-glass opacity in his lungs. After that, stepping into the ward, he became the patient in severe condition because his blood oxygen saturation level is less than 93%. At the same day, he signed the informed consent for clinical observation of Corizol test and became one of the testers. He wanted to verify the effect and security of Corizol against Covid-19 by his own experience. However, the severe adverse reaction such as diarrhea and emesis kept coming.

====王琪 Wang Qi====

在病房里，黄朝林听其他医生说，此前 ECMO救治的那名患者在坚持了近20天后还是去世了。作为专家，他很清楚，自己的病情可能也会一步步滑向危重，他也担心自己的病情发展到上呼吸机、上 ECM。那一步。病情反复的过程持续了十多天, 2月4日以后病情才出现拐点，肺部影像学逐渐好转，两次核酸检测呈阴性，符合出院标准。
3月2日，黄朝林历经40天的隔离治疗和康复，再回战“疫” 一线上班，再战新冠肺炎疫情。返岗第一天，黄朝林把自己的工作日程安排得满满的，去了很多病区了解情况，参加了一些医疗队交流会。在有的病区，他一边询问入院患者特点、治疗手段、出院情况，一边记录下需要解决的问题。
当前，战“疫”还在持续，黄朝林表示，他会更加小心，做好防护，不到全胜不松懈。

In the ward, Huang Chaolin heard from other doctors that the patient who had been treated in ECMO had died after nearly 20 days. As a specialist, he knew that his own condition might worsen into critical condition, and he also worried that oneday he should put on a ventilator or ECMO. The relapse of illness lasted for more than 10 days, and it was February 4 that his condition showed a turning, with lung imaging eventually improving and nucleic acid tested negative for twice, which meant he may be discharged.
On March 2, after 40 days of quarantine, treatment and recovery, Huang returned to work on the front lines of the "epidemic" and fought theCOVID-19 pandemic again. On his first day back at work, Huang arranged his work schedule to the fullest, visiting many wards to get the situation and attending some medical team exchange meetings. In some wards, he asked about the characteristics of patients admitted to the hospital, their treatment methods and discharge conditions, while taking notes on the problems to be solved.
As the war against the epidemic continues, Huang said he will be more careful, take good precautions, and not let up until the batlle has won.

==Part 7==

====汪世博 Wang Shibo====

为省10分钟，夫妻俩“以车为家”
2月22日晚9时许，不远处“武汉市金银潭医院”的霓虹灯光，揉进车内昏暗的光束里，映在涂盛锦和曹珊脸上，让这个夜晚显得不是那么冷。
这是这对医护夫妻将要在车上度过的第29个晚上。
和往常一样，涂盛锦在前排副驾斜躺着，翻着书，曹珊在后排半卧着，盯着手机，时不时两人就把头凑一块聊上几句。
今年44岁的涂盛锦是武汉市金银潭医院南六楼重症隔离病区副主任医师，40岁的曹珊是南二楼病区护士。
首批9名“不明肺炎患者”转入金银潭医院后的第二天，涂盛锦就参与到了救治工作中。后来，病区越开越多，曹珊从 1月7日也投入到了这场战“疫”。

To save time, the couple chose to live in a car
At 9:00 p.m. on February 22, the lights of the neon sign reading "Wuhan Jinyintan Hospital" not far away mixed with the dim light in the car and reflected on the faces of Tu Shengjin and Cao Shan, making the night not so cold. This is the 29th night the healthcare couple will spend in the car. As usual, Tu Shengjin was lying reclined in the front passenger seat, flipping through a book, while Cao Shan was half reclining in the back row, staring at the mobile phone, and from time to time the two of them put their heads together to chat. 44-year-old Tu Shengjin is the deputy chief physician of the intensive isolation ward on the sixth floor of South Jinyintan Hospital of Wuhan City, and Cao Shan, 40, is a nurse in the ward of the second floor of the south. The day after the first batch of 9 patients with "unknown pneumonia" were transferred to Jinyintan Hospital, Tu Shengjin participated in the treatment work. Later, more and more wards were opened, and Cao Shan also participated in this "epidemic" battle from January 7.(Wang Yashu)

====王雅姝 Wang Yashu ====

同一栋楼，但两人白天各自忙各自，没时间见面，11岁的儿子完全交给了家中的老人。
“家在武汉南湖边，隔着长江，开车要40分钟。”曹珊说，平时都是涂盛锦开车，一起上下班。
疫情暴发后，医院成为抗疫前线，涂盛锦所在的重症病区上下班没准点。曹珊说，有次两人下班匆匆忙忙回到家，丈夫车都没下，又要赶回医院继续上班，“第二天一早又来家里接我上班，那样他太辛苦。“
1月23日，武汉关闭出城交通，不久市内公共交通停运，全院医护和工作人员不能回家的太多，加上前来支援的医疗队，单位宿舍爆满，酒店房间也吃紧。夫妻俩决定把机会让给其他同事，“在车上睡几次也习惯了”。
正月初一那天开始，这辆陪伴8年的爱车成了他们的第二个家。

Though working in the same building, both the husband and the wife were busy with their own jobs during the day and had no time to see each other. Their 11-year-old son was taken care of by his grandparents at home.
"Our house is located at the South Lake in Wuhan, separated from the hospital by the Yangtze River. It takes 40 minutes to drive," said Cao Shan. The couple usually commutes together with Tu Shengjin driving the car. After the outbreak of the epidemic, the hospital became the front line of the fight against the epidemic, and the intensive care area where Tu worked had no fixed time for work and rest. According to Cao Shan, once when they hurried back home, her husband even didn't get out of the car and immediately drove back to the hospital to continue working.
"The next morning, he came back home to pick me up for work. It was too exhausting for him." On January 23, Wuhan imposed a traffic lockdown and soon public transportation was suspended. Too many doctors, nurses, and staff in the hospital could not go home. And with the medical teams who came to support, the hospital's dormitory could not accommodate more people, and the hotel rooms were also under strain. Therefore, the couple decided to give up the opportunity to other colleagues, "I have got used to sleeping in the car after a few times." From the first day of the first lunar month, this beloved car that has been with them for 8 years has become their second home.

====王植碧 Wang Zhibi====

2020年2月22日晩，在武汉市金银潭医院内，涂盛锦（左）和曹珊在车内休息（新华社记者熊琦摄）
“买车时特意挑了一款后备厢大的，想着以后有机会自驾露营。”曹珊笑了起来。
“我个儿不高，前座也还塞得下。她睡后排，为了方便她伸开腿脚，塞了纸箱把后排空隙填起来，还有爱心人士捐的暖宝宝。”涂盛锦对眼前的“居住环境”还蛮知足。
这些天，医院又协调出一些附近的酒店房间，可两人反而有点舍不得这个“小家”。
“房间是有，但酒店到医院开车都得10多分钟。遇到抢救的，那是按秒算，有这时间就可能把患者从死亡线上拉回来！”涂盛锦还是决定在车上过夜，而且基本不脱外套，就盖个被子，“现在是吃饭、睡觉都要抓紧时间的时候，能省多少时间是多少。”
On the evening of February 22, 2020, in Wuhan Jinyintan Hospital, Tu Shengjin (left) and Cao Shan were taking a rest in the car (photographed by Xiong Qi, a reporter from Xinhua News Agency). "When buying a car, we chose a large trunk, thinking that we would have a chance to camp by ourselves in the future." Cao Shan laughed. "I'm not tall, and the front seat can still be stuffed. She sleeps in the back row. In order to make it easier for her to stretch her legs, she fills the space in the back row with cardboard boxes. There are also warm babies(heat patch) donated by good-hearted people." Tu Shengjin is quite satisfied with the "living environment" in front of her. These days, the hospital has coordinated some nearby hotel rooms, but they two are a little reluctant to part with this "small home". "There are rooms, but it takes more than 10 minutes to drive from the hotel to the hospital. In case of rescue, it is calculated by the second, and the patient may be pulled back from the death line at this time!" Tu Shengjin still decided to stay in the car overnight, and did not take off his coat, so he just put on a quilt. "Now it is time to hurry up when eating and sleeping,we need to try our best to save time"

On the evening of February 22, 2020, in Wuhan Jinyintan Hospital, Tu Shengjin (left) and Cao Shan were taking a rest in the car (photographed by Xiong Qi, a reporter from Xinhua News Agency). "When buying a car, we intentionally chose a large trunk, thinking that we would have a chance to camp by ourselves in the future." Cao Shan laughed. "I'm not tall, and the front seat can still be stuffed. She sleeps in the back seat. In order to make it easy for her to stretch her legs, she fills the space in the back row with cardboard boxes. There are also warm babies(heat patches) donated by good-hearted people." Tu Shengjin is quite satisfied with the "living environment" in front of him. These days, the hospital has coordinated some nearby hotel rooms, but they two are a little reluctant to part with this "small home". "There are rooms, but it takes more than 10 minutes to drive from the hotel to the hospital. In case of rescues, time is calculated by the second, and the patient may be pulled back from the death line at this time!" Tu Shengjin still decided to stay in the car overnight and usually did not take off his coat, so he just put on a quilt. "Now it is time to hurry up even when eating and sleeping, we need to try our best to save time."(Wang Zhiling)

====王智灵 Wang Zhiling====

“病房里一个电话，他比谁都跑得快。”曹珊说，知道涂盛锦放心不下患者，她也留下来陪丈夫，“我一个人睡不着，我不在旁边，他也睡不安稳。”
白天4层楼的距离，对涂盛锦和曹珊来说可望而不可即。每天车上说说话，两人已经很满足。
平日里，涂盛锦不怎么爱说话，但在车上这会儿，总喜欢凑着曹珊聊天。
曹珊说，没了生活上的琐事，就聊聊科室里的工作，说着说着就睡着了。
涂盛锦偷偷告诉记者，曹珊一晚上大概要翻身10次左右， “我都数着呢。她一有动静，我都能感觉到，动一下就回头看她一眼，被子有没有掉了，腿有没有放好。”
深夜，武汉的风依旧凛冽。

"As long as a phone call rings in the ward, he runs faster than anyone else." Cao Shan said, Knowing that Tu Shengjin worried about patients, she also stayed with her husband, "I can't sleep alone, he can't sleep well either when I’m not beside him." During the day, Tu Shengjin and Cao shan were separated by the distance of four floors, which is beyond reach for them. They have been very satisfied with talking to each other in the car every day. On ordinary days, Tu Shengjin doesn't like to talk, but he always like to chat with Cao Shan while in the car. Cao shan said, they talk about the work in the department without the trivia of life, and gradually fall asleep while talking. Tu Shengjin secretly told the reporter that Cao Shan would turn over about 10 times a night, "I've counted it. Whenever she moves, I can feel it. If she moves, I will look back at her to see if the quilt has fallen off or if her legs have been put away." Late at night, the wind in Wuhan is still chilly.

“With a call from the hospital ward, he would run faster than anyone.” Cao Shan said that knowing that Tu Shengjin was always worried about the patient, she also stayed with her husband, “I can't sleep on my own, he couldn't sleep well without me around.” During the day, the distance of four stories was out of reach for Tu Shengjin and Cao Shan. The couple was highly satisfied just with the little talks in the car. Usually, Tu Shengjin does not like to talk, but now in the car, he is so fond of chatting with Cao Shan. Cao Shan said, without the trifles in life, they just talk about the work in the department, and they would fall asleep as they were talking. Tu Shengjin secretly told the reporter that Cao Shan would turn over about 10 times a night, “I actually count. Every time she moves, I can feel it and I will look back at her to see if the quilt is off and if her legs are in place.” Late at night, the wind in Wuhan was still brisk.

====吴博涵 Wu Bohan====

“以后回想起来，应该是挺浪漫的一件事吧。”涂盛锦放下手里的书，扭头盯着已相识近20年的曹珊说道。
小车里，有点挤，有点呼噜声，余下的，是关于“疫”时的别样陪伴。
早晨6点半，是夫妻俩下车的时间，他们又将开始新一天的战“疫”
（新华社武汉2020年2月23日电记者侯文坤）

“Looking back on it, it must have been romantic.” Tu Shengjin put down his book and stared at Cao Shan, whom he has met for nearly 20 years. It was a little crowded in the car, some are little snoring noises, and the rest is about a special kind of company at the time of “pandemic”. It was 6:30 a.m. and the time for the couple to get off the car and start another day of fighting the “pandemic”. [Wuhan, February 23rd, 2020 (Xinhua News Agency, Reporter Hou Wenkun)]

“At some point, we’ll look back and this is going to be a romantic story.” Tu Shengjin put down his book and turned to look at Cao Shan, whom he had met for nearly 20 years. It was a little crowded in the car, some were little snoring noises, and the rest was about a special kind of company during pandemic. It was 6:30 a.m. and the time for the couple to get off the car and start another day of fighting the pandemic. [Wuhan, February 23rd, 2020 (Xinhua News Agency, Reporter Hou Wenkun)]

风暴中心的药师们

The pharmacists in the storm center

The pharmacists in the eye of the storm

武汉市金银潭医院内有一支负责为前线输送“弹药”的保障部队——药师们。
为了不能让战士空手与病毒肉搏，药师们放弃所有休假，举全科之力，积极投身到战场中去。

Jinyintan Hospital of Wuhan has a support unit responsible for delivering "ammunition" to the front line -- pharmacists. In order not to leave the soldiers empty-handed while hand-to-hand combating with the virus, the pharmacists gave up all the leave and actively dived into the battlefield with all the strength of the whole department.

Jinyintan Hospital of Wuhan has a support unit responsible for delivering "ammunition" to the front line -- pharmacists. In order not to leave the soldiers empty-handed in the hand-to-hand fight with the virus, the pharmacists gave up all their leave and rallied the whole department to actively dive into the battlefield.

====伍超穎 Wu Chaoying====

疫情就是命令！

Go where there is epidemic, fight it till it perishes.

The epidemic brings an order!

战“疫”刚刚打响，医院药剂科党支部书记郭晓红就立即召开了支部党员大会，宣布进入战时状态。门诊药房冯金海，中药房韩龙蜂，住院药房闫勇、涂莉、祁玮，药办张志右、章文、段洪，纷纷表态服从科室安排，随时支援工作量大的部门。

As soon as the fight against COVID-19 started, Guo Xiaohong, secretary of the Party branch of the Pharmacy Department of the hospital, immediately held a Party member meeting of the Party branch and announced that it had entered into a “wartime” state. Feng Jinhai of Outpatient Pharmacy, Han Longfeng of Traditional Chinese Pharmacy, Yan Yong, Tu Li, Qi Wei of Inpatient Pharmacy, and Zhang Zhiyou, Zhang Wen, and Duan Hong of the Office of Pharmaceutical Science, all said that they would be subject to the arrangement of the department and support sections with heavy workloads at any time.

As soon as the fight against COVID-19 started, Guo Xiaohong, secretary of the Party branch of the Pharmacy Department of the hospital, immediately held a Party member meeting of the Party branch and announced that it had entered into a state of wartime. Feng Jinhai of Outpatient Pharmacy, Han Longfeng of Traditional Chinese Pharmacy, Yan Yong, Tu Li, Qi Wei of Inpatient Pharmacy, and Zhang Zhiyou, Zhang Wen, and Duan Hong of the Office of Pharmaceutical Science, all have expressed their obedience to the arrangement of the department and support departments with heavy workload at any time.

战斗一开始，药剂科就少了两名员工，紧接着又因病减员一人。关键时刻，药剂科党支部的党员们，主动申请加入到人员紧张的药库和住院药房，充分发挥党员先锋模范带头作用，奋战在药剂科最前线，保证了药剂科各项工作的顺利开展，给医护一线提供了强有力的药品保障。

At the beginning of the battle, the Pharmacy Department was two members short, and then one less person due to illness. At a critical moment, the Party members of the Party branch of the Pharmacy Department took the initiative to apply to join the understaffed drug storehouse and Inpatient Pharmacy and give full play to the exemplary vanguard role of Party members, fighting at the forefront of the Pharmacy Department to ensure a good start of various tasks in the Pharmacy Department and the full supply of medicines for frontline health workers.

At the beginning of the battle, the Pharmacy Department was two members short, and then one less person due to illness. At the critical moment, the Party members of the Party branch of the Pharmacy Department took the initiative to apply to join the understaffed drug storehouse and Inpatient Pharmacy and give full play to the exemplary vanguard role of Party members, fighting at the forefront of the Pharmacy Department to ensure the smooth development of various tasks in the Pharmacy Department and provide a full supply of drugs for the front line of medical workers.

党支部书记郭晓红、住院药房班组长闫勇、药剂科负责人陈靖瞰就是其中代表人物。

Guo Xiaohong, secretary of the Party branch, Yan Yong, team leader of the Inpatient Pharmacy, and Chen Jingkan, head of the Pharmacy Department, were among the representatives.

Guo Xiaohong, secretary of the Party branch, Yan Yong, team leader of the Inpatient Pharmacy, and Chen Jingkan, head of the Pharmacy Department, were among the representatives.

====吴敏 Wu Min====

郭晓红自战“疫”打响那一刻起，就放弃了所有的休息，即便自己身体不适，仍然一直坚守在药房一线。在这非常时期，她一方面积极协助药剂科各项工作，做好人员调配、药品消毒品领用与发放等工作，另一方面挤出时间安排支部党员的主题党日学习。她说，工作再忙也不能放弃学习，尤其要向身边先进典型学习，学习英雄人物张定宇院长“舍小家顾大家”的无私奉献精神，学习放射科樊艳青主任爱岗敬业、精益求精的专业精神。
同时她又是科室职工的贴心人，工作之余，经常关心职工，嘘寒问暖，每天反复多次叮嘱大家一定要做好个人防护，确保零感染。她常说：“做好个人防护，既是保护自己，也是保护家人！”
1月2 8日，早上7时30分许，郭晓红突然接到电话，马上有一批援助药品到医院，需要接收。她放下电话，立即推上推车赶往医院门诊大楼。一辆堆满了足足有数百件药品的超长大卡车停在门诊大楼前。
Guo Xiaohong gave up all her rest from the moment the "epidemic" began. Even if she was not feeling well, she still stayed on the front line of the pharmacy. During this extraordinary period, on the one hand, she actively assisted the pharmacy department in various work, doing a good job in personnel deployment, drug disinfection collection and distribution, etc. On the other hand, she squeezed out time to arrange the theme of party members of the branch on Party Day study. She said that no matter how busy you are at work, you can't give up your study. In particular, you should learn from the selfless dedication of the hero Dean Zhang Dingyu, who "giving up his family and taking care of everyone", and learn the professionalism of Director Fan Yanqing of the Department of Radiology。At the same time, she is also a caring person for the staff in the department. After work, she often cares about the staff, asks for their warmth, and repeatedly urges them to do a good job of personal protection several times a day to ensure zero infection. She often said, "To do a good job of personal protection is not only to protect yourself, but also to protect your family! On January 28, at 7:30 a.m., Guo Xiaohong suddenly received a call that there was a batch of aid drugs coming to the hospital and needed to be received. She put down the phone and immediately pushed on the trolley to the hospital outpatient building. An extra-long truck filled with hundreds of pieces of medicine was parked in front of the clinic building.

Since the outbreak of the epidemic, Guo Xiaohong has given up all rest. Even if she was not feeling well, she still stayed on the front line of the pharmacy. During this extraordinary period, on the one hand, she actively assisted the pharmacy department in various work, doing a good job in personnel deployment, drug disinfection collection and distribution, etc. On the other hand, she squeezed out time to arrange the theme of party members of the branch on Party Day study. She said that no matter how busy you are at work, you can't give up your study. In particular, you should learn from the selfless dedication of the hero Dean Zhang Dingyu, who "giving up his family and taking care of everyone", and learn the professionalism of Director Fan Yanqing of the Department of Radiology。At the same time, she is also a caring person for the staff in the department. After work, she often cares about the staff, asks for their warmth, and repeatedly urges them to do a good job of personal protection several times a day to ensure zero infection. She often said, "To do a good job of personal protection is not only to protect yourself, but also to protect your family! On January 28, at 7:30 a.m.,Guo Xiaohong suddenly received a phone call, telling her that a batch of aid medicine had arrived at the hospital and needed to be received. She put down the phone and rushed to the hospital outpatient building in a cart. A huge truck filled with hundreds of medicines was parked in front of the clinic building.

====伍晓莉 Wu Xiaoli====

“大家都在各自岗位坚守，没有搬运工人，只能靠我们药师自己上啦！ ”她招呼大家行动起来，用小推车一车接着一车，把所有药品一箱箱运到了药库。
正如她所说，战“疫”非常时期，科室职工都在超负荷工作, 药工人数严重不足，再苦再累的活儿药师都得顶上！ “我身为共产党员，更应该站在前头！”
2月9日凌晨，郭晓红手机再次响起，“嫂子嫂子，父亲走了，怎么办啊！”
远在家乡的小叔子在电话里伤心地哭着说，原来郭晓红的公公于2019年12月底确诊为心梗合并脑梗，一个多月来一直在当地医院住院治疗，但由于武汉疫情严峻，抗疫工作需要，郭晓红没休息过一天，根本无暇回去看望老人，“直到他老人家临走前那一刻，我都不能送他一程，我这当晚辈的真是万分的悲痛和惭愧啊！”郭晓红边说边哽咽着。

"Everyone is sticking to their posts. There are no porters. We have to rely on the medicine man himself!" She called them into action and carried all the medicines to the drugstore by cart after cart. As she said, in the emergency period of the war against the epidemic, the department staff were overloaded with work, and the number of pharmaceutical workers was seriously insufficient. No matter how hard and tiring the work, pharmacists had to take over! "As a Communist, I should stand in the front!" In the early morning of February 9, Guo Xiaohong's mobile phone rang again, "sister-in-law sister-in-law, father left, how to do ah!" Guo Xiaohong's father-in-law was diagnosed with myocardial infarction combined with cerebral infarction at the end of December 2019, and has been hospitalized in the local hospital for more than a month. However, due to the severe epidemic situation in Wuhan and the need of the anti-epidemic work, Guo Xiaohong didn't take a day off and had no time to go back to visit the old man. "Until the moment before he left, I can not even see him off, I am a junior, how sad and ashamed!" Guo Xiaohong choked up as she spoke.

“Everyone holds fast to their position. Since there are no porters, now our pharmacists can only rely on ourselves!” She called on everyone to take actions and carry all the medicines to the drugstore cart by cart. As she said, at the crucial stage against the epidemic, staff in all department were overloaded with work. As the pharmaceutical workers were in shortage, our pharmacists have to take over the work, no matter how hard it is. As a Communist, I should stand at the front!" In the early morning of February 9, Guo Xiaohong's mobile phone rang again, "sister-in-law! sister-in-law! father passed away, what shall we do!”, her brother-in-law wined heartrendingly on the other side of the phone. Guo Xiaohong's father-in-law was diagnosed with myocardial infarction combined with cerebral infarction at the end of December 2019, and has been hospitalized in the local hospital for more than a month. However, due to the severe epidemic situation in Wuhan and the need of the anti-epidemic work, Guo Xiaohong didn't take a day off and also had no time to go back to visit the old man. "Even by the moment he left, I cannot see him off. How sad and ashamed I am to be his junior!" Guo Xiaohong spoke in a choked voice.

====席书涵 Xi Shuhan ====

住院药房是药剂科工作量最大的部门，不仅为全院21个病区调剂药品，还要直接送药品到病区。团队共11人，最年轻的药师杨文也有40岁了，都是上有老下有小的年纪。
进入2020年，医院通知取消假日休息，住院药房工作量猛然增加，作为班组长的闫勇，感觉到了用药和班务人员的紧张。临床使用药品品种的增多，必将增加调剂差错风险。他一边关注每天药品的消耗情况，一边调增上班人数。
闫勇幵始每天在工作群发布消息，大家称为闫式“碎碎念”，

金银潭医院药邠坚守在药房

The inpatient pharmacy was the department with the most workload since it not only needed to dispense medicines for totally 21 inpatient areas but had to send them directly there. Totally there are 11 people in the team. The youngest pharmacist Li Wen was already 40 years old, an age that one has both his parents and children to take care of. Entering 2020, the hospital cancelled all the vacations and the workload of the inpatient pharmacy surged. Yan Yong who was the head of the department noticed they were badly in need of medicines and medical workers. With larger varieties of medicines put in use in clinical practice, the risk of wrongly dispensing medicine would also increase. In this case, every day, he, on the one hand, needed to overlook the consumption of the medicines and on the other hand, had to deploy more medical workers to share their workload. Yan Yong started to send messages in the working group every day and his colleagues called it jokingly as “Yan style nagging”.

The inpatient pharmacy was the department with the most workload since it not only needed to dispense medicines for totally 21 inpatient areas but had to send them directly there. Totally there are 11 people in the team. The youngest pharmacist Li Wen was already 40 years old, an age that one has both his parents and children to care. Entering 2020, the hospital cancelled all the vacations and the workload of the inpatient pharmacy surged. Yan Yong who was the head of the department noticed they were urgently in need of medicines and medical workers. With larger varieties of medicines put in use in clinical practice, the risk of wrongly dispensing medicine would also increase. In this case, every day, he, on the one hand, needed to overlook the consumption of the medicines and on the other hand, had to deploy more medical workers to share their workload. Yan Yong started to send messages in the working group every day and his colleagues called it jokingly as “Yan style nagging”

====夏盼 Xia Pan====

或是给大家鼓劲，或是提醒大家药品规格、剂型的变动，减少调剂差错。“碎碎念”满怀着对工作人员的关爱，更寄托着一份药剂人员的工作责任。
随着战“疫”形势的日益严峻，各个医疗队的进驻，新开病区的增多，支援的医生、护士纷纷加入临床一线，但是医院药学人员并没有增加，住院药房压力骤增。
连日奋战没有休息的药师们已经很辛苦了，雪上加霜的是1月23日开始武汉市公共交通停运，住在光谷的同事措手不及，面临上下班问题。关键时候，作为共产党员的闫勇顶了上去, 有同事身体不舒服，闫勇帮他上夜班；住在光谷的同事上班遇到困难，闫勇开着私家车起个大早去接。

Yaobin of Jinyintan Hospital sticks to the pharmacy, either to encourage everyone, or to remind everyone of changes in drug specifications and dosage forms, so as to reduce dispensing errors. " Yan style nagging " is full of care for the staff, and entrusts the responsibility of a pharmacy staff. With the increasingly severe situation of the war against the "epidemic", various medical teams stationed in, the number of newly opened wards increased, and supporting doctors and nurses joined the clinical front line one after another. However, the number of hospital pharmacy personnel did not increase, and the pressure on inpatient pharmacies increased sharply. The pharmacists who have been fighting for days without a break have already worked very hard. To make matters worse, public transportation in Wuhan was shut down on January 23. Colleagues living in Guanggu region were caught off guard and faced with commuting problems. At the critical moment, Yan Yong, a member of the Communist Party, stepped forward. Some colleagues were not feeling well, so Yan Yong helped him with the night shift; when a colleague living in Guanggu regioon encountered difficulties at work, Yan Yong drove his private car early to pick him up.

Yaobin of Jinyintan Hospital sticks to the pharmacy to encourage everyone or remind everyone of changes in drug specifications and dosage forms to reduce dispensing errors. " Yan style nagging " is full of care for the staff, and entrusts the responsibility of the pharmacy staff. With the increasingly severe situation of the war against the "epidemic", various medical teams were stationed, the number of newly opened wards increased, and supporting doctors and nurses joined the clinical front line one after another. However, the number of hospital pharmacy personnel did not increase, and the pressure on inpatient pharmacies increased sharply. The pharmacists who have been fighting for days without a break have already worked very hard. To make matters worse, public transportation in Wuhan was shut down on January 23. Colleagues living in Guanggu region were caught off guard and faced with commuting problems. At this critical moment, Yan Yong, a member of the Communist Party, stepped forward. Some colleagues were not feeling well, so Yan helped them with the night shift; when a colleague living in Guanggu region encountered difficulties at work, Yan drove his private car early to pick him up.

====夏依颐 Xia Yiyi====

陈靖圖是药剂科党支部宣传委员，药剂科科室负责人，多重身份和角色决定了他丝毫不敢马虎。自疫情发生以来，他已经三十多天没回过家。
既要协调全院的药品、消毒品采购供应，又要统筹安排科室管理。尽管身体不适，但是他依然坚守岗位，经常加班到深夜, 被大家称为“奔波中的忙人”。
1月13日晚8点多，ICU患者急需尼卡地平针，当晚就要使用，这个时间找医药公司送货完全不可能，陈靖岐紧急联系各大医院，最终跑了两家医院的夜间药房才借来30支，并连夜赶回医院送到ICU。
后来医院又新增了 4个ICU,全国各地医疗队也进驻医院。陈靖蹟更忙了，他白天监控全院用药数据、调整库存，晚上联系第二天到货药品，保证紧俏药品如丙球、阿比多尔、连花清瘟等不断货。
春节期间医药公司运力不足，经常会晚上送货过来，于是，为了更迅速地调配和接收药品物资，陈靖岐索性不回家了。他说, 跟临床一线比起来，这点苦不算什么，只要不断货，不影响患者治疗，一切都是值得的。
Chen Jingtu is a propaganda member of the Party Branch of the Pharmacy Department and the head of the Pharmacy Department. His multiple identities and roles dictate that he does not dare to be sloppy in any way. He has not returned home for more than 30 days since the outbreak. He has to coordinate the procurement and supply of drugs and disinfection products for the whole hospital, as well as to coordinate the management of the department. Despite his ill health, he remained at his post and often worked late into the night, and was known as the "busy man on the run". On January 13 at 8:00 p.m., ICU patients urgently needed nicardipine injections, which were to be used that night, and it was impossible to find a pharmaceutical company to deliver them at this time. Chen Jingmu was even busier, monitoring the hospital's medication data and adjusting the inventory during the day, and contacting the next day's arrival at night to ensure that drugs in short supply, such as Propecia, Abidor, and Lianhua, were kept in stock. During the Chinese New Year, the pharmaceutical company's capacity is insufficient, so they often deliver at night, so in order to allocate and receive drugs and supplies more quickly, Chen Jingqi simply does not go home. He said, "Compared to the clinical frontline, this is nothing, as long as we don't keep the goods and don't affect the patients' treatment, everything is worth it.

Chen Jingtu is the propaganda committee member of the Party branch of the pharmacy department and the head of the pharmacy department. His multiple identities and roles determine that he cannot be careless at all. He hasn't been home for more than 30 days since the outbreak. He should not only coordinate the procurement and supply of drugs and disinfectants in the whole hospital, but also make overall arrangements for the management of departments and offices. Despite his physical discomfort, he still sticks to his post, often working late into the night, known as "busy man on the run." At 8 o 'clock in the evening of January 13, ICU patients urgently needed Nicadi needle. It is needed that night, but this time to find a pharmaceutical company delivery is completely impossible. Chen Jingqi made an urgent contact to major hospitals. He finally ran to the night pharmacy of two hospitals, borrowed 30, and rushed back to the hospital overnight to ICU. Later, four new ICUs were added to the hospital and medical teams from all over China were stationed in the hospital. During the day, he monitored the hospital's medication data and adjusted the inventory, and at night, he contacted the next day's arrival of drugs to ensure that drugs in short supply, such as Propecia, Abidor, and Lianhua, would not be stocked. During the Chinese New Year, the pharmaceutical company's capacity is insufficient, so they often deliver at night, so in order to allocate and receive drugs and supplies more quickly, Chen Jingqi simply does not go home. He said, "Compared with the front line of the clinic, this is nothing, as long as we do not keep the goods and do not affect the treatment of patients, everything is worth it.

====夏紫纯 Xia Zichun====

这场疫情恰逢年关，医院后勤物业人员紧缺，协助搬运输液送药的工人没有了。药剂科理解医院人员荒的困境，面对每周500件输液以及每天21个病区药品没人送到病房的严峻问题，药剂科紧急动员起来，药库、住院药房、门诊药房、小药房、临床药学所有部门人员紧急行动起来，在陈靖赜的带领下一箱箱装车，一车车拖到病区。
作为科室负责人，陈靖赜没有坐在办公室，而是有困难亲自带领队伍冲上去，体现了共产党员迎难而上的精神。
“张定宇院长说现在是战时状态，在这场艰苦的战’疫’中，药剂科团队没有一人当逃兵。”陈靖赜说。

庚子春疫情中的“120部队”

The epidemic coincided with the New Year's Eve, and the hospital's logistics and property staff were in short supply, so workers to assist in transporting fluids and delivering medications were not available. The pharmacy department understood the plight of the hospital's staff shortage. Faced with the serious problem of 500 infusions per week and no one to deliver medications to the wards in 21 wards every day, the pharmacy department mobilized urgently. The pharmacy, inpatient pharmacy, outpatient pharmacy, small pharmacy, and clinical pharmacy all acted with urgency, loading boxes of drugs onto trucks and hauling them to the wards under the leadership of Chen Jingtan.

The epidemic coincided with Spring Festival holidays so logistics and property staff were in short supply and workers transporting infusions and medications were not available. To alleviate the woe that 500 infusions per week and everyday medications for 21 wards had on one to deliver, each person in the pharmacy department act quickly, assisted by staff in the drugstore house, inpatient and outpatient dispensaries, small pharmacies and clinical pharmacy. They loaded boxes of drugs and hauled them to the wards under the leadership Chen Jingze.

As the head of the department, Chen Jingmu did not stay in the office, but led the team to rush up when there were difficulties, embodying the spirit of the Communist Party members to rise to the occasion.

As the head of the department, Chen Jingze did not stay in the office, but led the team to overcome those difficulties, embodying the unyielding spirit of a Communist.

"President Zhang Dingyu said it is now a wartime state, and in this tough 'epidemic', no one in the pharmacy team is a deserter." Chen Jingqi said.

“President Zhang Dingyu said we were in a tough war against this epidemic, no one in the pharmacy department was a deserter." said Chen Jingze.

The "120 Emergency Team" at the beginning of the epidemic in 2020 Spring.

The Emergency Team in the Outbreak During Spring of 2020

====向明慧 Xiang Minghui ====

2019年12月29日，金银潭医院门诊120接到指令，要求着三级防护从湖北省中西医结合医院转运一批不明原因肺炎患者至金银潭医院。从那天起，这支“120部队”就正式进入了抗击新冠肺炎的战役中。
突如其来的一场疫情，打乱了所有人的工作和生活。从慌忙应战到忙中有序，从担忧害怕到奋起战“疫”，从孤军作战到团结抗疫，个中滋味，五味杂陈。
疫情期间，医院“120部队”经历了很多很多，有感人的事迹，也有窝心的委屈，更有大是大非面前的坚定和勇敢！在这场没有硝烟的战争中，他们用实际行动证明了，这是一支讲原则、守纪律、能吃苦、能战斗的队伍！

On December 29,2019, the outpatient department of Jinyintan Hospital received instructions to transfer a group of patients with pneumonia of unknown cause from Hubei Hospital of Integrated Traditional Chinese and Western Medicine to Jinyintan Hospital with level 3 (the highest level) protective devices. Sine then, they engaged in the battle against Covid-19.

The sudden outbreak disrupted their life. They managed to overcome obstacles and negative emotions to fight the virus methodically and courageously. Staff from different departments work together. Only those who experienced it knew the mixed feelings.

They went through lots of difficulties. Despite bitterness, they were still determined and brave, leaving touching stories. Over time, they proved with practical action that they are principled, disciplined, tenacious and resilient.

On December 29, 2019, the outpatient department of Jinyintan Hospital received instructions to transfer a group of patients with pneumonia of unknown cause from Hubei Hospital of Integrated Traditional Chinese and Western Medicine to Jinyintan Hospital with level 3 (the highest level) protective devices. Since then, they have engaged in the battle against Covid-19.

The sudden outbreak disrupted people’s life. From panic to order, from fear to courage and from fighting alone to unity, staff from different departments work together. Only those who experienced it knew the mixed feelings.

They went through lots of difficulties. Despite bitterness, they were still determined and brave, leaving touching stories. Over time, they proved with practical action that they are principled, disciplined, tenacious and capable.

====肖家禹 Xiao Jiayu====

一个好的团队，需要一个好的领头羊，她就是金银潭医院急救站站长李晓松。提起她，包括网络站点的所有人都说她是一个“铁娘子”。
从疫情刚开始到现在，她一天都不休息，特别是在大型转运期间，几乎每天工作到凌晨，有时甚至到凌晨两三点。几乎所有参与转运的急救车辆都能看到她，站在刺骨的寒风中，拿
着对讲机和转诊名单，对接每一位转来的患者。

A good team needs a good leader. The good leader of Jinyintan Hospital is the first aid station master named Li Xiaosong. Everyone, including the people in the online site, called her the "Iron Lady". Since the beginning of the epidemic, she has not taken a day off. Especially during the large referral of patients, she worked almost daily until the early hours, sometimes until two or three o’clock in the morning. Almost all of the emergency vehicles involved in the referral had seen her standing in the biting cold, holding a walkie-talkie and a referral list and docking with each incoming patient.

A good team needs a good leader.Li Xiaosong, who is the first aid station master of Jinyintan Hosptital, could be called a good leader. Everyone, including the people in the online site, called her the "Iron Lady". Since the beginning of the epidemic, she had never had a rest, specially during the large referral of patients, she worked almost daily until the early hours, sometimes until two or three o’clock in the morning. Almost you could see her in all of the emergency vehicles involved in the referral and standing in the biting cold, holding a walkie-talkie and a referral list and docking with each incoming patient.

====肖娜 Xiao Na====

据不完全统计，经她对接的患者有388人次。从安排转运、核对名单、评估病情、患者交接到收治完成，整个过程，她都协调跟踪。
在大型转运时，可以看到这样的场景：120的急救车一路蓝光闪烁，急驰而来，在急诊通道排成一条长龙，等待对接。在交接的过程中，有时会碰到这样或那样的问题，有的车氧气不够了、有的患者需要轮椅、有的车辆需要消毒……碰到这些琐碎又急需解决的问题，120总部都会通知她来协调处理。连续一个多月，天天如此。看到她忙得像个陀螺，又没有外援，同事心疼地说：“你真是狠哪，所有120的转运任务结束了，你才能睡，要学会心疼自己，身体要紧，悠着点。”

According to incomplete statistics, there were 388 patients who had been docked by her. She coordinated the entire process, from arranging transfer, checking lists, assessing the condition, transferring the patients to the completion of admission. In large-scale transport, you could see the following scenario: The 120 ambulances flashed blue light all the way and came at a rapid pace, forming a long queue in the emergency passage, waiting for docking. In the process of handing over, sometimes we encountered problems of one kind or another. Some cars had insufficient oxygen, some patients needed wheelchairs, and some vehicles needed disinfection...When these trivial and urgent problems were met, 120 headquarters would inform her to handle. Every day for over a month. Seeing that she was busy like a top and had no outside help, her colleagues said distressedly: "You are really ruthless. It's not to sleep for you until all 120 transshipment task ended. You should learn how to love yourself and your health is more important."

According to incomplete statistics, there were 388 patients who had been docked by her. She coordinated the entire process, from arranging transfer, checking lists, assessing the condition, transferring the patients to the completion of admission. In large-scale transport, you could see the following scenario: The 120 ambulances flashed blue light all the way and came at a rapid pace, forming a long queue in the emergency passage, waiting for docking. In the process of handing over, sometimes we encountered problems of one kind or another. Some cars had insufficient oxygen, some patients needed wheelchairs, and some vehicles needed disinfection...When these trivial and urgent problems were met, 120 headquarters would inform her to handle. Every day for over a month. Seeing that she was busy like a top and had no outside help, her colleagues said distressedly: "You are really ruthless. It's not to sleep for you until all 120 transshipment task ended. You should learn how to love yourself and your health is more important."

====肖喆琳 Xiao Zhelin====

李晓松笑着说：“没有办法，事情落到头上来，只能做好，毕竟，天下急救一家亲，最重要的是不能给我们金银潭医院丢脸。”
李晓松性格外向开朗，经常在科室讲笑话，调节紧张的气氛，逗同事开心，还时不时给同事打气鼓劲。她说：“一定要有信心，经历了非典、甲流、禽流感、H7N9,所有的疫情我都参与了，也都挺过来了，相信这次的疫情也会过去的。”她的最大心愿就是希望科室所有的人都平平安安，做到零感染。
零感染不光是一个目标、一句口号，需要真正落实到每一个细节中去。医院120作为一个特殊的科室，不仅有医生护士，还有驾驶员和担架员，只有每个人都按标准流程防护，才能真正达到零感染。作为科室负责人，李晓松重视岗前培训、严格考核和监管。在她的严格要求下，人人熟知工作流程，个个规范穿脱防护。

Li Xiausong smiled and said, "We have no choice but to do it better when we are responible for things.After all, the most important thing for us is that we can not to bring shame on our hospital."
Li Xiaosong's character is outgoing and cheerful.She often tells jokes in the department, adjusts the tense atmosphere, makes his colleagues happy and gives them encouragement from time to time.She said: "We must have confidence, experienced SARS, H1N1, bird flu, H7N9, all the epidemic I have participated in and survived, I believe this epidemic will pass as well."Her greatest wish is to hope that all the people in the department are safe, to achieve zero infection.
Zero infection is not just a goal or a slogan. It needs to be implemented in every detail. As a special unit, the hospital has not only doctors and nurses, but also drivers and stretcher bearers. Only when everyone follows standard procedures can we really reach zero infections. As the head of the department, Li Xiaosong attaches great importance to pre-job training, strict assessment and supervision.Under her strict requirements, everyone knows the procedures, and everyone is dressed and unguarded strictly.

Li Xiaosong smiled and said, “We have no choice but to do it well when things come to us. After all, all the emergency workers are one family. The most important thing is not to bring shame on our hospital." Li Xiaosong is outgoing and cheerful. She often tells jokes in the department, adjusts the tense atmosphere, makes his colleagues happy and gives them encouragement from time to time. She said: "We must have confidence. SARS, H1N1, bird flu, and H7N9. I have participated in all the epidemic and survived, so I believe this epidemic will pass as well." Her greatest wish is to hope that all the people in the department are safe, to achieve zero infection. Zero infection is not just a goal or a slogan. It needs to be implemented in every detail. As a special unit, the hospital has not only doctors and nurses, but also drivers and stretcher bearers. Only when everyone follows standard procedures can we really reach zero infection. As the head of the department, Li Xiaosong attaches great importance to pre-job training, strict assessment and supervision. Under her strict requirements, everyone knows the procedures, and everyone dresses and takes off clothes strictly.

====谢佳玉 Xie Jiayu ====

从1月中旬起，每天的转运量开始急剧上升，考虑到医院目前人员紧张，为了不增加医院的困难，李晓松率先改变排班模式，将急救团队分成三个小组，每天两台负压车满负荷运转，实行弹性排班，所有人24小时处于待命状态！她本人则24小时守在科室，除了日常管理，每天还要操心耗材、对接患者、消毒督导，遇到特殊的任务，还要亲自参与转运。
在一次火神山的转运任务中，120总部让她协助当天的核对转运工作，10台负压车同时出发，从中午1时起，穿上厚厚的防护服，直到晚上9点多才回到医院，全身的衣服都湿透了。
就是这样的一位“铁娘子”，当提起她的母亲时，禁不住泪流满面。李晓松的家人因为工作和学习的原因，都在国外，家里只有她和母亲两人，因为疫情防控工作，她将年近八旬的老人独自留在家中，休息的时候才会打个电话，问候一下。

From the middle of January, daily transport volume began to rise sharply. Considering the hospital was overstaffed, in order not to increase the difficulties of the hospital, Li Xiaosong took the lead in changing the scheduling mode. She divided the first aid team into three groups, with two negative pressure vehicles running at full capacity every day, implementing flexible scheduling, and everyone on standby 24 hours a day! She spent 24 hours in the department. In addition to daily management, she also had to worry about consumables, dock patients, provide supervision and guidance for disinfection, and personally participate in transport when encountering special tasks. During a transport mission in Huoshenshan, the 120 headquarter asked her to assist in the check and transport work that day. Ten negative pressure vehicles set off at the same time. She wore a thick protective suit from 1 p.m., and did not return to the hospital until after 9 p.m. Her clothes were drenched with sweat. Such an “iron lady”, when talking about her mother, could not help bursting into tears. Li Xiaosong’s family were abroad due to work and study, and she and her mother were the only two people at home. Due to the epidemic prevention and control work, she left the elderly women in her late 70s alone at home, and only called her when she had a rest.

<nowiki>Insert non-formatted text here</nowiki>====谢茜敏 Xie Ximin ====

当问到她选择这个职业后不后悔时，她毫不犹豫地说，不后悔！她相信所有的付出都是值得的，为了自己的祖国，为了自己的家乡，必须坚守岗位，无私奉献。
在120工作，是没有生活规律可循的，能睡觉时赶快睡，能吃饭时赶快吃，因为你永远不知道完成任务后，会不会马上还有下一单。更多的时候，中午出发，也许到晚上才能回。一单接一单的急救任务，数量有限的防护装备，决定了 “随遇而安、随时待命”是李晓松和同事唯一能选择的工作方式。有一次，来了一单任务，将一位疑似感染的患者从家里送到指定的隔离酒店。当李晓松的同事到达呼救地点时，患者始终联系不上，经多方打听，终于联系上远在外地的子女，才将患者送到隔离酒店。

When asked if she regreted choosing this career, she said no without hesitation! She believed that all the efforts were worth it. For her own motherland and hometown, she must stick to the post with selfless dedication. There was no daily routine when working in 120. You must sleep and eat as soon as you could, because you never knew if there would be another order after you just finished one task. More often, they left at noon and might not return until evening. With a series of first-aid tasks and a finite amount of protective equipment, the only working mode Li Xiaosong and his colleagues could choose was to "make the best of things and be always ready". Once came a mission transferring a patient with suspected infection from his or her home to the designated quarantine hotel. When Li Xiaosong's colleagues arrived at the rescue site, the patient could not be reached. After making inquiries, they finally contacted the patient's children far away from home, and sent the patient to the quarantine hotel.

When asked if she regretted choosing this career, she said no without hesitation! She believed that all the efforts were worth it. For her own motherland and hometown, she must stick to the post with selfless dedication. There was no daily routine when working in 120. You must sleep and eat as soon as you can, because you never know if there will be another order after you have just finished one task. More often, they left at noon and might not return until evening. With a series of first-aid tasks and a finite amount of protective equipment, the only working mode Li Xiaosong and his colleagues could choose was to "make the best of things and be always ready". Once came a mission transferring a patient with suspected infection from his or her home to the designated quarantine hotel. When Li Xiaosong's colleagues arrived at the rescue site, the patient could not be reached. After making inquiries, they finally contacted the patient's children far away from home, and sent the patient to the quarantine hotel.

====谢州周 Xie Zhouzhou====

然而，此时隔离酒店并不接受这位患者，称其不具备收治无法自理老人的条件，李晓松和同事只能带着老人一家医院一家医院地跑，又被一家又一家的医院拒绝，经过三个小时的努力，仍然无能为力，只能将患者又送回家中。
故事很平淡，但是对于患者和家属，对于120的医生护士而言，却深深感到发自内心的无助和无奈，其间拨打的所有电话要么没有人接，要么就是不了了之，中间的几个小时，对于他们都是煎熬和折磨。
这是金银潭医院“120部队”无数次急救任务中的一个缩影。当战“疫”来临时，他们冲在最前线，他们是真正第一批次接触新冠肺炎的一线医务人员。
However, at this time, the isolation hotel did not accept the patient, saying that he did not have the conditions to treat the elderly who could not take care of themselves. Li Xiaosong and his colleagues had to take the elderly to one hospital after another, but they were refused by one hospital after another. After three hours of effort, they were still powerless and had to send the patient home again.
The story is very simple, but for the patients and their families, as well as for the doctors and nurses in the emergency team, they deeply felt helpless and helpless from the bottom of their hearts. All the calls they made in the meantime were either not answered, or they just did nothing. The middle hours were painful and torturing for them.
This is a microcosm of the countless first aid tasks of the first aid team of Jinyintan Hospital. When the pandemic came, they rushed to the forefront, and they were the first batch of first-line medical staff who really contacted COVID-19.

However, at this time, the isolation hotel did not accept the patient, saying that he did not have the conditions to treat the elderly who could not take care of themselves. Li Xiaosong and his colleagues had to take the elderly to one hospital after another, but they were refused by one hospital after another. After three hours of effort, they were still powerless and had to send the patient home again.
The story is very simple, but for the patients and their families, as well as for the doctors and nurses on the emergency team, deeply felt helpless and helpless from the bottom of their hearts. All the calls they made in the meantime were either not answered, or they just did nothing. The middle hours were painful and torturing for them.
This is a microcosm of the countless first aid tasks of the first aid team of Jinyintan Hospital. When the pandemic came, they rushed to the forefront, and they were the first batch of first-line medical staff who really contacted COVID-19.

====谢紫佳 Xie Zijia====

战“疫”开始的阶段，所有的医护人员都有着相同的剧本：身在疫区的自己，就是一颗定时炸弹。于是选择远离亲朋好友，一个人上下班，一个人生活，备好食品药品，做持久战的准备。每每接到家人关心的电话，嘱咐一定要注意安全；总是听到又有哪位同事不幸被感染，又有多少患者不幸去世……
但是白衣战士的责任和担当，又让他们选择继续穿上防护服，毅然出征。
郭威波是金银潭“120部队”的一名急救驾驶员，平时大家都喜欢亲切地叫他“鸽子”。他是一位名副其实的大帅哥，身材魁梧、相貌英俊、心思细腻。每当他出车回来，都会认真做笔记，走的哪条线路、距离多远、用时多少，堪称“120 活地图”。
郭威波本来是准备今年春节完婚的，一直计划着元旦休息
At the beginning of the "epidemic", all medical staff had the same script: being in the epidemic area was a time bomb.So I chose to stay away from my friends and family, work alone, live alone, prepare food and drugs, and prepare for a long war. Every time I receive a phone call from my family, telling them to be safe; I always hear which of my colleagues have unfortunately been infected, and how many patients have unfortunately passed away ......
But the responsibility and commitment of the white soldiers, and let them choose to continue to wear protective clothing, determined to go out.
Guo Weibo is an emergency driver of the "120 unit" in Jinyintan, and usually people like to call him "Pigeon" with affection. He's a truly handsome man, sturdy, handsome and fine in heart. Whenever he came back from a trip, he would take serious notes on which route he took, how far it was, and how much time it took, which is called a "120 living map".
Guo Weibo was planning to finish the wedding this spring, and have been planning to take a break on New Year's Day.

At the beginning of the "epidemic", all medical staff had the same script: being in the epidemic area was a time bomb.So I chose to stay away from my friends and family, work alone, live alone, prepare food and drugs, and prepare for a long war. Every time I receive a phone call from my family, telling them to be safe; I always hear which of my colleagues have unfortunately been infected, and how many patients have unfortunately passed away ......
But the responsibility and commitment of the white soldiers, and let them choose to continue to wear protective clothing, determined to go out.
Guo Weibo is an emergency driver of the "120 unit" in Jinyintan, and usually people like to call him "Pigeon" with affection. He's a truly handsome man, sturdy, handsome and fine in heart. Whenever he came back from a trip, he would take serious notes on which route he took, how far it was, and how much time it took, which is called a "120 living map".
Guo Weibo was planning to finish the wedding this Spring Festival, and have been planning to take a break on New Year's Day.

====熊丹 Xiong Dan====

时将准备工作做完，谁料到疫情突然暴发，他只得将家里的大小事物都拜托给未婚妻，将婚期一拖再拖。
在“120部队”中，还有这样一个特殊的不可或缺的群体最容易被忽视。他们来自农村，没有耀眼的学历，没有傲人的医术，不会说什么豪言壮语，却有一颗纯朴、善良、负责的心，在这个特殊的时期，不畏疫情,与医护人员一起守护人民的健康, 他们就是担架师傅。
在防护用品短缺的情况下，他们主动把N95 口罩和厚一点的防护服让给医生护士，他们说：“我们是农村人，身体好。你们医生护士是有文化的人，有本领，能救更多的人，千万不能得病。”
这些朴实的话语让人忍不住流下了眼泪。
He would be ready to finish work.Who knows the sudden outbreak of the pandemic. He had to give the chores to his fiancee,and the wedding was delayed again and again.
There is one particular indispensable group in the 120-Force that is most easily overlooked. They come from the countryside, no dazzling education, no proud medical skills, do not speak bold words, but have a simple, kind, responsible heart.In this special period, they don’t afraid of the pandemic, together with the medical staff to protect people's health. They are stretcher masters.
In the face of a shortage of protective equipment, they volunteered to give N95 masks and thicker protective suits to doctors and nurses, saying, "We are rural people and in good health. You doctors and nurses are educated and capable people who can save more people. You must not get sick."
Those simple words brought tears to one's eyes.
He would be ready to finish work. Who knows the sudden outbreak of the pandemic. He had to give the chores to his fiancee,and the wedding was delayed again and again.
There is one particular indispensable group in the 120-Force that is most easily overlooked. They come from the countryside, no dazzling education, no proud medical skills, do not speak bold words, but have a simple, kind, responsible heart. In this special period, they are not afraid of the pandemic, together with the medical staff to protect people's health. They are stretcher masters.
In the face of a shortage of protective equipment, they volunteered to give N95 masks and thicker protective suits to doctors and nurses, saying, "We are rural people and in good health. You doctors and nurses are educated and capable people who can save more people. You must not get sick."
Those simple words brought tears to one's eyes.

====徐思禹 Xu Siyu====

疫情肆虐时，很多人选择了逃离，而更多担架工师傅却选择留下来。其中最年轻的黄启胜，在封城前利用休息时间回了家。封城后，由于道路不通，无法按时到岗，他非常着急，担心因为个人原因影响医院的工作。后来经过多方协调，终于回到了工作岗位。他们是无数个奉献者中的一员，同样是这个时代最可爱的人。
如果说临床科室医生和护士是战斗在一线的勇士，那么这支“120部队”急救人员就是战斗在疫情最前沿的尖兵！
医院南二病区的他们
生命重于泰山，疫情就是命令，防控就是责任！
When the epidemic was raging, many people chose to flee, while more stretcher bearers chose to stay. The youngest of them, Huang Qisheng, used his break to return home before the city lockdown. After the closure, he was very anxious because he could not arrive at work on time due to the closed roads, and was worried that his personal reasons would affect the work of the hospital. Later, after coordination, he finally returned to work. They are one of the countless dedicated people who are also the most lovely people of this era. If the doctors and nurses in the clinical departments are the warriors fighting on the front line, then the "120 units" of emergency personnel are the frontline soldiers fighting in the pandemic! Their lives are more important than the mountains, the pandemic is an order, and prevention and control is a responsibility!

When the epidemic was raging, many people chose to escape, while more stretcher men chose to stay. The youngest of them, Huang Qisheng, returned home during his break before the lockdown. Due to the lockdown, the roads were blocked and he was unable to arrive at place on time. He was very anxious and worried that the delay would affect the rescue by the hospital. Later, after coordination, he finally returned to work. They were one of the countless dedicated people who are also the most lovely people of this era.
If the clinical doctors and nurses are the warriors fighting on the front line, the emergency personnel of "120 units" are the frontline soldiers fighting in the pandemic!
Nothing is more valuable than lives! The pandemic control is an order! The prevention and control resolute is a priority responsibility!

====颜琦 Yan Qi ====

在这场疫情阻击战中，武汉市金银潭医院南二病区全体医护人员在主任谢学磊的带领下，持续冲锋在一线，夜以继日地开展救治工作，他们竭尽所能、争分夺秒，如今已连轴战斗了50多个日日夜夜。

In the battle against the virus, all the health workers in the South Second Ward of Wuhan Jinyintan Hospital, guided by Xie Xuelei, the hospital director, continued to work in the front line and struggled to cure patients around the clock. They did their best and wasted no time. It has been over 50 days and 50 nights since they worked almost without a break.

最“铁心”的妈妈——李坤霞

The Most "Hard-Headed" Mother: Li Kunxia

“我刚才跟妈打电话了，女儿很懂事，很听话，你只管安心地工作，自己也要做好防护啊！家里，你就不要牵挂了，有我呢！”李坤霞接到丈夫的电话，眼里闪着泪花。

"I just talked to your mom on the phone. Our girl is very sensible and obedient. you only need to focus on your job and protect yourself! Don't worry about us at home, I'm here!" Li Kunxia answers the phone from her husband, eyes flashing with tears.

为做好安全隔离，更为了家人健康考虑，她执意一个人住宾馆，一岁多的女儿只能交给老人照顾。

In order to safely isolated humans and consider the health of her family, she insisted on living alone in a hotel, and her daughter who is more than one year old was sent to her parents for good care.

她心里虽有千言万语，但深知使命崇高、责无旁贷，每次只能与家人几句简短的问候，便匆忙挂掉电话，收起眼泪直奔病房。

Although she had many words to say, she knew her moral obligations and duties as a medic. Every time she could only tell a few brief greetings to her family before she hung up the phone hurriedly, wiped away her tears and ran to the wards.

最“倔强”的大姐——王芳

The Most "Stubborn" Big Sister: Wang Fang

In the battle against the virus, all the health workers in the South Second Ward of Wuhan Jinyintan Hospital, guided by the hospital director Xie Xuelei, continued to work in the front line and struggled to cure patients around the clock. They did their best and wasted no time. They have worked for over 50 days without break.
The Most "Hard-Heart" Mother: Li Kunxia
"I just talked to your mom on the phone. Our girl is very sensible and obedient. You only need to focus on your job and protect yourself! Don't worry about us. I'm here!" Li Kunxia talked with her husband on the phone, eyes flashing with tears.
Consider the health of her family, to have a safe isolation, she insisted on living alone in a hotel, and sent her one-year-old daughter to her parents to take care of.
Although she had many words to say, she knew her moral obligations and duties as a medic. Every time she could only tell a few brief greetings to her family before she hung up the phone hurriedly, then wiping away her tears and running to the wards.
The Most "Stubborn" Sister: Wang Fang

====杨思吟 Yang Siyin====

王芳是一个有着丰富救治经验的“老前辈”，也是个热心肠的大姐，对科室的年轻医生非常照顾，并经常将自己宝贵的工作经验与大家分享。
随着疫情形势的日益严峻，接诊量大幅增多，她顾不上正处在初三学习冲刺阶段的儿子，自疫情开始，一直穿着密闭的防护服连续奋战，在隔离区不敢喝水，不能上厕所，浑身闷透。
每当同事忍不住说起：“王大姐，您休息一会儿，让我去吧”，“倔强”的她总是回复：“我还行。”
最“拼命”的伙伴一黄晴

Wang Fang is a senior medical worker with wealthy treatment experience. Also being kind-hearted, she is considerable to young doctors in her department and often shares her invaluable working experience with them. As the pandemic grew serious, with the surging number of patients, she could not take care of her son who are striving to study hard in the final year of middle school. Since the outbreak of pandemic, she had worked for several days running wearing airtight protective clothing. In the isolation zone, she was afraid of drinking water and could not go to toilet, stuffy and sweaty. Every time her colleagues couldn’t help saying that, “ you should take a break. I can do this work.” She always replied stubbornly, “ I am OK.” The most hard working partner— Huang Qing

Wang Fang is a senior medical worker with abundant treatment experience. Also being kind-hearted, she cares after young doctors in her department and often shares her invaluable working experience with them. As the pandemic grew serious, with the surging number of patients, she could not take care of her son who is striving to study hard in the final year of middle school. Since the outbreak of pandemic, she had worked for several days running wearing airtight protective clothing. In the isolation zone, she was afraid of drinking water and could not go to toilet, with the whole body stuffy and sweaty. Every time her colleagues couldn’t help saying that, “ you should take a break. I can do this work.” She always replied stubbornly, “ I am OK.” The most hard working partner— Huang Qing

====杨晰微 Yang Xiwei====

疫情发生以来，连续在一线奋战40多天的高强度工作，让黄晴医生的身体开始吃不消了，身体不适的她本应少走动多休息，但刚打完吊瓶的她，就第一时间主动请缨，强烈要求继续参与战斗，看着她虚弱的身体，大家纷纷劝她注意休息。
“你们都在火线竭尽所能，我这点小病算不了什么，关键时候绝不能’掉链子’，不用担心，我还可以！”她坚定的话语让大家既心疼又钦佩。
最“贴心”的暖男一李翼、余振兴

Since the outbreak of pandemic, Doctor Huang Qing has been working in the frontline for over 40 days in a high intensity and she started to wear herself out. Because she was uncomfortable, she should have more rest and walk less. Nevertheless, after taking an IV drip, she just took the initiative the first time, strongly asking to keep on fighting. Looking that she was weak, everyone tried to persuade her to have a rest.

"You all work in the frontline and my minor illness doesn't matter. I can't "drop the chain" at a key moment. Don't worry. I can hold on." Her firm words made them feel sorry and admired.

The most "thoughful" warm boys were Li Yi, Yu Zhenxin.

Since the outbreak of the pandemic, Doctor Huang Qing has been working in the frontline for more than 40 days in a high intensity and she started to wear herself out. Because she was uncomfortable, she should have walked less and rested more. Nevertheless, after taking an IV drip, she just took the initiative the first time, strongly asking to keep on fighting. Looking that she was weak, everyone tried to persuade her to have a rest.

"You all work in the frontline and my minor illness doesn't matter. I can't "drop the chain" at a key moment. Don't worry. I can hold on." Her firm words made everyone feel both pain and admiration.

The most "thoughful" warm boys were Li Yi, Yu Zhenxin.

====余海铭 Yu Haiming====

李翼和余振兴的爱人都是本院的职工，为打赢疫情阻击战，他们把孩子托给年迈的父母照料。这两对夫妻同心协力，携手逆行，义无反顾。
每次丈夫一句“戴好口罩，做好防护”，妻子一句“知道了”，接着就双双奔赴病房。即便爱人也在同一个医院工作，但经常是36到48小时，甚至更长时间见不到一面，这也是医院诸多双职工的日常。
虽然他们顾不上“小家”，但独揽了科室“大家”的后勤，大到防护物资领取，小到分发科室盒饭，在这场日夜不息的战斗中，他们既是火线“急先锋”，又是科室“勤务兵”。
最“心细”的娘家人一一谢学磊
Li Yi and Yu Zhenxing, whose lovers are both employees of the hospital, entrusted their children to the care of their elderly parents in order to win the battle against the epidemic. These two couples worked together and went against the odds hand in hand. Every time the husband said, "Wear a mask and take good care of yourself," and the wife said, "Got it," and then they both ran to the ward. Even though they work in the same hospital, they often do not see each other for 36 to 48 hours, or even longer, which is the daily routine of many double workers in the hospital. Although they can't take care of the "small family", they take charge of the logistics of the "big family" of the department, from the collection of protective materials to the distribution of departmental box lunches. In this day and night battle, they are not only the "pioneers" of the fire line, but also the "orderly soldiers" of the department. The most "attentive" mother's family one by one Xie Xuelei

Li Yi and Yu Zhenxing, whose lovers are both employees of the hospital, left their children to be taken care by their elderly parents in order to win the battle against the epidemic. These two couples worked together and fought against the epidemic hand in hand. Every time the husband hust said "Wear a mask and take good care of yourself," and the wife replied "Got it" and then they both ran to work in different wards. Even though they work in the same hospital, they often do not see each other for 36 to 48 hours, or even longer, which is the daily routine of many working couples in the hospital. Although they can't take care of the "small family", they take charge of the logistics of the "big family" of the department, from the collection of protective materials to the distribution of departmental box meals. In this day and night battle, they are not only the "pioneers" of the fire line, but also the "orderly soldiers" of the department. The most "attentive" family member ——Xie Xuelei

====曾晨 Zeng Chen ====

谢学磊是南二病区的主任，面对焦虑的患者,她都亲力亲为，一声声问诊，一遍遍安慰，一句句嘱咐，即使自己再苦再累都藏在心底。
在隔离病区，医生和护士要直接、密切地接触患者，感染风险高、心理压力大，穿戴层层防护装备后，闷热、憋气，时间长了会有缺氧的感觉，每次她都会在第一时间为大家进行心理疏导。
“有谢主任无微不至的关怀，即便疫情再凶猛，工作再辛苦我们也不怕，因为谢主任就是我们坚强的后盾。”谢学磊的存在，让科室同事感到踏实。
在这次新型冠状病毒疫情面前，他们没有豪言壮语，也没有耀眼的光环，只是默默努力，坚守自己的岗位。疫情面前，他们就是战士，疫情就是命令，岗位就是战场，他们不惧风险、严阵以待，用实际行动恪守初心、践行使命。

Xie Xuelei is the director of the second South ward area, in the face of patients with anxiety, she dealt with them herself, comforting and ordering one by one, over and over again. All the bitter and tiredness are hidden in the bottom of her heart. In the isolation ward, doctors and nurses should contact patients directly and closely, with high risk of infection and great psychological pressure. After wearing layers of protective equipment, they will feel stuffy and suffocated, and there will be a feeling of hypoxia after a long time. Every time, she will conduct psychological counseling for them in the first time. "With Director Xie’s meticulous care, the most fierce epidemic and hard work will not frighten us as she is our strong supporter." The presence of Xie Xuelei makes colleagues in the department feel reliable. Facing the novel coronavirus epidemic, they do not speak bold words, nor do they have a dazzling halo, they just work quietly and stick to their posts. In the face of the epidemic, they are soldiers, with the epidemic being the order, and the post the battlefield. They are not afraid of risks, but are fully-prepared and stick to their original intention and fulfill their mission with concrete actions.

Xie Xuelei is the director of the second South ward area, in the face of anxious patients, she dealt with them herself, asking and consulting them one by one, comforting them over and over again. All the bitter and tiredness are hidden in the bottom of her heart. In the isolation wards, doctors and nurses were looking after patients directly and closely, with high risk of infection and great psychological pressure. After wearing layers of protective equipment, they will feel stuffy and suffocated, and there will be a feeling of hypoxia after a long time. Every time, she will conduct psychological counseling for them at first. "With Director Xie’s meticulous care, the most fierce epidemic and hard work will not frighten us as she is our strong supporter." The presence of Xie Xuelei makes colleagues in the department feel reliable. Facing the novel coronavirus epidemic, they do not speak bold words, nor do they have a dazzling halo, they just work quietly and stick to their duties. In the face of the epidemic, they are soldiers, with the epidemic being the order, and the post the battlefield. They are not afraid of risks, and are fully-prepared and sticking to their original intention and fulfill their mission with concrete actions.

==Part 8==

====张海珊 Zhang Haishan ====

后勤，一群不回家的人
在疫情风暴眼中心的武汉市金银潭医院，有这样一群以科室为家的人。白天，办公室是他们的调度指挥室。晚上，就在办公室搭起简易行军床，24小时在医院值守，真正做到了 “闻令即行”，成为春节中“不回家的人”。
他们，就是医院后勤保障战线的干部职工。
路灯下的身影

In the back-office, there was a group of people who were not going home. At Wuhan Jinyintan Hospital, the center of this epidemic, there is a group of people who take the office as their home. During the day, the office is their dispatching room. In the evening, they set up simple camp beds in the office and were on duty in the hospital 24 hours a day, truly "acting on orders" and becoming "people who won't go home" during the Spring Festival. They are the cadres and workers of the hospital backup support front.
Figures under the street lamp.

In the back offices of hospital, there was always a group of people who were not going home. At Wuhan Jinyintan Hospital, the center of this epidemic, there is a group of people who regard the office as their home. During the day, the office is their dispatching room. In the evening, they set up simple camp beds in the office and were on duty in the hospital day and night, truly "acting on orders" and becoming "people who won't go home" during the Spring Festival. They are the cadres and workers of the hospital backup support front.
Figures under the street lamp.

====张珂珂 Zhang Keke====

医院总务科的工作历来琐碎杂乱，特别是在应对新型冠状病毒疫情这个非常时期，头绪多，任务重，承担着为前方队友送炮弹、做好全方位保障的艰巨任务。
医院总务科科长黄高平把“增强四个意识、坚定四个自信、做到两个维护”转化在实实在在的行动中。他克服自己年龄偏大、家庭负担较重的困难，全心全意投入到医院总务科的各项工作中来。黄高平每天坚持巡查水、电、气管线多次，尤其是晚上，总是能看到路灯下他拿着手持电话机在医院每个点位巡查的咼大身影。
由于医院收治的重症患者偏多，在医护人员救治过程中难免会突发一些意外事件。一次，在ICU病区的抢救中，患者喷出来的血痰导致医疗设备短路，黄高平带领维修组的同志第一时间赶赴现场抢修，及时保障了设备的正常运行。

members in the general affairs office of hospital have trivial and messy work, especially on the critical stage of fighting against Covid-19 coronavirus, with heavy tasks, and need to provide wholesale equipments and servic. Huang Gaoping, the Chief of the General Affairs Section of the Hospital, transformed "enhancing the four consciousnesses and strengthening the four self-confidences and then achieving the two maintenances" into concrete actions. Although he is old with heavy family burden, he still overcame these difficulties and devoted himself wholeheartedly to all the work of the general affairs of hospital. He sticks to check the water, electricity and gas pipelines many times. Especially at night, people would always see him patrol every point of the hospital with a handled phone under the street lamp.
Because there are too many critically ill patients admitted to the hospital, it is difficult to avoid some accidents in the treatment. One day, In the rescue of patient in ICU ward, the patient's blood sputum caused short circuit of medical equipment, the maintenance team led by Huang Gaoping rushed so quickly there for emergency repair that guarantee the normal operation of the equipment.
members in the general affairs office of hospital have trivial and messy work, especially on the critical stage of fighting against Covid-19 coronavirus, with heavy tasks, and need to provide wholesale equipments and servic. Huang Gaoping, the Chief of the General Affairs Section of the Hospital, transformed "enhancing the four consciousnesses and strengthening the four self-confidences and then achieving the two maintenances" into concrete actions. Although he is old with heavy family burden, he still overcame these difficulties and devoted himself wholeheartedly to all the work of the general affairs of hospital. He sticks to check the water, electricity and gas pipelines many times. Especially at night, people would always see him patrol every point of the hospital with a handled phone under the street lamp.
Because there are too many critically ill patients admitted to the hospital, it is difficult to avoid some accidents in the treatment. One day, In the rescue of patient in ICU ward, the patient's blood sputum caused short circuit of medical equipment, the maintenance team led by Huang Gaoping rushed so quickly there for emergency repair that guarantee the normal operation of the equipment.

====张祺葳 Zhang Qiwei====

由于没有家属陪护，医院有些患者生活无法自理，会出现将污物随意丢弃，堵塞下水管的情况。维修组的同志们毫无怨言，尽早疏通，还主动排查保证各个下水管道的畅通。
除了保证医院的水电气、电梯以及污水处理站的正常运行外，他们无论白天、黑夜接到电话都会以最短的时间赶到现场，处理各种应急事件，院内的路灯下留下了他们长长的身影。
据统计，在40多天的时间里，总务科共安装了 200多台挂壁式消毒机、近600盏紫外线灯，铺设病区电线近千米，维修全院路灯60多盏、病区感应水龙头几百个，更换300来套隔离病区的锁扣，疏通病区内的厕所下水道及洗脸盆下水道 40处。
他们还配合企业5天内完成了医院液氧站的建设改造，由原来2个5立方氧罐改为2个10立方氧罐，落实了病区不间断高流量供氧的需求。
匆匆的脚步
Some patients in the hospital are unable to take care of themselves because they are not accompanied by their family members. They will discard the dirt at will and block the sewer pipe. The comrades of the maintenance team did not complain at all, and they fixed them as soon as possible. They also took the initiative to check and ensure that all sewer pipes were unblocked. In addition to ensuring the normal operation of the water, electricity, elevator and sewage treatment station in the hospital, they will arrive at the scene in the shortest time to deal with various emergency events whenever they receive a call in the day and night, leaving a long shadow under the street lights in the hospital. According to statistics, in 40 days, the General Affairs Department has installed more than 200 wall mounted sterilizer, nearly 600 ultraviolet lamps, laid nearly 1000 meters of wires in the ward, maintained more than 60 street lamps in the hospital, hundreds of induction taps in the ward, replaced more than 300 sets of locks to isolate the ward, and dredged 40 toilets and washbasins in the ward. They also cooperated with the enterprise to complete the construction and transformation of the hospital's liquid oxygen station within 5 days, from the original two 5 cubic oxygen tanks to two 10 cubic oxygen tanks, fulfilling the needs of the ward for uninterrupted high flow oxygen supply. Hurried footsteps

Some patients in the hospital are unable to take care of themselves because they are not accompanied by their family members. They will discard the dirt at will and block the sewer pipe. The comrades of the maintenance team did not complain at all, and they fixed them as soon as possible. They also took the initiative to check and ensure that all sewer pipes were unblocked. In addition to ensuring the normal operation of the water, electricity, elevator and sewage treatment station in the hospital, they will arrive at the scene in the shortest time to deal with various emergency events whenever they receive a call in the day and night, leaving a long shadow under the street lights in the hospital. According to statistics, in 40 days, the General Affairs Department has installed more than 200 wall mounted sterilizer, nearly 600 ultraviolet lamps, laid nearly 1000 meters of wires in the ward, maintained more than 60 street lamps in the hospital, hundreds of induction taps in the ward, replaced more than 300 sets of locks to isolate the ward, and dredged 40 toilets and washbasins in the ward. They also cooperated with the enterprise to complete the construction and transformation of the hospital's liquid oxygen station within 5 days, from the original two 5 cubic oxygen tanks to two 10 cubic oxygen tanks, fulfilling the needs of the ward for uninterrupted high flow oxygen supply. Hurried footsteps

====张思诗 Zhang Sishi====

“15分钟后有12名病患到门诊CT室做检查，各自到位做好道路管制，快点！快点！”在医院院区总能看到一位一边快速奔走一边用对讲机呼叫的高大身影，他就是金银潭医院保卫科科长周德义，一位近20年党龄的老党员。面对疫情，他没有恐惧，没有退缩，不分昼夜地奋战在自己的岗位上。
保卫科虽然不在救治病患的最前线，但在这次防控工作中保卫工作显得尤其重要。每栋病房楼下面都要安排人员24小时值守，不让患者和家属随意进出病区,还要负责转运病区的患者, 运送各病区所需的医疗和生活物资，安排去医技科室检查的道路清场等。

"We have 12 patients in the outpatient CT room in 15 minutes. Get in position. Do your road control. Hurry up!" In the hospital area, you can always see a tall figure running fast while calling with the intercom. In the face of the epidemic, he did not fear or retreat, but fought day and night at his post. Although the security department was not at the forefront of the treatment of patients, it was particularly important in the prevention and control work. He was also responsible for transferring patients from the wards, transporting medical and living materials to the wards, and arranging for road clearances to the medical and technical departments.

"We would have 12 patients in the outpatient CT room in 15 minutes. Get in position. Do your road control，and just hurry up!" In the hospital, you could always see a tall figure running fast while calling with the intercom. He was Zhou Yide, head of security section of Jinyintan hospital and who joined the party almost 20 years. In the face of the epidemic, he did not fear or retreat, but fought day and night at his post. Although the security department was not at the forefront of the treatment of patients, it was particularly important in the prevention and control work. He was also responsible for transferring patients from the wards, transporting medical and living materials to the wards, and arranging for road clearances to the medical and technical departments.

====张婷 Zhang Ting====

疫情发生正是春节期间，而且金银潭医院收治的都是确诊的新冠肺炎患者，很多物业人员因为害怕被感染都回家了，在急缺人手的情况下，周德义经请示批准后调动了一切可以调配的人员组建了临时班组，毫无怨言地接下了繁重的工作。
年近花甲的他奔赴在医院的每一个角落，时值冬季，汗水常常浸透了他的衣衫。
保卫科的职工吴昌顺，是2019年入党的新党员，平日里是位活泼可爱的阳光大男孩。疫情期间，他除了完成医院的安保工作，还承担了为病区走廊上的加床患者送瓶装氧气的工作，随着医院救治任务加重，走廊上的加床患者越来越多，这些患者没有中心供氧设施，主要靠瓶装氧气供应，他和同事们接到任务后都以最快的速度把氧气瓶送到病区。

The epidemic occurred during the Spring Festival, and Jinyintan Hospital admitted all patients with confirmed covid-19, many property staff went home for fear of being infected.
Although he was almost an old man, he ran in every corner of the hospital. Even if it was in winter, sweat often soaked through his clothes.
Wu Changshun, an employee of the Security Section, was a new member of the Party who joined the Party in 2019 and was usually a lively and lovely sunny boy. During the epidemic, in addition to completing the hospital's security work, he also took on the job of delivering bottled oxygen to the extra bed patients in the corridor of the ward. As the hospital's treatment tasks increased, there were more and more extra bed patients in the corridor, and these patients did not have central oxygen supply facilities and mainly relied on bottled oxygen supply. Both he and his colleagues delivered oxygen cylinders to the ward as quickly as possible after receiving the assignment.

It was during the Spring Festival that the pandemic outbroke, and patients admitted by Jinyintan Hospital were all infected COVID-19. Many property staff went home for fear of being infected. In the case of an urgent shortage of staff, Zhou Deyi transferred all available personnel to form a temporary team after asking for the approval, taking over the heavy work without complaint.
The man, who was nearly sixty years old, ran in every corner of the hospital. Even if it was in winter, sweat often soaked through his clothes.
Wu Changshun, an employee of the Security Section, was a new member of the Party who joined the CPC in 2019, lively and lovely. During the pandemic, in addition to completing the hospital's security work, he also took on the job of delivering bottled oxygen to the patients in the corridor of the ward. As the hospital's treatment tasks increased, there were more and more patients living in the corridor, who had no central oxygen supply facilities and mainly relied on bottled oxygen supply. Therefore, both he and his colleagues delivered oxygen cylinders to them as quickly as possible after receiving the assignment.

====张文琦 Zhang Wenqi ====

医院防护物资紧缺，为了保障一线医护人员的供应，他和同事们只能穿着爱心人士捐赠的没有达到应有防护级别的隔离服进病区，“我们送到后就及时出来，隔离服要留给医生护士，他们在里面待得久，不能没有保障。”吴昌顺的话语非常朴实。
他们也是战士，虽然默默无闻，却一样冒着生命危险守卫着这片土地上的人民。
寒冬中的汗水
金银潭医院在新冠肺炎疫情中备受关注，得到了全国人民的支援与关爱。社会企业和公众发挥大爱无疆的公益精神，踊跃捐献各类物资到医院。

Due to the shortage of protective materials in the hospital, he and his colleagues could only wear isolation suits caring people donated which did not meet the due protection level, so as to guarantee the supply of front-line medical staff. “We came out as soon as materials were sent to them. Isolation suits should be left to medical staff, because they cannot stay inside for a long time without security,” said Wu Changshun sincerely.
They were fighters, too. Although unknown, they risked their lives to protect the people of this land.
Sweat in the Severe Winter
Jinyintan Hospital has drawn much attention in the COVID-19 pandemic and has received support and care from the people of the whole country. Social enterprises and the public gave full play to the public spirit of boundless love through active donations of various materials to hospitals.

Due to the shortage of protective materials in the hospital, he and his colleagues could only wear isolation suits caring people donated which did not meet the due protection level, in order to guarantee the supply of front-line medical staff. “We came out as soon as materials were sent to them. Isolation suits should be left to medical staff, because they cannot stay inside for a long time without security,” said Wu Changshun sincerely. They were also fighters. Though unknown, they risked their lives to protect the local people.
Sweat in the severe winter
Jinyintan Hospital has drawn much attention in the COVID-19 pandemic and has received support and care from the people of the whole country. Social enterprises and the public gave full play to the public spirit of boundless love through active donations of various materials to hospitals.

====周晓兰 Zhou Xiaolan====

把捐献的物资保管好、分配好、使用好，是保证一线医护人员顺利生活、工作的基础。金银潭医院后勤保障战线的同志除了完成本职工作外还义无反顾地承担起接收与分配捐献物资的重任。社会各界捐献的物资千差万别，有生活用品，有医疗用品；有鲜活型的，有长期型的；有对口指定支援的，有特殊用途的。他们秉持一颗公心，事事突出"精准"特点，讲规矩，听指挥。
接收捐献物资医疗器材、食品、各种生活用品全部都登记入账，保存安全并分发及时，做到了 “账目清晰、公开廉政、使用合理、保障有力”。
2月15日的晚上10点多钟，忙碌了一天的医院逐渐地放慢了节奏。此时，医院突然接到一批消毒用品的捐献，车辆即将到达医院。
夜晚寒冷，白天的疲劳还未消退，但一想到明天医护人员还要冲锋上前，全院需要消杀保障，爱心人士正在路上奔波，医院后勤的员工临时组建突击小分队，第一时间集结，由食堂的班组
长袁勇带队，8个人10分钟内到齐，开辟通道，整理仓库。

The basis for the smooth life and work of front-line medical staff is the careful reservation, equal distribution and sufficient use of donated materials. These donations from all walks of life can be divided into different types, including daily necessities and medical supplies; some for instant use, some for long-term use; some for designated support and some for a specific purpose. The receiving and distribution of them is undertaken by comrades from Jinyintan Hospital logistics support front, who also do their regular work well. Taking an orientated approach and following the instructions, these comrades all work for the public. Under the principle of clear accounts, open and clean work, reasonable use and full guarantee, medical equipment, food and all kinds of daily necessities are registered, kept safely and distributed in a timely manner. After 10 o ’clock in the evening on February 15, the staff gradually slowed down after a busy day. At that time, they were informed that a batch of disinfection supplies are about to arrive at the hospital. Though cold and tired, they were assembled immediately to ensure that tomorrow’s work is smooth and to support the work of the caring people. Led by Yuan Yong, the team leader of the canteen, eight people arrived within 10 minutes to open the channel and sort out the warehouse.

It is the careful reservation, equal distribution and sufficient use of donated materials that guarantee the smooth life and work of front-line medical staff. Except for their duties, they also needed to take the responsibilities of receiving and distribution of donated goods. These donations from all walks of life can be divided into different types, including daily necessities and medical supplies; some for instant use, some for long-term use; some for designated support and some for a specific purpose. With a devoting heart to the Public they put "precision" into the centre of their attention and strictly followed the instruction. They managed to register and dispense all the donated medical suppies, foods, and daily necessities in time in the principle of "clear accounts, public governance, reasonable using, powerful guarantee". Late at 10 p.m. on the 15th of Februrary, the staff gradually slowed down after a busy day. At that time, they were informed that a batch of disinfection supplies were about to arrive at the hospital. Though cold and tired, they were assembled immediately to ensure that tomorrow's work be smooth to support the work of the caring people. Led by Yuan Yong, the team leader of the canteen, eight people arrived within 10 minutes to smooth the channel and sort out the warehouse.

====周子豪 Zhou Zihao ====

车辆一到达医院，即开始紧张的清点、交接与卸载工作。每个人平均搬运40多件包装品，仅用了 50分钟便全部整理入库。前来捐献的爱心人士敬佩地说：“我跑了那么多的单位，金银潭医院的同志们最是认真负责，物品捐赠给你们，我们放心！”
当爱心人士的车辆离开后，8个人才发现，虽然是在寒冷的冬夜，但每个人脸上都挂满了汗珠。
在这场战“疫”中，金银潭医院后勤保障战线的这个群体，主动请缨，并肩作战。医院的每一个角落都是他们的战场，守护好身边的“白衣战士”、守护好身处的这座城，是他们唯一的心愿。
The nervous work of counting, transferring and unloading started right after the cars have arrived. Everyone took averagely more than 40 packages and it took only 50 minutes to put them all in storage. "Among all the places I hav ever been, people here are the most meticulous ones. It did reassure me to rely on you." people who came to donate said respectfully. It was after the cars had left they noticed the sweat on their faces in such a cold weather. During the battle against the pandemic, the logistical department of Jinyintan Hospital took its responsibilities to fight hand in hand. Their batteground covered every corner of the hospital. It was the only wish that they safeguard their warriors in white and the city behind.

As soon as the vehicle arrived at the hospital, the intensive counting, handover and unloading work began. It only took 50 minutes for each person to handle 40 packages and put them into storage. The loving people who came to donate said with admiration: "I have run so many units, the comrades of Jinyintan Hospital are the most serious and responsible. We can rest assured that the goods donated to you!"
When the car left, the eight realized that even though it was a cold winter night, their faces were covered with beads of sweat.
In this war "epidemic", Jinyintan Hospital logistics support front of this group, volunteered to fight side by side. Every corner of the hospital is their battlefield, protect the side of the "white soldiers", protect the city, is their only wish.

====庄昊康 Zhuang Haokang====

金银潭医院后勤员工在搬运物资
“暴风之眼”中的医院GCP
2019年12月30日，武汉市金银潭医院GCP （药物临床试验机构）及项目组成员在I期临床试验研究室召开了 2个BE项目的启动会，兼任项目PI的张定宇院长在会议总结时重点强调： “当前流感盛行，大家一定要注意保暖，避免感冒。”
当时，GCP的同事并未觉察到院长的深意。几天后，他们才知道，就在启动会的前一天晚上（12月29日），医院收治了几名不明原因肺炎患者。
也就是从这天起，金银潭医院，特别是呼吸道感染科，在超前谋划的张定宇带领下，积极投身于这场没有硝烟的战“疫”。
加快试验入组，机构、伦理齐迈步

Logistics staff carry supplies at Yinintan Hospital
Hospital GCP in the Eye of the Storm
On December 30, 2019, GCP (Drug clinical Trial Institution) of Wuhan Yintan Hospital and members of the project team held the launch meeting of two BE projects in the Phase I clinical trial laboratory. Zhang Dingyu, who is also the PI of the project, emphasized in the conclusion of the meeting: "Influenza is prevalent now, everyone must pay attention to keep warm and avoid catching cold."
At the time, his colleagues at the GCP were unaware of the dean's intentions. Only a few days later did they learn that the night before the launch (29 December), several patients with unknown pneumonia had been admitted to the hospital.
From that day on, Jinyintan Hospital, especially the respiratory tract infection Department, under the leadership of Zhang Dingyu, who planned ahead, actively engaged in the battle without smoke.
Speed up the experimental group, organization, ethics step forward

Logistics staff carry supplies at Yinintan Hospital
Hospital GCP in the Eye of the Storm
On December 30, 2019, GCP (Drug clinical Trial Institution) of Wuhan Yintan Hospital and members of the project team held the launch meeting of two BE projects in the Phase I Clinical Trial Laboratory. Zhang Dingyu, who is also the Principal Investigator of the project, emphasized the following in the conclusion of the meeting: "Influenza is prevalent now, everyone must pay attention to keep warm and avoid catching a cold." At the time, his colleagues at the GCP were unaware of the dean's intentions. Only a few days later did they learn that the night before the launch (December 29th), several patients with unknown pneumonia had been admitted to the hospital. From that day on, Jinyintan Hospital, especially the respiratory tract infection department, under the leadership of Zhang Dingyu, who planned ahead, actively engaged in the battle without gunfire. If you accelerate the enrollment of the trial, the institution and ethics will advance. -BW

====Wellsand, Benjamin====

2020年新年伊始，随着医院收治的类似患者日渐增加，且临床未找到有效药物治疗的情形下，帮助临床寻找特效药物成了当务之急。
他们通过文献检索、同类机构指导发现：洛匹那韦/利托那韦和干扰素-a2b, Remdesivir,对新型冠状病毒单/多克隆抗体可能有效，需紧急开展临床试验以验证这些药物对治疗新冠肺炎的有效性。接下来的每天，他们与时间赛跑，在确保符合药物临床试验规范的基础上，与中日友好医院、北京协和医院、北京朝阳医院、中国科学院武汉病毒所等多家研究单位展开通力合作，GCP机构办公室统筹协调，机构人员分工协作，自2020年1月6日起，开始了寻找治疗新冠肺炎有效治疗药物的临床研究攻关。
2020年1月9日，首个新冠肺炎项目“克力芝”进行伦理上会审批,经过几例预试验后，1月17号正式入组。截至2月2日，该项目入组新冠肺炎患者202例，入组速度相较于平时提升了 80%0

At the beginning of 2020, as the number of similar patients admitted to the hospital was increasing day by day, and no effective drug treatment had been found clinically, helping the clinic find specific drugs had become a top priority.
Through research and guidance from similar institutions, they found that lopinavir/ritonavir and interferon-a2b, Remdesivir, may be effective against new coronavirus monoclonal/polyclonal antibodies. In addition, urgent clinical trials are needed to verify the effectiveness of these drugs for treatment of COVID-19. In the following days, they raced against time. On the basis of ensuring compliance with drug clinical trial specifications, they cooperated with China-Japan Friendship Hospital, Peking Union Medical College Hospital, Beijing Chaoyang Hospital, Wuhan Institute of Virology, Chinese Academy of Sciences, and other research units. GCP Institutional Office is coordinating overall, and the personnel of the institution work together in the division of labor. Since January 6, 2020, the clinical research to find effective drugs for the treatment of new coronary pneumonia has begun. On January 9, 2020, the first COVID-19 project, Kalitra, was approved by the ethics committee. After several pre-tests, it was formally subscribed on January 17th. As of February 2nd, the project has admitted 202 patients with new coronary pneumonia, and enrollment is 80% above the normal rate.

---------end----------

2020年1月24日，国家科技部下达应急攻关专项，金银潭医院作为牵头单位承担“重症患者救治及诊疗方案优化项目”。

金银潭医院GCP机构员工正在硏讨

金银潭医院GCP机构参加武汉市传染病医院医学伦理委员会2020年度第一次伦理审查会议。

当日，金银潭医院内紧急召开“重症患者救治及诊疗方案优化项目临床科技攻关小组成立暨项目启动会”。1月29日，科技部应急攻关项目工作会暨项目启动会召开，并快速确定第一批的8个项目，以尽快确定临床治疗方案。

2020年2月5日下午，深受人们期望的“Remdesivir” 瑞德西韦临床研究项目启动会在金银潭医院召开，开启了新一轮的“特效药” ID期临床试验验证过程。
身处防疫一线核心的金银潭，摆在该院临床试验机构面前最大的困难是：如何在避免交叉感染的情况下，既要确保伦理时效性，又要保证项目审查质量。经过多方协调，他们最终通过院外专家远程微信视频+院内专家现场会议的新型形式解读

瑞德西韦临床研究项目启动会在金银潭医院召开

特殊时期应急情况。短短1个多月，他们共召开了4次伦理会议审查，其中新冠肺炎应急攻关项目会议审查14项。快审3项，备案3项。
身兼多职，全员参与保进度
GCP机构在全力配合用于治疗新冠肺炎的临床应急试验的同时，除了认真对待邮箱中每一个新冠肺炎项目咨询和解释相关要求外,在疫情特殊背景下,部分之前由院外人员承担的责任, 也落到了 GCP机构的肩上。
他们需要兼任CRO组织管理项目，查阅文献，审阅、撰写方案，制定项目专属SOP,为项目顺利启动做充足准备。
他们需要去病区，或作为PM统筹协调其他资源保障项目顺利如期展开，或作为质控员保障研究者按规范进行试验，或作为CRA监控试验实施详细过程，或作为CRC协助研究者顺利开展项目……

他们需要筛选符合入组条件的病例。每天从上千份病例中逐一筛选，挑选符合入组条件的病例，有任何遗漏，就可能造成某位患者错失早日接受治疗的机会。
他们需要根据患者知情入组的时间，配合临床，完成受试者随机分配，并跟踪直至给药完成。给药完成的时间，或是白天, 或是黑夜，甚至是凌晨，他们从不说苦，因为这就是责任。
他们需要录入试验原始数据。入组试验重要，但数据分析却更为重要，有效的结果能促进临床的规模使用，无效的结果能及时纠正研究方向，避免资源浪费。
获得试验数据后，他们又立刻将数据录入电脑，争分夺秒。在他们的信念中：只要早一秒录完，就能早一秒进行数据统计分析，药效就能早一秒知晓。

治病救人是医生护士的责任，而尽快获取第一手的试验结果，就是GCP机构的使命。他们精细划分每一项工作，分配好任务，及时跟踪反馈，确保所有工作能尽快有效落地。
快速响应，I期病房在行动
2020年1月，I期临床试验研究室除了照常完成已经启动入组的BE临床试验，还要协助其他病区防控疫情。
为确保受试者健康安全，同时最大限度增加医院床位，武汉市唯一的定点传染病医院的掌舵人、兼任I期临床试验研究室负责人的张定宇再一次做出决定：立刻暂停其他与疫情防控无关的药物I期

临床试验项目入组，已经入组的项目快速结束，腾出I期临床试验用病房，用以收治新冠肺炎患者。
接到指令后，GCP机构办主任龚凤云动员I期病房的所有医生、护士立即行动起来，仅仅用了两天就完成了病房的升级改造，随时待命。1月27日，I期病房开始收治第一例新冠肺炎患者。
舍小“家”为大“家”，把爱传递
GCP机构办公室主任刘颖以院为家，坚守前线统筹协调，咨询和立项的每一个方案都是经由她手，自12月29日起至

金银潭GCP机构同事合影
今未休息一天。每天连轴转，下班时间从未早于晚8点，深夜十一二点下班也是常态，每天只能抽空与未满4岁的女儿视频连线……
GCP机构的质控管理员阮姝楠，1月8号才做了肝脏囊肿手术，出院刚满一周，1月16号就重返工作岗位。伦理、机构的事情都少不了她，有一次，工作劳累之后，阮姝楠上腹部疼痛难忍，只好下午回家休息了半天，但第二天就重返岗位。她说：“我们GCPX作正接受前所未有的挑战，这种时候我不能缺席！ “
同事们心疼她，也只能尽量不让她干体力活。

自疫情防控战在金银潭医院率先打响以来，金银潭医院 GCP机构人员积极响应院号召，取消周末双休，很早就与家人沟通，退了回家的车票，取消与家人团聚的机会，投身于防疫工作。
他们已经连续战斗了 50余天，有时也会互相吐槽：真累啊，好想睡一大觉。但看着确诊病例不断增长，他们心急如焚，这不仅仅是数字，而是一个个如你如我如他的生命，一个个身边的同胞。
每想及此，他们又充满了斗志。他们相信：在全国人民的支援下，湖北、武汉一定能战胜这场疫情；他们相信：经过这场防疫战后的GCP机构，将会为守护人民健康积累丰厚的经验。
医院检验科的坚守

疫情开始的初期，对于病原的性质、毒力、传播等各种信息均不明确，导致很多员工在思想上焦虑，不安全感很严重。医院检验科党支部第一时间召开党员大会，号召全体党员在这个关键时刻出列，每个党员要在工作中成为一面红色的旗帜，在思想上成为一根定海神针。
检验科的管理团队根据专业的生物安全管理，迅即制定了更为严格的通道管理，提高了防护级别，调整检测流程适应高危样本的防护，持续性地开展防护服的规范穿脱程序的培训和检测环节的生物安全培训，严查细节，筑起保护工作人员和工作环境的一道防护墙。
检验科党支部的党员、干部、普通员工从这场战“疫”开始, 就站在了队伍的前列，科主任们把科室管理和员工的安全放在首位；风险高、任务重的岗位，党员先上。

检验科主任项杰从疫情开始就一直奋战在第一线，一直没回家。妻子生病不能照顾，两个孩子见不到父亲，自己身体撑不住也依然坚持工作。
检验科吴志强，夫妻两人都是检验科职工，疫情来临，为了工作，无法照料家里近90岁的老父亲，只好送到养老院。一个多月过去了，老人想儿女想回家，吴志强一次次在电话中安慰老人，挂了电话，自己却难过得直掉泪。
每天要忙到晚上10点多，整理大量的患者信息和核酸检测数据匹配，以保证及时准确地上传给省、市防疫指挥部；平日还要把关领回的防护用品是否适用于实验室的防护级别；对讲机时刻在手边，协调防护区内外的沟通……这是检验科刘婷的工作日常。

马峻本来到了不上夜班的年龄，因为科室根据安全考虑，接二连三有需要隔离观察的同事暂时离岗，马峻主动成为了 “顶班专业户”。
“我考虑了，我相信ICU的同志会照顾好我公公，孩子我送到她姑姑家，就算是刘伟（方国妍爱人）在一线，我也不退二线，我要回来上班”，这是检验科方国妍度过隔离期后的决定。
每一个岗位，都有他们坚守和奋斗的身影。
金银潭抗疫纪事

==Part 9==

第四章
“小人物”的“大故事”
如果说金银潭医院是与疫魔激烈交锋的战区，那么金银潭医院的所有医护人员和员工都是无畏的英雄战士。
然而，医院之夕卜，他们也只是一群普通的“小人物”，有各自的小家需要去操持。面对肆虐的病毒，他们顾全大局、參力力同心，沉着应对、主动作为，用最质朴的坚守、最无私的奉献打响了这场生命至上的保卫战，演绎出一个个感人的“大故事”。
于无声处听惊雷

有一种执着，在惊涛骇浪中弥足珍贵；有一种坚守，在困难逆境中传递温暖。
在抗击新型冠状病毒的伟大斗争中，影像确诊是第一道关口，为提供精准治疗发挥着前置性服务作用，承担着“预警机” 的角色与功能。
放射科便是医院治疗体系的“预警机”，在筛查、诊断、病情评估、疗效评估、出院判断等方面提供重要的参考决策依据O
拍CT、看胸片，是确诊新冠肺炎的关键环节。樊艳青是金银潭医院医技党支部书记，也是放射科主任。从2019年12月底以来，在金银潭医院收治新冠肺炎患者期间，她主动取消了休假，放弃了和家人春节团聚的机会，以院为家，日夜奋战在抗击疫情一线。

疫情形势严峻，樊艳青广泛动员和充分发动科室全体同志取消休假，她并没有豪情壮语，也没有硬性要求，只是简单地一句话“共产党员和同志们，看我的，跟我上！”
朴实而坚定，简洁而有力。在党支部的坚强堡垒带领作用下，医院放射科21名医护人员全部取消休假，其中包括5名党员。他们一力承担起6000多人次的门诊疑似病例、新冠肺炎确诊病例，同时还要负责1000多医护人员的筛查。
樊艳青还承担着大量的一线工作任务。每天坚持到隔离病房为患者做床边胸片，努力克服了工作量大、防护严苛、设备笨重、通讯不便等困难，出色完成了临床诊断要求。平均下来她每天要诊断检查300到400人次，每个CT要看600到900 帧图像。对待每个患者，她都以高度负责的态度，不放过任何的疑问与细节，每个患者资料要反复查看2到3遍，才撰写文字报告。
从疫情开始至今，她的眼睛每天都是酸胀、干涩，布满了血丝。

作为党员，樊艳青充分地发挥了先锋模范带头作用，哪里的任务重，她就带队冲锋到哪里。她以自己的行动和感染力，践行了共产党员的初心和使命。正是有樊艳青这样无数牺牲小我、奋不顾身的共产党员，在平凡岗位中默默奉献，于无声处听惊雷，抗击疫情这场伟大斗争的曙光才能提前到来。
军功章上有你的一半，也有我的一半
“我能想到最浪漫的事，不是和你一起慢慢变老，而是一起在烈火狂风中相互携手，抗击风暴，共同迎接黎明的到来。”
这是金银潭医院南四病区医生余婷和他的妻子——医院护士丁娜的共同心愿。他们以自己的实际行动，在医疗战线上抒写着爱情的动人篇章。

医院南四病区负责着四十多名新冠肺炎患者的治疗工作，其中有不少是重症患者。而南四区的医生总共才有四名，平均每人每天要治疗十多个患者，救治任务是平常工作量的五倍。而且，重症患者思想情绪波动大，病菌传染不可控风险高。
面对着这场艰巨的工作任务，余婷首先考虑的却是带动妻子一起来投身于这场伟大的斗争中。他们一起妥善安排好家里的事务，克服困难，第一个批次报名，第一个批次写请战书，第一个批次站在阵地的最前线。
余婷每天坚持到病房巡查、诊断。防护装备穿戴下来，要花费不少时间。他为了节约时间与装备，一进病房就是四五个小时。逐床问诊，对症下药，心理辅导，加油鼓劲，不仅从药物上治疗患者，还从心理上给重症患者以生的希望和春天般的温暖O

他的妻子丁娜，也全身心地投入到病房的护理工作中去，一丝不苟、兢兢业业，常常忙得连饭也顾不上吃。两口子一天下来，汗水浸湿衣背，水汽弥漫面罩，手上的动作不再敏捷，脚步不再有力，脸上被口罩压出了深深的痕迹。忙碌的背后，余婷与丁娜两人经常一天见不上一面，只能在休息时间打个电话互相问候、相互勉励。但他们都彼此约定，待到樱花烂漫时，两人一起去赏花，去品尝胜利的喜悦。
因为，“军功章上有你的一半，也有我的一半！”
不能守护的家人
2020年2月3日，如同往常一样，医生王珂和护士赵欣刚结束繁忙而紧张的抢救工作。当晚有2个患者病情危重不稳定，他们一直忙碌于诊治，待写完抢救记录，时针已指向凌晨 3点。当晚，本不是

王珂值班，是他主动要求参与抢救危重患者。
不仅仅是这次，平素工作中他也是如此。
时间回溯至2020年的1月20 0,接到紧急通知，当晚就要腾空病房收治新冠肺炎患者。疫情就是命令，金银潭医院结核病科第三党支部紧急撤离一批患者,布置病房，研究实施方案, 一直忙到晚上10点，终于为收治新冠肺炎患者创造好完备的环境条件。
作为一名党员，44岁的王珂，顾不上疲惫，积极请战，开始收治第一批患者，到当天凌晨3点金银潭医院结核病科第三党支部总共收治31个患者，仅王珂一人就收治了 10多个患者。
脱下防护服的那一刻，他的衣服已被汗水湿透，脸颊上也被压出深深的褶痕。

在接下来的工作中，他总是不顾危险，率先冲在最前面：积极要求接管病情比较危重的患者；主动要求参加危重患者的抢救工作；危重患者转科时，积极进病房帮忙搬运吸氧设备和呼吸机……
只要有需要，随处都可以看到他的身影。在承担患者救治工作之余，他还要协助完成治疗新冠肺炎的临床研究项目，利用休息时间采集和处理住院患者的临床医疗信息，频繁下病房去询问、了解患者病情。除去吃饭和睡觉的时间，他的生活被安排得满满当当，全身心扑在治病救人工作上。
不幸的是，这期间他的小姨被确诊患有新冠肺炎。然而，在疫情紧张的局面下，医院仍有许多重患需要救治，治疗项目也亟待突破。几番思量，他选择忍痛留守在没有硝烟，却异乎残酷的战场上，没能去看小姨一眼，只是通过电话交代了一些注意事项。由于病情危重，他的小姨很快去世了。接到电话通知的那一刻，这个大个头男人眼里都是泪水，他抢救了那么多患者，唯独自己的亲人需要他守护时，却不能出现在身边……

仅仅过了数日，他的妹妹也被确诊，好在妹妹年轻，病情也比较轻，他却也只能借助电话向妹妹传达问候和关心。
“家是最小国，国是千万家”。多少这样平凡的白衣战士心甘情愿舍小家为众人筑起一道抗疫的长城，只为这场疫情防控阻击战能早日胜利，只盼彼时冬去春来，雪消冰释。
那个蹒跚的身影
2017年8月一2018年8月赴藏对口援建工作第一批成员。
2019年2月由于临时加开北五楼病区并腾空原有北六楼结核病区收治流感患儿，大大缓解其他科室收治压力。
2020年1月1日接管南六楼新冠肺炎病区，1月19日将南六楼改造成为ICUo
这是陈南山近三年的工作轨迹。他的身份在临床医生、援藏队员、病区主任之间无缝转换。

作为金银潭医院耐药病区的科主任，他的每一个亲切的笑脸，每一个鼓励的眼神，每一句温暖的问候语，每一个细微的动作，对于耐药患者都是一味对症的良药。
陈南山从事医疗事业三十多年来，无论是在行政管理，还是临床医疗的岗位上，都是兢兢业业，刻苦钻研，得到了患者的赞誉、同事的好评。他有着良好的职业道德、严谨的工作态度、很强的综合分析能力，非常重视诊疗过程中的心理疏通，关注患者心理变化。
随着新冠肺炎危重症患者收治越来越多，1月19日医院决定将南六楼从普通病房改造成为ICU,从人员分配、环境布查完房从病房里出来的陈南山。

陈南山穿戴防护装备。（第四章图片除有特殊说明外均为武汉市金银潭医院供图）

仪器设备到一张床一把椅，陈南山带领大家动了起来，一边收治危重患者，一边改造，仅花了两天半时间把整个病区改造成功。

他身体力行，每天不管多忙多累都坚持下病房，详细查看每一位患者，掌握患者的病情变化，半夜突发状况比较多时他就干脆睡在医院。
陈南山已年近六旬，高血压、痛风症常年折磨着他，同事从他走路的样子就能看出他痛风又犯了。
数十天的坚守，他没有豪言壮语，没有遗书遗言，没有光头明志，只有那略弯着腰、微弓着背的蹒跚身影深深印在同事和患者的脑海中。
哪有什么生而勇敢，

只是因为选择了无畏
从2019年12月底开始，医院检验科已满负荷地工作2个多月了。检验科入职不久的“小朋友们”，有的刚当上父亲，有的还是奶奶最疼爱的孙女，然而，只要穿上白大褂，他们瞬间就化身为勇敢而无畏的战士。
何旭，生化组，2017年入职。
何旭每天要穿梭在三台生化仪旁，检测几百例样本、几十个项目。
他说，刚开始，因为对这个病毒到底是什么、怎样传、毒力怎样都未知，想着家里又有老人又有小孩，还是挺担心的。后来随着科室的防护措施一步步提升到位，科室不断地给大家做生物安全培训，各方面细节都涉及了，心里有底了，开始逐渐踏实下来。
对何旭来讲，最大的动力之一，莫过于家里人的支持，他的妻子带孩子住在岳母那里，老人把孩子照顾得很好，免了他的后顾之忧。有时下夜班，何旭会帮家里买点菜，把冰箱塞满。

何旭在工作中（右图左一为何旭）。

“我只能做这些，不敢在家久待，所以对家人挺愧疚的。” 何旭说。
闫明哲，分子生物组，2019年入职。
闫明哲负责病毒核酸检测。1米9的小伙子，笑起来还像个腼腆的大男孩，儿子才出生3个月。
闫明哲说，刚开始还是有点害怕的，不过“这就是我们的责任啊，不能退”。尤其看到外省的医务人员不远千里一拨一拨地赶来支援，看到私家车司机自发地守在医院门口接送医务人员，他在心里想，除了加倍地做好工作，哪有理由退缩。

这段时间以来，闫明哲最想感谢的还是自己的妻子。虽然闫明哲父母帮着妻子一起带宝宝，可好多方面，妻子都得去适应，“挺难为她的”。宝宝后来发湿疹，也不方便带到医院去看, 只能干着急。
有时候，闫明哲挺想回去一下，但疫情防控需要，闫明哲只能隔着玻璃看看宝宝，“儿子现在还不会找我……”
吴煙，临检组，2019年入职。
吴哗本来准备今年结婚，疫情暴发后，头发都没时间去剪，婚纱照就更没时间去拍了。
吴煙说，刚开始也害怕，特别是身边有熟悉的人感染，但是科室的防护工作做得很细致，“老师和前辈们没有一个人退缩，我也就安下心了”。

何柳、张媛媛，微生物组，分别于2011年和2018年入职。
疫情一开始，何柳就将自己在医院附近的房子让给了科室的两个老师居住，她说：“江老师和刘老师家里都是几代同堂，住得又远，让她们住我家，她们的家人就少些风险。”
何柳平时话少，却贴心地为老师们备好了洗手液、洗发水。
自从科室提高防护级别后，有些风险高的项目就挪到了 P2 实验室内完成。每天张媛媛和何柳在江丽萍老师的带领下，在 P2实验室里一待就是三四个小时。张媛媛说：“科室老师们都是这样在工作，我和她们在一起，不怕。”

刘梦元，临检组，2019年入职。
刘梦元说，刚开始也会害怕，后来看着科室生物安全管理非常严格，各个环节、各个细节都注意到，一遍遍地培训，也就不怕了。“在我们科室里，我感觉最安全。有时爸爸妈妈打电话时，我就跟他们讲，我们怎么做防护的，让他们放心。” 刘梦元说，有时老师们从实验室出来后，一起说说话，开开玩笑, 就感觉很轻松，心里很踏实。
一副副年轻的脸庞，一个个瘦小的身躯。哪有什么生而勇敢, 只是因为选择了无畏。
在金银潭医院检验科这群90后的年轻人眼里，这次疫情是考验，是锻炼，是个人难忘的一次成长。他们从检验科严谨的生物安全管理措施和持续的培训中，获得了安全感；从科主任率先垂范的行为中生发了责任感；从前辈老师们乐观、坚韧的精神中获得了坚持下去的力量；从科室和同事们的关怀中得到心灵上的安慰。
累，但是值得!

吴婷是金银潭医院综合二楼护士。作为一名有着近七年工作经验的一线护士，面对疫情，吴婷深知，穿上白袍，就等于选择了责任与使命，作为医护工作者,救死扶伤是工作更是责任, 抗击疫情责无旁贷。
2019年冬季的流感暴发，吴婷所在的科室作为流感病房，承担着小儿流感及各类感染性疾病的收治工作，每天出入量都在50人次左右，正是这样一个无比团结、和谐的队伍在坚持，并将继续坚持着，从未落后过，也从未放弃过。
自1月19日开始收治疑似病例以来，金银潭医院上下同心同德，全力投入救治工作。隔离病区的医护人员更是日夜奋战在疫情防控第一线。
1月19日，吴婷所在科室接到医院通知，清空病房，全体搬迁至南三楼收治新冠肺炎患者，科室同事集体报名加班，做好病房的布置工作。老病房和新病房的处理在科主任和护士长的带领下，进行得有条不紊。

吴婷记得，当天她上夜班就收治了 18个患者。新型冠状病毒感染的肺炎这样一个新病种，当时对于她们来说还有点陌生，但是大家都经过医院的严格培训，并且有禽流感救治的经验，所以很快就进入了角色。
1月26日，又接到医院通知，科室护士全体搬迁至综合楼二楼，大家又积极报名改造和布置病房、清洁区、潜在污染物、污染区等等。
这些细小的工作看似简单，做起来却并不容易，但吴婷和同事们经过科学的考虑，科室布局都符合院感（医院感染管理）的要求，至今为止，吴婷所在的科室无一例医护人员感染。
1月26日晚上，吴婷和同事就接收了 30个新患者。接收后，医生立即分类，护士马上报总值班。医生们按轻重缓急有条不紊地处理患者；护士们测生命体征、吸氧、输液等等，穿梭于患者之间。医护之间争分夺秒、配合默契，一直到次日凌晨3点，才将所有患者处理完毕。
处理完患者，又开始处理病房，因为没有卫生员，这时护士不仅只是护士，还是清洁工、患者的家属等等，承担着各种角色，但大家没有一句怨言。

从流感到肺炎，吴婷和同事几乎没有休息过，“累，但是也很快乐，因为正做着一件很伟大的事情。”
“哪有不怕的，说不怕是假的。”但是在病房里，每当看到患者的意志力是如此之顽强，听到患者每天给大家打气，为武汉加油，为自己加油，吴婷觉得一切都是值得的。
吴婷觉得，正如钟南山院士所说，“武汉本来就是一座很英雄的城市，有全国、有大家的支持，武汉肯定能过关。”
一名医者的担当
中午，值班室里，大家陆陆续续吃完了午餐，郑汉丹医生这才顶着湿漉漉的头发过来，问有没有多余的盒饭，她要带一份给家中的孩子。
她的儿子今年上高中，自理能力不错，为什么今天要送饭回去？
原来郑汉丹今天夜班，查完房她要把家中唯一的汽车开回去，这样的话，晚上她爱人就可以开车送郑医生的母亲去武汉中心医院南京路院区做透析。

郑汉丹医生是金银潭医院的一名普通医生，一直从事传染病的临床诊治工作。她的父母也是医疗战线工作者，父亲是金银潭医院退休的老院长，已85岁高龄；母亲是武汉市中心医院妇产科退休的老主任，5年前因为糖尿病、肾病开始就近在武汉市中心医院后湖院区透析，郑汉丹需要经常过去照顾。
郑汉丹自己患有哮喘，常年使用药物控制发作，她爱人曾俊在武汉市疾病预防控制中心工作。2003年的非典战役，郑汉丹参加过，儿子也是那一年出生。没想到17年后，金银潭医院作为武汉市首批收治新冠肺炎危重患者的定点医院，她又一次投入到了新的战场上，肩上的职责丝毫未变。
从疫情开始，他们夫妻不分昼夜，在各自的岗位上奔波忙碌，没有多少精力顾及家庭。所幸的是刚上高一的儿子自理能力强，做饭洗衣等驾轻就熟，因为父母特殊的工作岗位，孩子早已磨砺出来，这段时间一直都是独自一人在家自己照顾自己。

最让郑汉丹担心的是母亲年老体弱，透析治疗已有5年，近期因为疫情越来越严峻，原来做透析的武汉市中心医院后湖院区临时改为收治新冠肺炎患者，透析需换到离家较远的武汉市中心医院南京路院区，加上母亲因脑梗造成双下肢瘫痪，每周3次的透析无奈减至2次。
按现有情况，必须靠车辆接送才能完成透析。夫妻俩单位——父母家——透析中心，往返奔波，为了交接唯一的交通工具——私家车，夫妻俩人才能见个面，说几句话。为了工作，她和医生商量，母亲的透析时间安排在晚上8时至12时，每次透析结束，都是凌晨才能安顿好父母，次日又要投入到忙碌的工作中。
在这场看不见硝烟的战争中，所有家庭都面临着各种困难，经受着各种考验，但是为了人民的健康和幸福，郑汉丹和她的同事们“舍小家，顾大家”，以医务工作者的责任和担当，义无反顾地投入到抗击新冠肺炎的阻击战中。他们的付出，是众志成城打赢疫情防控阻击战的坚实基础。
“一点都不害怕那是假话，但也容不得我们害怕”

“一点都不害怕那是假话，但也容不得我们害怕。”已经从业13年，31岁的金银潭医院南七楼重症监护室护士马丹说。
“现在是每天都要进去，排班就像车轮一样不断往前滚。” 马丹当天的排班是晚上11点到凌晨4点。她们科室总共40 多个护士，7至8个人为一个班组，每个班进去一次就是5个小时。
马丹的老公是一名货运火车司机，疫情发生后，他也一直坚守在岗位，调运货物。夫妻俩4岁的儿子现在特别“可怜”，成了留守儿童，都是家里老人帮忙在带。
马丹唯一一次回家是1月30日，原因是86岁奶奶去世。但那天她和爱人仅仅是回家看了一眼就走了，没有多逗留。疫情笼罩之下，奶奶过世，没有几个亲人相送，没有一个花圈，在马丹的记忆中没见过哪个老人去世时，走得这么悲凉。
马丹回忆，2019年12月29日首批转入金银潭医院的9名不明原因肺炎患者就是进了她们科室。“当时还不清楚是什么病毒，我当时在武汉市的其他医院进修，然后看到工作群里说，
突然转入不明肺炎患者，我就说我要回来，不能抛下同事。第二天一早我就回到了工作岗位。”

“一点都不害怕那是假话，但也容不得我们害怕。”马丹说，她参加过禽流感、甲流的疫情防控工作。
“我觉得本来就是传染病专科医院，如果我们都不顶上去，那还等谁，还能指着谁，这是我们的专业，我们不能退缩！”
在重症室，患者的生活起居、大小便等全部要护士来帮忙。
马丹的病房里十多个重症患者，最轻松的时候，一个护士也要管2—3个患者。“在那里面的压力是很大的，患者都是全院最病重的，抢救、用药都很急，我们时时刻刻都要面临可能出现的抢救工作，节奏很快很紧张，强度很大，神经绷得很紧。”
“科室护士长从疫情发生就没有回过家，天天守在病房，她连酒店都没有回过，她要守着患者做ECMO （体外膜肺氧合），做完了她就直接在病房休息。”马丹回忆，有一天工作完了之后护士长流鼻血了，就捂着鼻子，搞了个氧气在那里吸氧，即使这样了也不离开岗位。护士长和女儿视频，经常是对着手机躲在一边哭。“有了她的带动，我们才有坚持下来的动力。”马丹说。

马丹所在科室在疫情中相互鼓励。

“爸爸每天早上五六点的时候给我发一篇心灵鸡汤文章，慰问一下我和同事，鼓励我。” 一直在前线坚守的马丹，最感恩的是家里的爸爸妈妈和婆婆的支持，“特别是我爸爸，他是一个老党员，他认为遇到这个事情，国家需要我，我能参与是我的责任，也是我的光荣，他以我为傲，每天在微信鼓励我。”
马丹说，她的婆婆不善言语，但让她特别安心。婆婆跟她说：“我帮你把孩子带好，你安心在前线工作！”

“每个人做好自己的事情，就是对疫情防控最大的帮助。” 马丹说，只希望自己能尽最大的能力，救治每一个患者，让疫情快点结束。

==Part 10==
不只是在疫情中才是战士
46岁的金银潭医院南四病区护士长吴静，已经从业28年。
从1月1日开始投入这场战“疫”，腾退病房，做好准备，2

是一个没有硝烟的战场！不计报
,无论生死！这八个字朴实无华，却是每位医护人员的职业道德和信念的写照！十多天来，我亲身经历了这战场发生的一切，医生、护士、医务人员冒着生命危险，穿着厚重且不甚透气的防护服，24小时奋战在病床一线。为了节约时间, 他们走路都是一路小跑......看着他们一个个疲惫的样子，我心疼的流泪 To （说实话，我自己都没有为我生这场病流泪！）我无法用语言来表达对这些医生、护士的敬畏之心！通过这次疫灾，我深切体会到身为中国人是有满满的安全感、幸福感的！感谢习主席、感谢党中央、感谢武汉市政府、感谢金银潭医院及南四楼的余主任和所有的护士，让我携起手来共同努力，坚决战胜侵袭武汉的新型冠状病毒感染的肺炎，坚决打赢疫情防控战！加油武活、治疗上的事全部都是护士来管。护士穿着防护服后行动会变慢，防护服里很闷，动一下就会大喘气。
当时情况就是“今天排明天的班，后面三天四天的班就排不下去了，非常缺人。我着急得都快哭了！”
后来人手多了些，吴静抽出时间回了趟家。
“我走的时候，家里人只说让我放心，工作之余方便的时候报个平安。”
吴静的科室护理团队里很多都是年轻的姑娘，28个护士，
90后占了 80%。“这些小丫头其实也都有各自的困难，心里也害怕，但觉悟都很高，不用安排她们去做什么，她们已经主动在做了。从来不叫苦，从来不讲条件。”

吴静所在科室的护士们合影，相互加油鼓劲
初期，吴静最担心的还是防护用品，自己都保护不了，怎么去保护别人。
“我们病区最小的护士才22岁。让人家在这么危险的环境工作，必须先保证她们的安全，也能更好照顾患者。”
吴静说，由于防护服是连体的，没有口袋，护士巡视输液时需要签名，笔、对讲机等小件物品没地方放。为了工作方便，科室护士的爸爸妈妈亲手帮她们做了
“爱心腰包”，吴静还在上面画上了笑脸，鼓励患者和医护人员都要乐观面对。
在吴静眼里，没有觉得自己是个战士，就是做好本职工作, “不管什么样的患者我们都要救助，不只是在疫情中才是战士, 平时的工作做好也是战士。”
宁愿穿纸尿裤干活，
也不愿离岗的大男人
金银潭医院工程部维修班副班长肖剑池怎么也想不到，46 岁身强体壮的自己，也会有穿上成人纸尿裤的一天。
但即便如此，他也从没想过退下抗疫一线，“病房里的事情要做啊，班长由于密切接触新冠肺炎患者被隔离,我是个党员，事事更要带头做！”
抗疫前线，肖剑池不愿缺席，哪怕突发痔疮，给工作和生活带来了各种不便。
2月12日，刚刚从医院综合4病区和5病区装完紫外线消毒灯回来的肖剑池接到电话：“北七病区15床跳闸，麻烦来看看。”来不及喝口水，他就和同事一起赶往北七病区。考虑到防护物资紧缺和维修难度，他让同事先在清洁区等候，自己穿好防护服进了病房。首先接上临时电源，保障医疗设备用电，再查找原因，近1米8身高的他，蹲在这里看看，趴在那里瞧瞧，终于在患者床下发现了原因，“重症患者小便失禁，尿液把设备的电源插座打湿烧坏了。”
处理完故障回到科室后，肖剑池疼得身上直冒冷汗，他换下工作服后径直去了厕所,这才发现内衣全部被血水打湿。原来, 长时间的蹲姿诱发了痔疮。
“怎么办？班长还没有结束隔离，这种特殊时期我肯定不能下火线！”他突然想到前段时间有爱心企业捐赠了成人纸尿裤，“我们要进病房工作，时间长了，穿个纸尿裤方便些。” 于是他找护士要了一包，由于拿着一包纸尿裤回去，“目标” 太明显，他只拿了一个，偷偷去厕所穿上，然后又去开了点痔疮膏。
后来，肖剑池想着纸尿裤穿着方便，但在男厕所里太过显眼, 他就用卫生纸代替了纸尿裤。每次需要更换卫生纸了，他边揪卫生纸边跟同事说拉肚子，就这样偷偷换了3天的卫生纸。突然有一天，同事发现哪怕再辛苦再累，肖剑池回来后也不坐着，经多次询问，无奈之下，他“坦白” 了，因为疼痛，一旦坐下来, 起身很困难，必须扶着凳子才能起身，所以他宁愿站着。
为保证后勤保障工作有条不紊，肖剑池主动顶替被隔离的班长上夜班。最长时间，他连续值了 2个夜班，工作超过48个小时，“虽然疼得火辣辣，但是问心无愧。”肖剑池说。
背后的她
优秀的共产党员，唯有在生动艰苦的工作实践中，方能显现出身上可贵的品质。作为金银潭医院财务科党支部书记、审计科长，李斌迅速地调整心态，投入到这场史无前例的抗击疫情的伟大斗争中。
这次疫情金银潭医院承担着新冠肺炎重症、危重症患者救治的任务，病毒传染风险一度令人谈之色变。入院患者没有家属陪护，生活自理能力差，需要医院提供全方位的生活保障服务。
李斌直面疫情，有序应对，在领导的布置下，主动承担起每天三餐给患者送饭到传递窗口，为病区运送消毒药品、办公物资等任务。病区内的医生与护士均为最高等级防护，每次送饭、送物资前，她都缜密地多方协调，科学有序做好隔离消毒和防护等各个环节，严格把关后勤保障供应的质量，在约定时间给患者提供营养可口、舒适温暖的后勤保障服务。李斌知道，患者营养有了保证，治疗效果才能确保。
医院行政管理人员一般都没有经过系统的医护专业培训，没有烈性传染环境中自我防护的专业技能与设备，普遍会产生一定的心理恐慌与畏惧情绪。李斌及时发现了这些情绪与苗头，她没有死板的说教，也没有严苛的命令，而是将自己的心得体会、成功做法、防护经验毫无保留地与大家分享，以自身的实际行动带动大家，发动大家正确认识病疫，普及科学防护的常识与要点，增强大家的信心。
小小身体里的巨大能量
李向蓉，是南一楼的一名普通护士。她爱笑，似乎没有什么事在她那里是过不去的，无论多忙，多累，同事们总是可以看见她欢快的小身影，快乐的小步伐。
疫情袭来，李向蓉冷静地安排了自己的家人，把婆婆和两岁三个月的儿子送回了老家，同时叮嘱好老公每一件注意事项，然后默默地收拾好了自己的行李，上了战场。家人们都很支持她的决定，同为党员的公公跟她说：“作为一个党员，在这个时候你一定要起到带头作用,冲在最前面！家里的一切你放心, 保护好自己，才能更好地为人民服务！”婆婆也是跟她立下了 “军令状”：“你安心去战斗，等你凯旋归来，我保证你儿子又长胖了好几斤！”
厚厚的防护服，层层的口罩与隔离衣，每天都汗如雨下，连说话都困难，走快一点都觉得喘不上气，可是她从没有说一句累，没有丝毫的退缩之意，依然“健步如飞”。
只要患者有需要，她总是用最快的速度来到他们面前解决所有的问题。喂饭、翻身、倒便盆尿壶等等，所有的脏活累活她从不挑剔，像对待自己的亲人一样，每一件事都尽心尽力。遇到不想吃饭的患者，她总是耐心地劝他们，一口一口地哄他们吃，患者们都说自己的亲孙女都不见得有她那么仔细照顾人。
遇到一些不听话、不配合治疗的患者，她气急了也会“凶”，生气地跟他们说“再这样我就不管你们了！”可是当真的有事时，她还是狠不下心，说不管的是她，冲在最前面的也是她。
李向蓉每天都充满了正能量，用同事的话说，像“打了鸡血” 一样，像个铁人，什么都打不倒她。
有一天，李向蓉接到了家里打来的电话。挂了电话，她飞快地跑到一个角落，号啕大哭。等她情绪稳定了一点后，同事们才知道，原来她的儿子已经生病好几天了，高烧不退，不吃不喝，家里人怕她担心，没敢告诉她，后来实在是瞒不住，孩子情况越来越不好，家里人也不知道该怎么办了，才给她打的电话。
领导说放她几天假，让她回去看看孩子，她没有拒绝。可到了下午，她又找到领导，说不回去了，“孩子有家里人照顾，这里更需要我！”所幸，几天后，孩子恢复了健康。笑容又回到了李向蓉的脸上。
新冠肺炎疫情下的耐药之战
2019年12月29日，武汉市金银潭医院打响了抗击新冠肺炎病毒的第一枪，随之所有病房清空，举全院之力收治新冠肺炎重症、危重症患者，800余名医务人员进入战疫一线，作为湖北省耐药定点医院、耐药定点培训基地，医院耐药结核病区也在2020年1月21日进入了一场新的战斗。
全市封城，交通不便，门诊有限，就诊困难，有些疾病可以等，但耐药结核病患者等不了。耐药患者一旦停药，就会导致情况更加恶化，治疗方案更加复杂，诱发并发症，进而使整个“耐药之战”功亏一簧，严重时甚至危及生命。
为了让耐药结核病患者不停药，保证疗程，减少新冠肺炎对疾病的影响，金银潭医院耐药病区医生周勇、护士长贾春敏带领咨询员在保证新冠肺炎患者的救治工作的前提下，利用休息时间，提供24小时线上问诊、心理疏导、信息登记、快递药品等志愿服务，累计服务患者350余人，快递药品近100份。
询问、记录、安抚，根据患者需求，医护人员首先登记好患者的姓名、年龄、手机号、收货地址等信息，交由周勇进行完善。随后，贾春敏拿着信息统一去挂号、开处方、缴费、拿药，取出药物后按要求分类消毒打包，再一个个写上名字，之后寄
给患者。
因为封城，出行成了大难题，患者进不来，药品也出不去，为了能让这些沉甸甸的希望送到患者手上，志愿服务队的队员们利用下班时间去联系快递公司。一家不送，再找一家。一处碰壁，再碰~处。
一次，护士谢家强好不容易寄出的快递，由于封城被扣在快递公司，身高不到1米6、刚下夜班的她担心药品丢失，在寒风中骑行7公里，历时一个半小时，终于把药取回，并经过多家辗转，最终寄出了这些药物。
志愿服务队的队员最终也感动了快递师傅，主动来院取药、寄药。
抗击新冠肺炎的战“疫”还未结束，这场耐药之战仍在继续。
一名护士长的抗疫实录
我是武汉市金银潭医院南二病区护士长胡徐娟，从“武汉不明原因肺炎” 2019年12月29日流传以来，至元宵节，整整 41天，我和我的很多战友没有休息。
我们真的很累，但是身处一线，如果不继续奋战，那我们的意义又是什么？
连续在一线作战，持续的高强度高负荷工作让我们医护人员喘不过气，但看着躺在床上的患者那渴望被治好的眼神，我们一次又一次给自己打气，继续站在危险的第一线。
今天的我，回头再看，从那天起，我们其实已经走进了一场全球瞩目的巨大疫情之中。谁也没曾想到25天后的1月23 日武汉封城，紧随着湖北省内13个城市逐步停掉公共交通，进而全国各个城市卷入其中。
从12月底到1月初的那一周里，医院收治类似的患者越来越多，由于病情性质的特殊，重症患者较多，对于医护人员的防护级别和病房的要求越来越高。我们不断地新开病房，由于时间紧，对病房的要求高，一天的时间我们就得把一个普通病房改造成类似ICU模式的重症病房，其间辛苦，难以言表。
没有具体的时间，我们就已经走在了疫情抗战的第一线。
谁也没曾想到，会持续至今，且形势愈演愈烈。
面对不断增加的患者，人员不足开始显现。1月11 EJ ,医院发布通知，即日起取消休息，全员上班，但是在不断转院进来的患者面前，我们开始了连轴转的状态，上完白班跟着上中班，上完中班继续上夜班。
1月的武汉进入到一年最冷的时节，而我们在密不透风的防护服里，衣服从未干过，患者身边各种监护仪器此起彼伏的报警声让我们无暇顾及额头的汗水，当走出病房脱下防护服，全身衣物早已被汗水浸透。
在连续作战的日子里，我们负伤却依旧前行，我们不敢倒下，因为面前还有更多需要我们去救助的人，我们肩上挑着责任，背负着使命，我们要为武汉加油！

金银潭医护人员脱下防护服后，全身衣物早已被汗水浸透

医护人员脸上被勒出深深的印痕。

每一次诳病房前，医护人员都会测重体温和血氧饱和度.然后认真地记录下来
医护人员在病房合影鼓劲一
两伯医护人员在迸病房前相互整理防护报.
这是医护人员繁重工作的一个“小角落

金银潭医院迎来来自祖国四面八方的医疗队的支援。

在疫情愈发严重后，武汉受到了全国的关注，而作为重中之重的武汉金银潭医院，我们得到了四面八方的支援。有本市的、上海的、福建的、吉林的、重庆的。我们的护理团队从十几人变成20多人。这一刻我们看到了国家的力量。
尽管来了多方支援，可是在面对科室30多个患者，近20 个危重患者，经常一个患者就得两个人操作时，我们20来人的护理团队仍然有点力不从心。
由于此次疫情在春节期间，加上后来多方的宣传，疫情也得到了全民的重视，在防护层面来说是好事，然而也为医院带来了一些困扰，比如医院的保洁和保安陆续走了，甚至连食堂的阿姨也走了。

从四面八方，从全国各地，温暖源源不断
吃的、喝的、用的、穿的，凡是能想到的，爰心人士
都想方设法送到金银潭医院医护人员手上。

位叔叔和阿姨留了下来，和我们一起战斗，她们体谅我们的辛苦, 我们也感恩他们的付出。
了保障我们的生活，医院行政的领导们每天在楼下为我们派饭，运送防护物资。我见过党委书记来病房清理垃圾，见过院长会没开完就哭了，见过院办、党办主任每天帮着送物资，见过工会主席每天给患者送饭，我还见到了我的同事们因为压力太大而哭泣
爱，一直都在。此时的我们知道，我们不是独自战斗，全国人民的心和我们在一起。

==Part 11==
金银潭白衣战士群像

乐观、坚强的金银潭医护人员。

这群可爱的白衣天使，远比我们想象的能干，修厕所、修灯管，都不在话下

乐观、坚强的金银潭医护人员。
金银潭抗疫纪事

第五章
并肩战斗
新冠肺炎疫情肆虐，武汉市金银潭医院作为湖北省、武汉市突发公共卫生事件医疗救治定点医院，第一时间冲在最前沿。全体医务人员毫不畏惧，超负荷坚守岗位，迎难而上，逆风而行。
一方有难，八方支援，在疫情防控的严峻形势下，各地医疗队紧急驰援。战“疫”的战场上，他们与金银潭医院的医护人员并肩作战，使得新冠肺炎患者的诊疗质量得到大大提升，挽救了一条条生命。
我们要更加坚定要竭尽所能
位重症医学医师的“武汉六日记”
时时面对夕匕亡，每次都要尽最大努力！从诞生之日起，重症医学就与抢救生命密不可分。作为奉命驰援武汉诸多重症医学医师中的一位，首都医科大学宣武医院重症医学科主任姜利 1月26日清晨抵达武汉后即进入这次疫情的“暴风眼”——武汉市金银潭医院，坚守至今。
连日来，这位从事危重病医学临床工作27年、参与救治危重症患者数千例、在急性呼吸窘迫综合征等方面积累了丰富临床经验的重症医学医师坚守一线，也坚持写下了 “武汉日记”。
第一天1月26日
到达武汉市金银潭医院：一个一个地梳理患者
一夜火车，早晨7:48到达武昌火车站。费了些周折联系到接站人员，到达驻地武汉会议中心，路上几乎没有车辆和行人。安顿好后，和东南大学附属中大医院党委副书记邱海波、首都医科大学附属北京朝阳医院副院长童朝晖、北京协和医院重症医学科（ICU ）主任杜斌，以及几位各地来的ICU医生一起到达武汉市金银潭医院。我和杜斌教授今天去的南六病区，是由普通病房改造的ICU病房。部分患者病情危重，还有一些是不稳定的。病区的工作人员来自不同地区、不同医院，专业背景各异，大家认真把管床方式与流程进行了梳理，重新分工，接下来就是一个一个地梳理患者。在穿好防护服进入病区后，人就不能轻易出来，里面的一片纸也不能带出来，和非传染病房的工作方式有很大不同。大半天时间就这样过去了，对要处理的患者也有了初步印象。
第二天1月27日
内外配合逐渐开始默契
病房早交班是7：55O驻地离医院大概十来公里，所以一早赶过去。南方天气阴冷。昨夜有患者去世，心中涌上来的悲伤，让我们更加坚定要竭尽所能。今天开始早晚双查房制，为夜班排除隐患，减少可以避免的抢救。我们管理的9名患者中，5 名重症、3名危重，低氧程度远较普通肺炎严重。ICU医生多花时间在床旁，而金银潭医院的医生帮助完成开医嘱和记病程的工作，内外配合逐渐开始默契。又把整理好的一部分工作流程贴在病区和治疗室的墙上，让大家执行时简单易行。
第三天1月28日
个子不高的男护士：像病房里的一个“稳压器”
依旧是在阴冽的清晨到达医院。今天我们组有两个“大活”，一名肾衰患者要做血液净化，另外一名则要进行最危险的操作一一气管插管。看完患者后，几位医生兵分两路，分别去处理血液净化和气管插管。有了前几次的经验，我们提前把需要的药品事先准备好。不料喉镜又出了问题，在等待新喉镜的过程中，一位个子不高的男护士引起我的注意，他手法娴熟，一个多余的动作都没有，活干得让人看着极其舒服，操作的同时还不停地安慰一旁新来的护士和屋子里焦虑的患者，像病房里的一个“稳压器”。喉镜和负压吸引装置终于来了。管床的小伙子义无反顾地戴上防护头套，像个勇士一样完成了危险的操作，淡然镇静。
午饭时，发现医院宣教中心的老师给我做了个小视频，被学生发到网上。从下午到晚上,涌来了雪片般的问候，家人、朋友、同学、同事，认识的、不认识的……心中暖暖的。
第四天1月29日
作为同行，这时候能做的唯有鼓励
早晨一过去，得知夜间又有一名患者去世，多少有些沮丧。然而，宝贵时间更要留给活着的人。穿防护服时又被告知，防护用品很紧张，进去一次一定要多完成一些工作。但是，ICU 患者的病情瞬息万变，在外面中心台看着像过山车一样的生命体征，恨不得马上到床旁看看究竟发生了什么。然而，现实不允许这么做，只有一遍一遍拿着对讲机，和里面的护士们反复沟通，想办法找到原因并纠正。
下午得到通知，去另外一家医院会诊及看望一名医生，才 40岁，他因为病情加重，又和夫人双双染病，很是焦虑。我们看了他的病历资料和肺部CT,心里不免又一沉。好在视频通话时，他居然可以连续说话，不太费劲。作为同行，这时候能做的唯有鼓励。而作为外科医生，40岁正是干事的年龄，希望这把“手术刀”能够保有锐利。
第五天1月30日
每个人的防护服上都写着名字和“加油”
刚踏进病区门，就被护士长拉住，说有个小护士喘得不行，让我过去看看。脸上还是外科口罩，就麻烦护士长拿了个 N95,我走进护士值班室。1991年出生的小姑娘一边喘一边哭，还在打电话，情绪很激动。我先摸了摸，不烧，心里大概有点数了。算算这姑娘比我女儿只大几岁，能够想象她所承受的压力和恐惧。跟护士长商量后，安排这姑娘休息，查个咽拭子再扫个CT,都是阴性，就踏实了。
因为插管上机的患者多了，进病房前和护士长达成共识，加强气道管理和其他重症常规护理。进病房后，又看到了一些新面孔，每个人的防护服上都写着名字和“加油”，都是各地来支援的ICU护士，日间的工作流程明显顺畅了许多。中午，几个情况不太好的患者都逐渐趋于稳定，连日阴天后太阳出来 T,大家都心情大好。而好事成双的时候就更令人鼓舞。我们拿到了一箱可视喉镜和一次性叶片，使得这项高危操作的时间得以缩短。
临下班前得知，90后姑娘没发烧，肺部CT也没问题。希望姑娘能顺利回家。
第六天1月31日
昨天所有的患者都还在
昨天下午到晚上，一共转进来3名患者，都是一进门就气
管插管和复苏。值班的周医生来自湖北荆门，年纪不小了，很担心这一夜的工作会让他吃不消。他见到我后很“得意”地说，昨天所有的患者都还在，这是几天来的第一次呢。外科出身的周医生活干得漂亮，昨天给一个下肢皮肤切开减压的患者换药，好好地露了一手。查完房出来已近中午。吃完饭走到院外，阳光洒到身上暖洋洋的，很难得。
回来不久，一位老年患者病情突然恶化，冲进去穿衣服时护士告诉我，别穿黄色的，不透气，还帮助我完美地完成防护，心里很是感动，在床旁协助我的医生完成气管插管和深静脉置管，镇静镇痛。出来后看到几位大教授在等我，赶紧和夜班医生做了交接。临走时，护士长给了一件社会捐助的崭新羽绒服，终于可以回去把我的脏衣服洗洗了。
“重症医学的专业使命，决定了我们必将成为此次阻击新型冠状病毒感染的肺炎流行战役中的重症患者生命救治的主力军”，1月29日，中华医学会重症医学分会、中国医师协会重症医学医师分会、中国病理生理学会危重病医学专业委员会共同发布《齐心协力，拯救生命，打赢新型冠状病毒感染的肺炎阻击战——致全国重症医学专业同道倡议书》，作为中国病理生理学会危重病医学专业委员会秘书长，姜利和另外10多位在武汉一线参加救治工作的委员一起，在倡议书中提出“凡为医者, 侠之大者，奉命于病难之间，受任于疫虐之际。国有难，招必归，战必胜”，希望全国奔赴一线的重症医学专业医护人员，要坚决打赢疫情防控的阻击战。
（新华社北京2月2日电记者李斌、侠克、林苗苗）
战“疫”前线的医生心声:
前线保住了，后方才安全
口罩、帽子、防护面罩、鞋套等全副武装，戴上双层手套…… 穿戴完毕，在金银潭医院参与救治的东南大学附属中大医院重症医学科副主任医师潘纯，开始了新一天的工作。
潘纯和援助湖北医疗队的医生们，负责金银潭医院五楼病区重症患者的救治指导等工作。病区有5位患者，每天都需要医护人员帮助翻身。算起来，一天要翻很多次。穿着包裹严密的防护服给患者翻身，医护人员的工作量要比往常大很多。“每次给患者翻身都需要5个医生一起，遇到体重较重的患者，就更费劲了。”潘纯说。
在隔离病房里，常常一待就是三四个小时，每次出来时，汗水都湿透衣背。潘纯说：“还好现在是冬天，如果夏天穿着防护服待这么长时间，人肯定会更难受。”
潘纯1月24日接到要做好驰援武汉准备的消息，他没有半点犹豫。家里人虽然有些担心，但还是给予了支持。“去吧，穿上这身白大褂，这就是你的职责。我们等你平安归来。”父亲对他说。
26日13时38分，潘纯乘坐高铁奔赴抗疫第一线。到达武汉第二天，在经过必要的培训后，立即进入工作状态。
在隔离病房查看患者情况、写医嘱，与同事讨论疑难、复杂患者的救治方案……忙碌了一天，晚上从病区回到住的地方后，工作仍在继续。潘纯还需要通过工作群了解每位患者情况、指导救治。遇到紧急情况，要随时“冲”回患者病床前进行救治。潘纯所在的病区有13位医生、19名护士，和他一样，每个人每天都是“超长待机”工作。
面对的全都是重症患者，经常与感染源“零距离接触”，有没有觉得怕的时候？他说：“没有，从来没有。重症医生是挽救患者生命的最后一道关口，就是要到最危险的地方去。从接到任务的那一刻起，就做好了准备,竭尽全力救治每一位患者。只有战’疫’前线保住了，后方才安全。”
回到住处，有空时，潘纯也会给家人报个平安，但他很少说起前方可能遇到的各种风险。来自7岁儿子的鼓励，总让他觉得动力满满——“爸爸，加油！早点回来！”
（新华社武汉2020年1月31日电记者邱冰清、梁建强）
“等疫情结束后，我娶你”
对1992年出生的朱瑞而言，今年的情人节有了别样意义。
2020年2月14日零点，在金银潭医院值夜班的他突发奇想，用笔在白色的防护服上写上几个大字“邵媚铃：等疫情结束后，我娶你”，旁边还画上了一个爱心。
邵媚铃是朱瑞的女友，两人同为护士，六年前相识。朱瑞说, 今年过年原本打算上女友家中“提亲”，不料被疫情耽搁。
朱瑞的表白，不仅传到了千里之外屏幕的另一端，也触动了网友的泪腺。当晚，他发在朋友圈的图片，在微博上“红” 了。
“海有舟可渡，山有路可行，所爱隔山海，山海皆可平。” 有网友评论。
私人告白突然被“昭告天下”，邵媚铃感动之余，还是提醒他， “把心思更多放在工作上。”
事实上，在武汉的日子并不轻松。这个春节，朱瑞已在福州市第一医院重症医学科值班到了大年初二。当天，组建支援武汉医疗队信息传来，他回家简单收拾了下行李，就随队出发。
如今的他，每天大部分时间在红区（污染区）负责为患者挂瓶抽血检查等，鲜有空闲，“每天确诊的患者还比较多，虽说每天也有患者出院，但还不能掉以轻心。”
在武汉，医务人员的生物钟完全跟着排班走，睡觉时间也不定期，连日的夜班让他有些疲惫。
他说，眼下最大的愿望就是“好好睡上一觉”。
（节选自《“不会期望明天就会好，但相信最终一定是好的”——与三位90后白衣战士的对话》，新华社福州2020年2 月19日电记者孟昭丽、陈弘毅、吴剑锋）
“为了节约防护服同事穿上了纸尿裤”
——湖南支援武汉金银潭医院护士的一线日记
“今天，我看到了用尽全身力气呼吸的感染患者渴望的眼神，这一刻感觉自己能为他们恢复健康献出力量，觉得能来到武汉救治是非常正确的选择 ”这是中南大学湘雅二医院血液净化中心护士李婉贞的一线日记。
近日，在国家卫健委统一调度下，中南大学湘雅二医院一支由5名血液净化护士组成的国家医疗队驰援武汉，5名护士分别是侯亦平、黄艳清、李婉贞、钟晓平、刘亮，她们平均年龄28岁，是医院的中坚力量。
1月27日下午，李婉贞和同事进驻金银潭医院重症监护室支援，她们的主要工作是为患者提供连续性肾脏替代治疗。李婉贞说：“为了节约防护服，我们在穿上防护服之前都要上厕所，并且少喝水，有的同事干脆穿上了成人纸尿裤再穿防护服，这样可以减少浪费。防护服一旦脱下来就不能再用了，少上一次厕所，就能节约一套，所有这一切只有一个目的——减少短缺的防护资源损耗。”
李婉贞在日记中写道：“我们被分配到医院的各科重症监护室，我的工作地点是在一个由病房改成的临时重症监护室，负责护理一些重症患者，能为他们做一些事情，我觉得很有意义。”
湘雅二医院医疗队队长侯亦平说：“驰援武汉是一份责任，我们会全力救治患者，圆满完成任务。”
（新华社长沙2020年1月31日电记者帅才）

==Part 12==
这件白大褂其实很沉
“对于未知疾病的恐惧，人人都会有，医护人员脱下白大褂也是普通人。但是，一旦穿上白大褂，真的会感到一种使命感。这件白大褂其实很沉、很有分量。”刚从救治新型冠状病毒感染者一线返回的武汉大学人民医院护士朱庭萱说。
1月7日，正在休息的朱庭萱接到通知，医院要选派人员前往武汉市金银潭医院，支援新型冠状病毒感染的肺炎患者的定点收治工作。
接到通知后，朱庭萱给家里打了电话。
“如果我不去，就需要派别的同事去，他们家里可能有更多的困难。这个任务既然分配给了我，我就应该接受它。父母从小到大都很支持我，这次也不例外。”朱庭萱说。
“妈妈说过，可能我天生就是要从事医学这一行的。”朱庭萱回忆说。小时候，别的女孩子大多喜欢玩娃娃，而朱庭萱最喜欢拿根牙签给别人“打针”。填写高考志愿时，她选择的所有专业都与医学有关。
简单收拾些洗漱用品和换洗衣物，朱庭萱与同事当天下午就赶到金银潭医院报到，第二天开始参加科室值班。
在朱庭萱眼里，在金银潭医院的这段时间和在其他医院里差不多，护士工作都是“三班倒”：打针换药、护理患者、监测生命体征……毕业后到武汉大学人民医院，朱庭萱主动报名担任机动护士，医院里哪个科室需要就赶到哪里。因此，这种火线增援的任务对她来说并不陌生。
在抗击新型冠状病毒感染的肺炎疫情战斗中，护士们在进入隔离病房时需要穿上防护服。“我很幸运自己不是容易出汗的体质。有的同事下班脱掉防护服，里面的护士服整个都被汗水湿透了。”朱庭萱说。
和朱庭萱一起前往金银潭医院增援的杨宇成则没有那么幸运。他说，工作中需要戴上两层手套和两层鞋套，防护面罩上的雾气也常常令他的视线变得模糊。
“刚开始出汗特别多，甚至有一些缺氧的感觉。最困难的是打针，戴上手套后，对患者血管的触感不是很好，而护理工作要求所有操作都必须精确。”杨宇成说。
“除了换药，还要照顾患者的生活起居，帮重症患者大小便。有的患者心里不舒服也会喊，碰到这种情况我们要耐心跟他们解释，开导他们，给他们打气。”杨宇成说。
令朱庭萱最难忘的是同事间的相互鼓励。“在那里工作的同事很多都跟我一样是’90后’。由于穿上防护服后只能看到眼睛，可能连对方的长相都不知道。但大家在换班的时候，都会互相说一声加油。”她说。
25日，武汉大学人民医院派出的新一批增援人员启程出发，朱庭萱、杨宇成被接替回来观察、休整。谈到对这一段难得的轻松时间如何安排，朱庭萱简单利落地回答了四个字“看剧、躺着”。
对于是否会重返抗击疫情前线，朱庭萱和杨宇成给出了一样的答案。
“妈妈告诉我，我在一线的这段时间，父亲经常晚上睡不着觉。但是如果需要，我一定会重返岗位。既然选择了这个职业, 我有责任去帮助那些患者，分担同事们的压力，这是我的价值所在。”杨宇成说。
“如果我不去，别人就要去，在这份责任面前必须有担当。大家对医生护士一定要有信心，我们不会放弃你们。同时，大家也要好好地做好防护措施。”朱庭萱说。
还有很多支援湖北医疗队在武汉市金银潭医院发生的感人故事，未能一一展开，在这里同样向你们致以最崇高的敬意。
（新华社武汉2020年1月26日电记者王作葵、乐文婉、方亚东）

那些发出的感谢信
一方有难，八方支援。自2020年1月24日除夕之夜起，全国各地医务人员紧急驰援，与金银潭人一起手拉手、心连心，并肩作战、攻坚克难，使新冠肺炎疫情得到有效遏制，患者的诊疗质量得到大大提升。
金银潭医院发出的一•封封感谢信，是感谢和感恩，是问候和致敬，体现的是武汉人民、湖北人民、全国人民勸力同心，众志成城抗击疫情的强大中国力量和中国精神。
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金银潭抗疫纪事

第六章
金银潭医院之外
当金银潭医院内发生着一连串惊心动魄、感人至深的故事时，医院围墙之外，武汉2100多个社区，数以万计的基层社区工作人员和3.8万名警务人员同样在为守护人民群众的生命安全而战。
在历史上，人们从未比现在更关注社区；也从来没有哪座城市，比武汉管控社区的力度还要大。
抗击疫情有两个阵地，一个是医院救死扶伤阵地，一个是社区防控阵地。社区胜则武汉胜，武汉胜则湖北胜，湖北胜则全国胜。

2020年1月23 S,武汉封城首日，乘客搭乘最后一班地铁。（第六章图片除有特殊说明外均为新华社记者冯国栋拍摄）
社区工作的重中之重：
确保900万居家市民生活
地处中国版图天元位置的武汉，是中国乃至世界上都少有的特大城市。常住人口超过1000万，流动人口超过300万，总人口数近1500万。

2020年1月29日，大年初五，武汉的街上几乎看不到车辆。
武汉封城时临近春节，除约500万人流出武汉外，全市约有900万人口留守江城。
留守人口的稳定与生活保障成了武汉能否取得抗疫斗争胜利的重要一环。
在武汉还没有对居民小区进行封闭管理时，我们探访了地处武汉市青山区钢都花园123社区服务中心。
这里是原武汉钢铁公司职工最集中居住的小区之一。
我们到达时，社区工作人员正在分配民政部门刚刚发放的青菜、水果和食品等生活物资。
123社区成立于2001年，位于武汉市青山区二环外，离武汉市中心有一定距离。由于住户多为同单位的职工，这个社区与外界沟通并不像市中心社区那样频繁、密切。
连日来，123社区加大了各小区发热患者的排查力度和对外来人员的进出管控。小区现有门栋132栋，住户1916户，常住人口 6312人，春节期间留在社区的有4226人，占常住人口 2/3。其余1/3住户在武汉“封城”前就已外出，多是走亲访友。
社区书记赵旭玲介绍，疫情发生后，社区主要在信息发布、生活保障和分级筛查三方面釆取了措施：
一是信息渠道要24小时畅通。社区工作人员主要通过电话、微信和“微邻里”软件发布权威信息。“微邻里”是武汉市打造的一个便民服务平台。“像我们武汉市发的《致市民群众一封信》和《青山区发给居民的公开信》，还有抗击疫情的相关通告，全部都通过’微邻里’来发布。疫情发生后，平台还新增了发热患者信息上报等功能。对于不常用智能手机的独

疫情期间的社区药店。

疫情期间的社区超市。

2020年2月1日上午，武汉市青山区钢都花园123社区“天天敲门组”为居民提供服务。

居、空巢老人，社区通过大喇叭确保重要信息通知到位。”赵旭玲说。
今年49岁的赵旭玲告诉我们，她的母亲在孝感老家，从春节前一直病危（与新冠肺炎无关），她却由于武汉“封城”和忙碌的工作根本无法回家探望。“母亲去世，我都没法回家。社区的事情太多，400。多人的生命和安危都必须盯着。”赵旭玲几度哽咽。
我们了解到，和她工作强度类似的基层工作人员并不在少数。基层工作中女同志较多，她们不得不抛下家务事，不分白昼黑夜保障社区运转。一天打100个电话是常态。
二是确保生活保障。1月23日武汉实施“封城”后，公共交通停摆、大小餐饮店春节放假，这给社区百姓的生活和出

2020年2月1日上午，武汉市青山区钢都花园123社区服务中心内的抗疫救灾物资。

行带来诸多不便。这时，青山区打造的民生食堂“社区好味到食堂”发挥了很大的作用，保障了特殊时期社区居民的日常饮食需求。
我们来到食堂探访时，食堂员工正在准备午饭。
一位厨师说，食堂每天能保证至少2—3个菜品，每天服务的困难群体有100个人，对于行动不方便的独居、空巢老人等，社区还通过“天天敲门组”工作人员，为他们送服务。一袋米、一盒药、一碗热饭・••…只要群众提出的合理要求，社区工作人员立马响应，为困难群众提供物质上和精神上的定心丸。
同时，社区还配备了 3辆应急交通车，满足居民出行需求。尹志鸿是“曹操出行”的专车司机，根据社区统一安排，他每天工作8小时，穿着防护服，义务开车送社区群众外出买药，或到医院就诊。
三是实施分级筛查。123社区对发烧居民实施分级筛查。社区居民出现发热情况后，第一时间上报给网格员。网格员先是建立一人一档，再联系社区卫生服务中心进行筛查。如果病情轻微，则指导发热居民在家服药；确实需要到医院门诊看病的，再建议他们去看病。
“疫情来得凶猛，有些居民特别恐慌。加上秋冬季节感冒确实也比较多。刚开始’封城’时，我们每天忙于接居民打来的电话。后来，社区卫生服务中心给发烧的患者开了药，吃了之后，烧降下来了。接到的电话就少了。”社区书记赵旭玲说。

2020年2月1日上午拍摄的武汉市青山区“123社区”的社区好味到食堂

2020年2月1日上午，司机尹志鸿为社区提供交通出行服务。

谈到抗击疫情的感悟，赵旭玲说：“基层的社区干部，对居民是一个安慰，一颗定心丸。做好群众工作就是我的一切, 我已融入社区工作的方方面面。沟通到位，保障到位，可以在很大程度上避免恐慌。”
社区书记：我恨不得变成孙悟空
防控疫情，社区是关键。
新冠肺炎疫情发生以来，武汉的每一个社区工作者，都奋战在抗疫一线。
董守芝是江汉区唐家墩街西桥社区书记，这个社区距离华南海鲜市场不足两公里，居民有16000多人，防控难度可想

武汉疫情热力图，红色部分为发热患者聚集区。

2020年2月17日下午，武汉市江汉区唐家墩街西桥社区对人员进行排查。

而知。
从1月23日开始，她就夜以继日地投身工作，开通社区之音、开展拉网式大排查、对社区进行封闭式管理……董守芝裝京, 每天能接100多个电话，恨不得变成孙悟空，多分几个身出来, 为自己做事。
以下是董守芝的讲述：
我是西桥社区书记，从1993年开始，就从事社区工作。
目前，我所在的西桥社区有两大特点：人多、老旧小区多，管理难度非常大。社区常住人口有16000多，7351户居民，社区里有11个老旧小区，442栋平房区，有物业管理的小区只有 6个。
社区的工作人员有25名。疫情发生以来，我们一直在防控一线。面对小区的各种状况，我和同事们也会感觉压力很大。
后来，来了 59个区机关干部，他们下沉到一线，帮我们解决了很多难题，分摊了许多压力。小区封闭之后，他们也派人到路口值守。
1月23日封城之后，我就一直没有休息，投入到疫情防控一线工作当中。疫情发生以来，我们社区主要采取了三个措施——
第一，开通社区之音，滚动播报各类通告和提示。我们把省市发布的公告和疫情提示，在广播里循环播放；第二，开展拉网式大排查，通过网络上报和电话的方式，及时发现发热患者，准确上报；第三，进行封闭式管理，原来的37个路口，现在只剩17个开着，每个路口都有志愿者值守。刚开始，很多居民不理解，感觉出入不便，但我们还是尽最大努力向大家解释，让他们理解。

西桥社区党群服务中心
了解到社区内有500户特困人员，包括生病的患者、隔离人员、老人和一些困难户。我和同事们上门送药、送粮油、送菜、送关爱。每天，我和同事们平均要给一百多户居民送菜、送药，保障居民的日常生活物资。
前段时间，从社区旁边的酒店打来一通求助电话。
原来，这是住在酒店的一家三口，他们是红安县人，是年前到武汉儿童医院给孩子看病的。
1月23日封城，他们就回不去了，一直在酒店隔离，现在已经弹尽粮绝了，连给孩子买奶粉的钱都没有。
接到消息，我和同事们就在社区拿了一些防护用品，包括本就不够用的口罩，还有方便面等食物送到酒店，还帮他们申报了 3000元的救济金，心想起码孩子买奶粉的钱是有了。
疫情发生之后，我每天都得接100多个电话，手机24小时开机，就怕漏接一个电话。从年前开始，每天19个小时都在工作，真正休息的时间只有五六个小时。
现在恨不得自己变成孙悟空，一根汗毛就能变一个分身，这样就能有精力去做更多的事情了。
社区工作压力很大，最近几天，我接到同事打来的电话，她在电话那头哭得很厉害。我年纪比他们大点，遇到这种情况我会安慰他们，然后大家再一起继续投入战斗。
现在，我有个心愿，就是希望疫情赶紧过去。等疫情过去之后，我就找个有山的地方大睡三天三夜，好好休息一下。
拉网式大排查
“请大家按登记表全面排查。住址、姓名、联系电话要登记好。情况特殊的要备注清楚。” 2月17日下午，我们再次来到唐家墩街西桥社区时，董守芝和20多位社区工作人员正在开会布置任务。
当天，一场为期3天的拉网式大排查在武汉3300多个社区、村湾同步展开。
“有人在家吗？ ”在西桥社区三眼桥一村小区，网格员易君与社区派出所民警熊松，以及下沉到社区的3名特警对一处出租房进行排查。房东说，春节前几天，里面的租客一直咳嗽， “这几天没听到动静，担心他出事。”
开门的是位小伙子。易君先用无接触式体温仪测量了他的体温，确认没有发烧，随后又详细询问了他的健康状况。民警核验了租客的身份，叮嘱他待在屋内不要出门。临走时，易君登记了租客的电话，“遇到问题请跟我联系。”
西桥社区是“万人社区”，因距离最先发现疫情的华南海鲜市场不到两公里，疫情较重。
董守芝说，春节至今，社区深入宣传“发热不上报”的危害, 广泛发动居民通过电话或微信平台，主动上报发热情况。
“这次拉网式大排查，目标是确保不漏一户、不漏一人。重点排查与新冠肺炎相关的所有人员，还包括危重在家的基础病患者，比如尿毒症透析患者、恶性肿瘤、其他疾病重症患者，以及孕产妇。”董守芝说。
武汉市要求本次排查要做到五个“百分百”：确诊患者百分百应收尽收、疑似患者百分百核酸检测、发热患者百分百进行检测、密切接触者百分百隔离、小区村庄百分百实行24小时封闭管理。
“董主任，我在电视上看到你了，你现在怎么痩得这么狠哪？我年纪大了，不能给你帮忙，我一点力都出不了。我老伴说我，这么大岁数了，待在家里不给社区添乱，就是给董主任帮忙了。你要保重身体啊！”
一通来自90多岁的叶婆婆的电话，让董守芝倍感暖心。新

2020年2月17日，武汉市江汉区唐家墩街西桥社区民警正在展开排查。当天, 一场为期3天的拉网式大排查在武汉3300多个社区、村湾同步展开。

2020年2月17日下午，武汉市江汉区唐家墩街西桥社区网格员易君（中）社区人员和派出所民警熊松（左一）对出租房进行排查。

冠肺炎疫情发生以来，董守芝一直奋战在社区防控一线。从年前开始，董守芝和同事们就开始在社区清楼道、清屋顶、清死角，做大扫除，用消毒液在整个社区开展消杀。
社区是疫情防控的第一道防线。疫情蔓延后，西桥社区里，社区群干与街道相关部门、物业公司、志愿者、网格党支部成员、社区卫生服务中心等通力协作，各方力量拧成一股绳，确保服务不断档。
给董守芝底气和信心的，还有来自家人的关爱。董守芝的老伴身体不好，但总是力所能及地帮她做点事。只要她一到家，老伴总会叮咛她加强营养、注意休息，又给她冲热水袋，暖手暖脚。
“自己年龄大了，又患有高血压，儿子儿媳不想让我太操劳。他们很担心我，一再叮嘱我要照顾好自己。”董守芝说，每天看看3个月大的孙子的照片，是一种特别的慰藉。
没有一个冬天不可逾越，没有一个春天不会到来。
说起疫情结束后社区的优先事项，董守芝不假思索：“安排好值班，让同志们都休息一下，让他们养好元气再来投入工作。“
2月22日清晨6点，年过六旬的董守芝已出门，步子又快又急。
一个多月来，身为武汉市江汉区唐家墩街西桥社区书记的她，没睡过一个安稳觉。
疫情中，中老年人是高危人群，但董守芝像年轻人一样，楼道消杀、入户排查、上门送菜，样样抢着干。
“从1993年开始，我就在这个社区工作了，对每家每户、一草一木都很有感情，这个时候，绝不能退缩。”董守芝说。
西桥社区地处老城区，城中村密集。除11个老旧小区、3 个自助物业小区外，还有422栋平房，65岁以上居民占八成，不少居民不会上网“团购”。实行封闭式管理后，这些居民的生活所需全靠社区配送。
24名社区干部，加上50多名市、区下沉干部和党员志愿者，承担着16000多人的柴米油盐和日常管控，任务繁重。
2月21日，她联系到一批蔬菜送到小区。
运菜车刚停稳，她就带领大家，一口气将满满4卡车蔬菜运进社区，3小时没歇气。送菜司机钦佩地竖起大拇指：“西桥的女将，真厉害！”
“小周，你把这些药先拿去，给你妈妈用，社区里的药回
来后，再给你们送些去。” 2月22日下午2点，董守芝拿着倍他乐克、波立维、可定等降压药，打电话给无线电厂小区居民周汉胜。
董守芝说，周汉胜的母亲患有高血压，家中储备的降压药吃完了。防疫管控措施升级后，这类药只能由社区统一到定点医疗机构领取。
“上午，赶去取药的社区干部打电话回来说，前面还有80 多个社区在排队，不知道要等多久才能领到。”深知此类药物不能停，她便从自己每天服用的降压药里，匀了一些出来，给周汉胜家“救急”。
在董守芝看来，为群众办事，不仅要办成，更要办好，“这个时候，我们社区干部再难也要顶上去！”
新冠肺炎疫情发生以来，武汉社区干部一直奋战在防控一线，倾情服务站好岗，用“身心投入”的方式，书写着社区抗疫的“答卷”。
这是一场没有硝烟的战争，也是一个争分夺秒的“考场”，需要筑牢基层堡垒，守好社区这个“第一防线”。

Goldbank Englisch 1

2022-12-29T06:26:59Z

Zhang Sishi: /* 张思诗 Zhang Sishi */

==Part 4c==

====白婷 Bai Ting====

物研究所牵头，研究将在金银潭医院等多家临床一线接诊新型冠状病毒感染肺炎患者的医院中进行，拟入组761例患者，采用随机、双盲、安慰剂对照方法展开。
在科技部、国家卫健委、国家药监局等多部门支持下，抗病毒药物瑞德西韦很快完成临床试验的注册审批工作，第一批病例入组工作也已就位。
2月6日，首批新冠病毒感染的肺炎重症患者接受用药，首位用药者是金银潭医院收治的一位68岁的男性重症患者。
探索利用康复期血浆“免疫性治疗”

Under the leadership of the Institute of Physical Sciences, the study will be carried out in many clinical front-line hospitals, such as Jinyintan Hospital, which receives patients with novel coronavirus infection pneumonia. Seven hundred sixty-one patients are proposed to be enrolled in the study, and they will be randomized, double-blind, and placebo controlled. With the support of the Ministry of Science and Technology, the National Health Commission, the State Food and Drug Administration, and other departments, the registration and approval of the clinical trial of the antiviral drug Remdesivir was soon completed, and the first batch of cases was enrolled. On February 6, the first batch of severe pneumonia patients infected with COVID-19 received drugs. The first drug was a 68-year-old male severe patient admitted to Jinyintan Hospital, who was treated with plasma "immune therapy" during rehabilitation.

Under the leadership of the Institute of Physical Sciences, the study will be carried out in many clinical front-line hospitals, such as Jinyintan Hospital, which receives patients with novel coronavirus infection pneumonia. Seven hundred sixty-one patients are proposed to be enrolled in the study, and they will be randomized, double-blind, and placebo controlled. With the support of the Ministry of Science and Technology, the National Health Commission, the State Food and Drug Administration, and other departments, the registration and approval of the clinical trial of the antiviral drug Remdesivir was soon completed, and the first batch of cases was enrolled. On February 6, the first batch of severe pneumonia patients infected with COVID-19 received medication. The first drug was a 68-year-old male critically ill patient admitted to Jinyintan Hospital, who was treated with plasma "immune therapy" during rehabilitation.

====蔡思 Cai Si====

2月13日，张定宇在湖北省新冠肺炎疫情防控指挥部召开的第23次新闻发布会上发出呼吁：“康复期患者，请伸出您的胳膊，捐献宝贵的血浆，共同拯救还在与病魔作斗争的患者。”
“康复后的患者体内有大量中和抗体，可以抵抗新型冠状病毒。”张定宇介绍说，在缺乏疫苗和特效治疗药物的前提下，采用这种特免血浆制品治疗新冠病毒感染是较为有效的方法。“康复者捐献的血浆，会经过一系列处理，得到一个相对纯化的对抗新冠病毒中和抗体，用于新冠肺炎危重患者的治疗。”
专家认为，从临床病理发生过程看，大部分新冠肺炎患者经过治疗康复后，身体内会产生针对新冠病毒的特异性抗体，可杀灭和清除病毒。
金银潭医院配合相关研究团队立即开展了康复期患者血浆的釆集工作。

On February 13, Zhang Dingyu issued an appeal at the 23rd press conference held by Hubei Province Epidemic Prevention and Control Headquarters: "Convalescent patients, please stretch out your arms and donate precious plasma to jointly save patients who are still struggling with the disease." "Patients who recover have a large number of neutralizing antibodies that can resist the COVID-19." Zhang Dingyu said that in the absence of vaccines and specific therapeutic drugs, the use of this special immune plasma products to treat the new crown virus infection is a more effective method. "The plasma donated by rehabilitated patients will undergo a series of treatments to obtain a relatively purified neutralizing antibody against the COVID-19 for the treatment of critically ill patients." Experts believe that, from the clinical pathology process, most patients with COVID-19 after treatment and rehabilitation, the body will produce specific antibodies against the COVID-19 , can kill and eliminate the virus. Jinyintan Hospital cooperated with relevant research teams to immediately carry out plasma collection of patients in rehabilitation period.

====陈婧 Chen Jing====

捐献血浆必须符合三项条件：一、年龄在18—60周岁之间；二、确诊感染过新型冠状病毒（核酸检测阳性）；三、病愈出院一周以上。
金银潭医院在门诊部二楼设立采血机构。捐献者经过电话

2020年2月18日，张定宇的夫人程琳来到金银潭医院,捐献了 400毫升血浆。（新华社发武汉市金银潭医院供图）

预约到医院后，先进行身份登记并填写健康征询表及知情同意书，再进行健康状况问诊、血液检查，经最后确认后，每人采集血量在200—40。毫升之间，采血完成后，向献血者发放一定数额的经济补偿。
张定宇在发布会上发出呼吁后，社会广泛关注。
2月13日晚，中国生物技术股份有限公司、武汉市血液中心也联合向新冠肺炎康复者发出献血倡议书，并在湖北省人民医院开放爱心献血屋。

====陈淑敏 Chen Shumin====

从第二天开始，就有不少康复者来电咨询，表示支持金银潭医院的这项研究。
金银潭医院将这一方法很快用于4个重症患者的治疗。
4个患者的病情都有好转。从整体来看，患者自我感觉喘气等症状减缓了，精神状态、食欲都有提升；从指标上看，血氧饱和度比以前稳定些，淋巴细胞的绝对值也得到了提升。
“这类指标对患者康复是很重要的参考。”但张定宇提醒说, 采用特免血浆制品治疗的方式并不是“灵丹妙药”，最终战胜病魔更多的还是要靠患者自身的免疫力。这种治疗主要是给患者一个喘息的机会，使病情往好的方向发展，同时也给医生抢救危重患者赢得更多的时间。
已于1月29日康复出院的张定宇的夫人程琳，也来到金银潭医院捐献了 400毫升血浆。
首例遗体解剖完成并送检
Since the next day, many patients called in support of the study.
Jinyintan Hospital soon used this method to treat four seriously ill patients. All of them showed improvement. On the whole, patients felt that their symptoms, such as wheezing, were reduced, and their mental state and appetite were improved. In terms of indicators, blood oxygen saturation was more stable than before, and the absolute value of lymphocytes was also increased. "Such indicators are important references for patients' recovery." But Zhang Dingyu cautioned that the use of special plasma products was not a "panacea", and ultimately the recovery of disease more depended on the patient's own immunity. This kind of treatment was mainly to give the patient a chance to breathe, making the condition progress toward a better direction, but also help doctors to fight for critically ill patients more time. Zhang Dingyu's wife Cheng Lin, who was discharged from hospital on January 29, also donated 400 ml of blood plasma to Jinyintan Hospital. The first autopsy was completed and submitted for examination.

From the next day, many rehabilitated people called for consultation and expressed support for the study by Jinyintan Hospital.
Jinyintan Hospital quickly applied this method to the treatment of four critically ill patients.
All four patients improved. On the whole, the patient felt that the symptoms such as wheezing were alleviated, and the mental state and appetite were improved; From the index point of view, blood oxygen saturation is more stable than before, the absolute value of lymphocytes has also been improved. "This kind of index is very important reference to the patient's rehabilitation." However, Zhang Dingyu warned that the use of special immune plasma products treatment is not a "panacea," the final victory over the disease more depends on the patient's own immunity. This kind of treatment is mainly to give the patient a chance to breathe, make the condition develop in a good direction, but also to the doctor to save critically ill patients to win more time.
Zhang Dingyu's wife Cheng Lin, who recovered from hospital on January 29, also came to Jinyintan Hospital to donate 400 ml of plasma. The first autopsy was completed and submitted for inspection.

==Part 4d==

====陈思阳 Chen Siyang====

对于一种致人死亡的新型疾病，遗体解剖对掌握其病理意义重大。解剖新冠肺炎死亡者遗体，对于探索新冠肺炎患者临床的病理改变、疾病机制等有重大帮助，能从根本上探究新冠肺炎的致病性、致死性，给临床抢救和治疗危重症患者提供依据。
实际上，新冠肺炎疫情暴发后的一个多月里，有关方面一直呼吁对死亡病例进行病理解剖。但由于新冠肺炎属烈性传染病，解剖风险过高，加上国内少有针对甲级传染病、达到P3 级生物实验室标准的病理解剖实验室，使得相关工作迟迟难以落实。
国际上根据生物安全的防护等级将生物实验室分为四级： Pl、P2、P3和P4实验室。P是Protection的缩写，其中1级的防护级别最低，4级最高。

For a new type of disease that causes death, autopsy is of great significance to grasp its pathology. Anatomy of the dead body of new crown pneumonia is of great help to explore the clinical pathological changes and disease mechanism of patients with new crown pneumonia, and can fundamentally explore the pathogenicity and lethality of new crown pneumonia, and provide basis for clinical rescue and treatment of critically ill patients. In fact, more than a month after the outbreak of new crown pneumonia, there have been calls for pathological autopsy of deaths. However, because Xinguan pneumonia is a severe infectious disease, the anatomical risk is too high, and there are few pathological anatomy laboratories aiming at Class A infectious diseases and reaching the standard of P3 biological laboratory in China, it is difficult to implement the relevant work. Internationally, biological laboratories are divided into four levels according to the protection level of biological safety: Pl, P2, P3 and P4 laboratories. P is the abbreviation of Protection, where Level 1 is the lowest protection level and Level 4 is the highest.

For a new type of disease that causes death, the autopsy is of great significance to grasp its pathology. Anatomy of the dead body of new crown pneumonia is of great help to explore the clinical pathological changes and disease mechanism of patients with new crown pneumonia, and can fundamentally explore the pathogenicity and lethality of new crown pneumonia, and provide the basis for clinical rescue and treatment of critically ill patients. In fact, more than a month after the outbreak of new crown pneumonia, there have been calls for a pathological autopsy of deaths. However, because Xinguan pneumonia is a severe infectious disease, the anatomical risk is too high, and there are few pathological anatomy laboratories aiming at Class A infectious diseases and reaching the standard of P3 biological laboratories in China, it is difficult to implement the relevant work. Internationally, biological laboratories are divided into four levels according to the protection level of biological safety: Pl, P2, P3, and P4 laboratories. P is the abbreviation of Protection, where Level 1 is the lowest protection level and Level 4 is the highest.

====陈彦希 Chen Yanxi====

在国家法律政策允许下，并征得患者家属同意，2月15日深夜，华中科技大学同济医学院法医病理学专家来到金银潭医院，在金银潭的医护人员配合下，开始了全国第一例新冠肺炎遗体解剖工作。

Permitted by national laws and policies and with the consent of the patients' families, late on the night of Feb. 15, forensic pathology experts from Tongji Medical College of Huazhong University of Science and Technology came to Jinyintan Hospital. With the cooperation of medical staff from Jinyintan Hospital, they began the autopsy of the first human corpse dying of COVID-19 in China.

Permitted by national laws and policies and with the consent of the patients' families, late on the night of February 15, forensic pathology experts from Tongji Medical College of Huazhong University of Science and Technology came to Jinyintan Hospital. With the cooperation of medical staff of Jinyintan Hospital, they began the autopsy of the first human corpse dying of COVID-19 in China.

由于整个湖北都没有专门的负压解剖室，金银潭医院临时腾出一间负压手术室用来做解剖工作。

Since there is no special negative pressure dissection room in Hubei province, Jinyintan Hospital temporarily vacated a negative pressure operating room for dissection work.

As there is no special negative pressure dissection room in Hubei province, Jinyintan Hospital temporarily vacated a negative pressure operating room for dissection.

解剖从16日凌晨1点开始，4点结束，休息两个小时后展开讨论；上午11点，第二例病理解剖工作敲定,下午4点开始, 6点半结束……不到18个小时，即完成两例病理解剖，并于当日送检。

On Feb. 16, the autopsy began at 1 a.m. and ended at 4 a.m., and discussion began after a two-hour break; at 11 a.m., the second pathological autopsy was finalized, starting at 4 p.m., finishing at 6:30 p.m.... In less than 18 hours, the two cases were completed and submitted for examination that day.

The autopsy began at 1 a.m. and ended at 4 a.m. on February 16, and the discussion began after a two-hour break; at 11 a.m., the second pathological autopsy was finalized, starting at 4 p.m., and ending at 6:30 p.m.... In less than 18 hours, two cases of pathological autopsy were completed and submitted for examination that day.

首战告捷，随后的几例遗体解剖工作开展得也是格外顺利： 2月17日下午5点，第三例病理解剖；紧接着，第四例……2 月22日，是解剖团队最为忙碌的一天，“24小时之内做了五例解剖”。

After a successful first battle, subsequent autopsies went exceptionally smoothly: at 5 p.m. on Feb. 17, they did the third pathological autopsy; then, the fourth... Feb. 22 was the team's busiest day, "five autopsies were done in 24 hours."

After a successful first battle, the subsequent autopsies was carried out exceptionally smoothly: at 5 p.m. on February 17, they did the third pathological autopsy; then, the fourth... February 22 was the team's busiest day, "five autopsies were done within 24 hours."

中医武汉抗疫临床发挥重要作用。

TCM plays a significant role in fighting against the pandemic in Wuhan.

TCM（Traditional Chinese Medicine） plays a significant role in fighting against the pandemic in Wuhan.

====丁粤 Ding Yue====

2月3日，武汉市金银潭医院首批以中医药或中西医结合方式治愈的新型冠状病毒感染的肺炎患者出院。

On February 3rd, the first batch of novel coronavirus infected pneumonia patients in the Jinyintan Hospital of Wuhan city who were cured by traditional Chinese medicine or integrated traditional and western medicine were discharged.

On February 3rd, the first batch of novel coronavirus infected pneumonia patients in the Jinyintan Hospital of Wuhan city were discharged,who were cured by traditional Chinese medicine or integrated traditional and western medicine.(Fu Jing)

这批出院的患者共有8名，包括6名女性、2名男性，其中重症6例、轻症2例，最大年龄68岁，最小年龄26岁。中医中药参与治疗后，患者呼吸困难、乏力、口干口苦、胸闷、腹泻等症状明显改善，精神状态也明显好转。

There were 8 patients discharged from the hospital, including 6 women and 2 men. Among them, 6 patients were with severe symptoms and 2 patients were with mild symptoms. The oldest patient was 68 years old，while the youngest patient was 26 years old. After the treatment with traditional Chinese medicine, the symptoms of the patients such as dyspnea, fatigue, dry mouth and bitter mouth, chest tightness and diarrhea were significantly improved, as well as their mental state.

There were 8 patients discharged from the hospital, including 6 women and 2 men. Among them, 6 patients were with severe symptoms and 2 patients were with mild symptoms. The oldest patient was 68 years old，while the youngest patient was 26 years old. After the treatment with traditional Chinese medicine, the symptoms of the patients such as dyspnea, fatigue, dry mouth and bitter mouth, chest tightness and diarrhea were significantly improved, as well as their mental state.(Fu Jing)

1月28日，国家中医药管理局应对新型冠状病毒感染的肺炎联防联控工作专家组组长、中国工程院院士黄璐琦带领北京西苑医院和广安门医院医疗团队支援武汉市金银潭医院，对这批患者采用中西医结合、辨证治疗。出院时，金银潭医院赠送了每位患者2周用量的中药调理药剂，并嘱咐他们适当增强运动、合理饮食，以加速身体恢复。

On January 28th, Huang Luqi, the leader of the expert group of the State Administration of Traditional Chinese Medicine on joint prevention and control of pneumonia caused by infection with novel coronavirus and an academician of the Chinese Academy of Engineering, led the medical teams of Beijing Xiyuan Hospital and Guang'anmen Hospital to support the Jinyintan Hospital of Wuhan city, and used integrated traditional and western medicine and syndrome differentiation treatment for these patients. When these patients were discharged, Jinyintan Hospital presented each patient with a 2-week dose of Chinese herbal medicine conditioning agent, and instructed them to properly enhance exercise and eat reasonable food to speed up their recovery.

On January 28th, Huang Luqi, the leader of the expert group of the State Administration of Traditional Chinese Medicine on joint prevention and control of pneumonia caused by infection with novel coronavirus and an academician of the Chinese Academy of Engineering, led the medical teams of Beijing Xiyuan Hospital and Guang'anmen Hospital to support the Jinyintan Hospital of Wuhan city, and used integrated traditional and western medicine and syndrome differentiation treatment for these patients. When these patients were discharged, Jinyintan Hospital presented each patient with a 2-week dose of Chinese herbal medicine conditioning agent, and instructed them to properly enhance exercise and eat reasonable food to speed up their recovery.(Fu Jing)

3月2日，新华社播发记者廖君、黎昌政在武汉抗击疫情第一线采写的报道，称中医经验方在减轻发热咳嗽症状、控制病情进展、提升人体免疫力方面有独特优势。
报道说，新冠肺炎疫情发生后，全国中医药系统医疗队员 3350人、5支国家中医医疗队739名医务人员驰援武汉，进驻武汉市金银潭医院、湖北省中西医结合医院、雷神山医院救治患者，同时在武汉市江夏区整建制托管大花山方舱医院，收治患者416人，开展中医药特色救治。

On March 2nd, Xinhua News Agency broadcast a report written by reporters Liao Jun and Li Changzheng on the front line of the fight against the epidemic in Wuhan, saying that traditional Chinese medicine has unique advantages in relieving fever and cough symptoms, controlling disease progress, and improving human immunity.
It was reported that after the occurrence of the COVID-19, 3350 medical personnel from the national TCM（Traditional Chinese Medicine）system and 739 medical personnel from five national TCM medical teams came to support Wuhan. They were stationed in the Jinyintan Hospital of Wuhan city, Integrated Traditional Chinese and Western Medicine Hospital of Hubei province, and Leishen Mountain Hospital to treat patients. At the same time, they received and treated 416 patients and carried out characteristic cure with traditional Chinese medicine in Dahuashan mobile cabin hospital, which was restructured and entrusted in Jiangxia District of Wuhan city.

On March 2nd, Xinhua News Agency broadcast a report written by reporters Liao Jun and Li Changzheng on the front line of the fight against the epidemic in Wuhan, saying that traditional Chinese medicine has unique advantages in relieving fever and cough symptoms, controlling disease progress, and improving human immunity.
It was reported that after the occurrence of the COVID-19, 3350 medical personnel from the national TCM（Traditional Chinese Medicine）system and 739 medical personnel from five national TCM medical teams came to support Wuhan. They were stationed in the Jinyintan Hospital of Wuhan city, Integrated Traditional Chinese and Western Medicine Hospital of Hubei province, and Leishen Mountain Hospital to treat patients. At the same time, they received and treated 416 patients and carried out characteristic cure with traditional Chinese medicine in Dahuashan mobile cabin hospital, which was restructured and entrusted in Jiangxia District of Wuhan city.(Fu Jing)

==Part 4e==

====付静 Fu Jing====

“中医药早期介入干预，稳定人心，减少新发患者，从源头上防控疫情蔓延发挥了作用。”湖北省卫健委中医综合处负责人介绍说，仅武汉市面向集中隔离观察点隔离人员和有需求的居家密切接触者，发放中药汤剂近32.1万人份，发放中成药 24.8万人份，隔离人员基本做到中药应服尽服。

"The early intervention of traditional Chinese medicine (TCM) has played a role in reassuring people, reducing new patients and preventing the spread of the epidemic from the source." According to the head of TCM general office of Hubei Provincial Health Commission, in Hubei, all infected people isolated in centralized isolation of observation points and close contacts in home quarantine have been distributed nearly 321,000 portions of TCM decoction, and 248,000 Chinese patent medicine, with all isolated people in need basically taking TCM.

湖北还以方舱医院为重点，推动中医药全面参与治疗。16 个方舱医院累计收治病例11740人，同步配送中药汤剂和金花清感胶囊等4种中成药，中药使用率99.93%。在14家定点医疗机构的重症、危重症患者中，也强化中医药全程参与。
Hubei also focuses on shelter hospitals to promote the full participation of TCM in treatment. A total of 11,740 cases were admitted to 16 shelter hospitals, and 4 kinds of Chinese patent medicines including traditional Chinese medicine decoction and Jinhua Qinggan capsule were distributed simultaneously, with the utilization rate of traditional Chinese medicine reaching 99.93%. Among the severe and critically ill patients in 14 designated medical institutions, participation of traditional Chinese medicine in whole treatment process has been strengthened.

2020年2月25日，在江夏方舱医院，湖南中医药大学第一附属医院护士长涂丽准备为新冠肺炎患者实施中医耳穴压豆治疗。武汉江夏方舱是武汉首个以中医院运转模式来迸行临床治疗、管理的方舱医院。医疗团队由釆白多个省份中医院的数百名医护人员组成。（新华社记者沈伯韩摄）
On February 25, 2020, in Jiangxia Square Cabin Hospital, the head nurse of the First Affiliated Hospital of Hunan University of Traditional Chinese Medicine, Tu Li, was prepared to carry out traditional Chinese medicine ear acupoint bean pressing treatment for patients with COVID-19 patients. Jiangxia shelter is the first shelter hospital in Wuhan to carry out clinical treatment and management in the operation mode of traditional Chinese medicine hospital. The medical team consists of hundreds of medical staff from traditional Chinese medicine hospitals in many provinces.(Photographed by Shen Bohan, reporter of Xinhua Agency)

====高燕 Gao Yan====

1月25日，61岁的钱先生因持续高热、呼吸困难被送到湖北省中医院光谷院区急诊科，随后确诊为新冠肺炎，由于基础疾病多，病情发展快，曾先后两次被宣告病危。
钱先生后经湖北省中医院急诊科主任李刚副教授团队进行十多天中西医结合治疗和调理，于2月17日康复出院。
李刚说：“中医药治疗贯穿钱先生治疗全病程。根据不同病程，开具’肺炎2号’’肺炎3号’’肺炎4号’和’肺炎5号' 方。他能转危为安，中医药发挥了重要作用。”
68岁的重症患者霍先生与钱先生同一天出院。两人病程发展有所不同，治疗过程中，中药使用也略有差异。

On January 25,61-year-old Mr. Qian was sent to the emergency department in the Guanggu district of Hospital of Hubei Province Hospital of Traditional Chinese Medicine due to persistent high fever and dyspnea. Later, he was diagnosed with COVID-19. Due to many underlying conditions and rapid development of the disease, he was declared to be terminally ill twice. After more than ten days of integrated traditional Chinese and western medicine treatment and conditioning by the team of associate professor Li Gang, director of the emergency department of Hubei Province Hospital of Traditional Chinese Medicine, Mr. Qian recovered and was discharged from the hospital on February 17. Li Gang said: "Chinese medicine treatment is intergrated with the whole course of treatment of Mr. Qian. Prescriptions of "pneumonia No.2,""pneumonia No.3,""pneumonia No.4" and "pneumonia No.5" were prescribed according to different courses of disease. He was able to turn the corner, and Chinese medicine played an important role." Mr. Huo, a 68-year-old critically ill patient, was discharged from the hospital on the same day as Mr. Qian. The course of disease of the two people is different, and the use of traditional Chinese medicine is also slightly different during the treatment.

====关娜 Guan Na====

霍先生入院后，是先采用抗感染的西药，控制炎症反应，再用中药对症调理的。
湖北省中医院肺病五科负责人冯毅说，中医药参与治疗，能促进肺部病灶吸收，减少甚至解决肺组织损伤、肺纤维化等并发症和后遗症。目前，随访出院患者，均反馈病情稳定且在逐步康复中。
相关统计数据显示，湖北确诊病例中医药使用率为 88.93%o截至2月28日24时，全省43家定点中医医院累计收治确诊病例7246 A,中医药使用率为97.71%，患者发烧、乏力、咳嗽等症状和影像学表现均明显改善。
张伯礼等3位院士领导的团队，在武汉临床研究初步结果也表明，中西医结合总体疗效，明显优于单纯西药治疗。

==Part 5==

====郝天钰 Hao Tianyu====

中西医协同作战成效显著
金银潭医院是最早尝试中西医结合抢救重症患者和治疗轻症患者的医院。
1月25日，大年初一，国家中医药局组织中国中医科学院广安门医院、中国中医科学院西苑医院中医专家组成25人的医疗队，赶赴湖北省武汉市新型冠状病毒感染的肺炎防疫一线参与防治工作。
医疗队由国家中医药局副局长闫树江带队，中国中医科学院院长黄璐琦院士领队，广安门医院和西苑医院各派出呼吸科、急诊科、ICU等科室的6名医师和4名护士，携N95 口罩、手术衣以及部分中药等物资，乘火车前往武汉，提供中医医疗援助。
此前，由中国科学院院士、中国中医科学院首席研究员仝小林，广东省中医院副院长张忠德，中国中医科学院西苑医院呼吸科主任苗青，首都医科大学附属北京中医医院呼吸科主任兼肺病研究室主任王玉光组成的高级别中医专家组已经抵达武汉。

====侯永芬 Hou Yongfen====

出发前，黄璐琦就做了充足准备：研读疫情有关报道和科研文章，分析非典期间中医药发挥的优势和特色，梳理治疗方案；组建医疗队，培训呼吸科、急诊科、ICU等科室的医务人员；协调沟通武汉医务人员，了解武汉情况，准备防护物资。
金银潭医院是抗疫的最前沿和主战场之一。在该院坚持中西医结合，推动中医药全面参与治疗，搭建一个中医药的保障平台，积极完善中西医结合诊疗方案，对于抗击疫情有着重要作用。
1月29日，经过连续几天病区布局、人员调配、药品保障等准备，国家中医医疗队接管金银潭南一区。这也是疫情发生后第一个接管重病区的中医医疗队。
针对医院中药药品不足的现状，医疗队迅速搭建中药供应保障平台，保证医院药品供应。

Before setting out, Huang had made adequate preparations: reading relevant reports and scientific research articles on the epidemic, analyzing the advantages and characteristics of traditional Chinese medicine during SARS, and sorting out treatment plans; Medical teams have been set up to train medical staff in respiratory, emergency and ICU departments and coordinating and communicating with medical personnel in Wuhan to understand the situation in Wuhan and prepare protective materials.
Jinyintan Hospital is one of the forefront and main battlefields in the fight against the epidemic. The hospital adheres to the combination of Chinese and Western medicine, promotes the full participation of traditional Chinese medicine in the treatment, builds a platform for the protection of traditional Chinese medicine, and actively improves the diagnosis and treatment plan of integrated traditional Chinese and Western medicine, which plays an important role in the fight against the epidemic.
On January 29, after several days of preparation, such as ward layout, staff allocation, and drug support, the National TCM medical team took over the first district of Jinyintan South. This is also the first TCM medical team to take over the critically ill area after the outbreak of the epidemic.
In view of the shortage of traditional Chinese medicine in hospitals, the medical team quickly set up a platform to ensure the supply of traditional Chinese medicine.

Before setting out, Huang had made adequate preparations, such as reading relevant reports and scientific research articles on the epidemic, analyzing the advantages and characteristics of traditional Chinese medicine during SARS, and sorting out treatment plans; Medical teams have been set up to train medical staff in respiratory, emergency and ICU departments and coordinating and communicating with medical personnel in Wuhan to understand the situation in Wuhan and prepare protective materials.
Jinyintan Hospital is one of the forefront and main battlefields in the fight against the epidemic. The hospital adheres to the combination of Chinese and Western medicine, promotes the full participation of traditional Chinese medicine in the treatment, builds a platform for the protection of traditional Chinese medicine, and actively improves the diagnosis and treatment plan of integrated traditional Chinese and Western medicine, which plays an important role in the fight against the epidemic.
On January 29, after several days of preparation, such as ward layout, staff allocation, and drug support, the National TCM medical team took over the first district of Jinyintan South. This is also the first TCM medical team to take over the critically ill area after the outbreak of the epidemic.
Given the shortage of traditional Chinese medicine in hospitals, the medical team quickly set up a platform to ensure the supply of traditional Chinese medicine.

====胡欣怡 Hu Xinyi====

“接管病区奠定了中医药防控新型冠状病毒肺炎的基础”, 黄璐琦说，当时医疗队主管的32张病床开辟了中医药防控新冠肺炎的战场，使中医药能够与西医同台合作。
病区第一批患者服用中药，第二天就有患者反映：睡眠好转，咳喘、乏力症状减轻。
“寻找中医药疗效的高级别循证证据，有利于优化临床方案并加以推广，提高临床救治率。”黄璐琦介绍说，在医疗队接管金银潭医院病区的同时，中国中医科学院后方科研攻关组也同步成立，配合武汉前方进行临床数据分析，优化治疗方案。科研攻关组紧急设计开发了供医护人员使用的症状信息和舌诊图像采集程序，以及针对方舱医院的患者自述症状采集系统，为全面开展临床研究提供了技术支撑。

"Taking over the ward laid the foundation for TCM to prevent and control novel coronavirus pneumonia", Huang Luqi said that the 32 beds in charge of the medical team at that time opened up a battlefield for TCM to prevent and control COVID-19, enabling TCM to cooperate with western medicine on the same stage. The first batch of patients in the ward took traditional Chinese medicine, and the next day, some patients reported that their sleep improved, cough, asthma, and fatigue symptoms were relieved. "The search for high-level evidence of the efficacy of traditional Chinese medicine is conducive to optimizing the clinical plan and promoting it to improve the clinical treatment rate." Huang Luqi said that while the medical team took over the ward area of Jinyintan Hospital, the rear scientific research team of the Chinese Academy of Traditional Chinese Medicine was also set up synchronously to cooperate with the front of Wuhan to analyze clinical data and optimize the treatment plan. The scientific research team has urgently designed and developed the symptom information and tongue image acquisition program for medical staff, as well as the patient's self-reported symptom acquisition system for the shelter hospital, providing technical support for comprehensive clinical research.

====黄舒威 Huang Shuwei ====

金银潭8名患者经中西医结合治疗，2月3日病愈出院后不久，张定宇找到黄璐琦和苗青商量，希望在全院进行中西医结合治疗。
2月14日晚，湖北省新型冠状病毒肺炎疫情防控工作指挥部召开第24场新闻发布会，介绍中医药参与湖北省疫情防控有关情况。
黄璐琦在发布会上介绍说，截至2月14日，中国中医科学院医疗队在金银潭医院负责的床位42张，共收治患者86例，其中重症65例，危重21例，目前治愈的有33人。
他说：“我们把出院的患者进行统计对比，中西医结合在核酸转阴的时间上比纯西药效果显著，在降低发热、咳嗽、乏力、食欲减退、心慌等十个症状上比西医组的改善也更明显，对淋巴细胞中性粒细胞的改善也更明显，且中西医结合的平均住院时间小于西医治疗时间。”
Eight patients in Jinyintan were treated with integrated traditional Chinese and western medicine. Shortly after they were discharged from the hospital on February 3, Zhang Dingyu found Huang Luqi and Miao Qing to discuss, hoping to have integrated traditional Chinese and western medicine in the hospital. On the evening of February 14, the Headquarters for the Prevention and Control of novel coronavirus Pneumonia in Hubei Province held the 24th press conference to introduce the participation of traditional Chinese medicine in the prevention and control of the epidemic in Hubei Province. Huang Luqi said at the press conference that as of February 14, the medical team of the Chinese Academy of Traditional Chinese Medicine had 42 beds in charge of the Jinyintan Hospital, and 86 patients had been admitted, including 65 patients with severe diseases and 21 patients with critical diseases. At present, 33 patients have been cured. He said: "We statistically compare the discharged patients. The combination of traditional Chinese medicine and western medicine has a significant effect on the time when nucleic acid turns negative compared with pure western medicine. It also has a more significant improvement on the ten symptoms, such as fever, cough, fatigue, anorexia, and palpitation, than the western medicine group. It also has a more significant improvement on the sex granulocytes in lymphocytes, and the average hospitalization time of the combination of traditional Chinese medicine and western medicine is less than the western medicine treatment time."

====姜雨露 Jiang Yulu ====

2020年2月25日,在武汉江夏方舱医院，湖南中医药大学第一附属医院医护人员易琴（前）带领新冠肺炎患者习练八段锦。（新华社记者沈伯韩摄）

On February 25, 2020, Yi Qin (the former), a medical staff from the First Affiliated Hospital of Hunan University of Traditional Chinese Medicine, led patients afflicted with COVID-19 to practice Baduanjin, a way to exercise, at the mobile cabin hospital of Wuhan Jiangxia. (Photographed by Shen Bohan, a reporter from Xinhua News Agency)

2020年2月26日，在武汉江夏方舱医院院内的“流动应急智能中药房”里, 工作人员吴志婷把盛有药方中包含的单味药的药瓶取下来后，逐一扫描确认，准备制药。（新华社记者沈伯韩摄）

On February 26, 2020, in the "Mobile Emergency Intelligent Chinese Pharmacy" of Wuhan Jiangxia mobile cabin hospital, Wu Zhiting, a staff member, took down the bottles containing the single medicine listed in the prescription, scanned them one by one for confirmation and preparation. (Photographed by Shen Bohan, a reporter from Xinhua News Agency)

3月4日，在发布的最新版诊疗方案中，由黄璐琦及团队根据临床不断优化的“化湿败毒方”被列入新冠肺炎重型患者推荐用药处方。“临床疗效才是评价中医药优势的金标准。”黄璐琦介绍说, 截至3月4日，他们这一团队共收治新冠肺炎患者121例，其中中医辨证纯中药治疗出院41例、中西医结合治疗出院32例。所收治新冠肺炎重症患者的病情好转率达到83.61%。

On March 4, in the latest version of the diagnosis and treatment plan released, "the prescription for removing dampness and detoxification", continuously optimized by Huang Luqi and his team according to the clinical practice, was included in the recommended prescription for COVID-19 patients with severe disease. "Clinical efficacy is the gold standard for evaluating the advantages of traditional Chinese medicine." Huang Luqi said. Up to March 4, their team had treated 121 patients with COVID-19, including 41 discharged patients treated with traditional Chinese medicine based on syndrome differentiation and 32 discharged patients treated with integrated traditional and western medicine. The improvement rate of severe patients with COVID-19 reached 83.61%.

====蒋正君 Jiang Zhengjun====

截至3月上旬，中国中医科学院，北京中医药大学和天津、江苏、河南、湖南、陕西等地中医院抽调3300多名医务人员，组成多支国家医疗队驰援湖北和武汉，分别进驻金银潭医院、湖北省中西医结合医院、雷神山医院等重点院区，接管部分方舱医院。

2020年2月25日，在武汉江夏方舱医院，湖南中医药大学第一附属医院副院长、江夏方舱医院副院长朱莹（左）和湖南中医药大学第一附属医院医生戴飞跃（中）为一名新冠肺炎患者号脉。（新华社记者沈伯韩摄）

金银潭医院等几家重点医院中西医结合治疗的成功经验，很快在武汉推广开来。截至2月28日，武汉已开放的16家方舱医院收治的7600多位患者基本做到中医治疗全覆盖；湖北地区中医药参与救治确诊病例57910例，其中治愈出院 21193 例。

As of early March, more than 3,300 medical personnels from the China Academy of Chinese Medical Sciences, Beijing University of Chinese Medicine and Chinese hospitals in Tianjin, Jiangsu, Henan, Hunan and Shaanxi formed several national medical teams to assist Hubei and Wuhan. They were stationed at key hospitals such as Wuhan Jinyintan Hospital, Hubei Provincial Hospital of Integrated Chinese and Western Medicine, and Thunder God Mountain Hospital and also took over some mobile cabin hospitals.
Zhu Ying (left), vice president of the First Hospital of Hunan University of Chinese Medicine and vice President of Jiangxia cabin hospital, and Dai Feiyue (center), a doctor of the First Hospital of Hunan University of Chinese Medicine, were checking the pulse of a patient infected by coronavirus at the Jiangxia cabin hospital in Wuhan, February 25, 2020. (Photo by Shen Bohan, Xinhua News Agency)
The successful treatment of combining Chinese and Western medicine in several key hospitals, such as Jinyintan Hospital, soon spread in Wuhan. As of February 28, more than 7,600 patients admitted to 16 hospitals in Wuhan have been treated with TCM (Traditional Chinese Medicine) to a full coverage. TCM in Hubei has been applied to the treatment in 57,910 confirmed cases, of which 21,193 were cured and discharged.

====李鸿 Li Hong====

延伸阅读：
一位医生的确诊和治疗康复之路
从一名医生，到一名新冠肺炎患者，对左东波来说，不过是两天时间。
左东波，38岁，武汉东西湖第二人民医院的一名骨科医生。 2020年1月初，他在工作岗位上感染新冠肺炎。
“因为在门诊上班，遇到的患者比较多，也有医生出现发烧。我没有太在意，口服了奥司他韦，但是效果不好。”左东波回应说。出现症状后，病情发展之快，是左东波所没有预料到的。
1月7号，他开始严重发烧，咳嗽更加厉害。他自行打了吊针，都是门诊上自己开的方子，主要是头抱等药物。当天，左东波做了一个胸部CT,胸部CT显示肺部有轻度感染。
“一直熬到了 1月9号。9号上午我在上班，当时就已经高烧到39度多。"
左东波有种不好的预感，直觉告诉他，这不是简单的感冒。

Extended Reading: A Doctor’s Experience of Diagnosis, Treatment and Rehabilitation
It only took two days for Zuo Dongbo to go from a doctor to a patient with COVID-19. Zuo Dongbo, 38 years old, was an orthopedic doctor in Wuhan Dongxihu Second People’s Hospital. At the beginning of January 2020, he was infected with COVID-19 on his job. He recalled, “Since I worked in the outpatient department where I met many patients and some doctors also had a fever, so I didn’t care too much about it. I took oseltamivir, but it didn’t work.” However, he did not expect how rapid the disease can go after the onset of symptoms. On January 7th, he began to have a severe fever and cough even badly. He took a sling on his own, which were prescribed by the department, mainly were cephalosporins etc. On the same day, Zuo Dongbo had a chest CT, which showed that there was a slight infection in the lungs. “I was at work on the morning of the 9th, when my fever reached 39 degrees.” Zuo Dongbo had a bad feeling, and his intuition told him that it was not a simple cold.

====李佳珺 Li Jiajun====

“我从来没有过这样糟糕的感觉。自己平时身体状况很好，喜欢游泳，连药都没买过。” 1月9号，他在化验的时候加做了一个查血，随后又去做了一次CT。
这次他有点被吓到了：和之前的CT相比，肺部毛玻璃更加明显，而且双肺都有毛玻璃。
发现病情加重之后，左东波直接住到了东西湖区人民医院感染科，因为这个医院和他所在的东西湖区第二人民医院对口。科室的刘主任跟他是好朋友。
住院后，左东波一直备受煎熬，“从东西湖区人民医院转院时，感觉自己都快不行了。有一种濒死感，就像人淹到水里面一样，一脱离高压氧，根本没办法呼吸。”
从1月9日入住东西湖人民医院本部，到1月16日下午转到金银潭医院重症监护室，左东波经历了人生最难熬的一周。
从东西湖到金银潭，救护车载着左东波驶向生的希望。

“I have never had this kind of bad feeling. I’m always fighting fit. I love swimming. And I have never bought medicine.” On January 9th, he did an extra blood test when he had the coronavirus test, and then, he had a CT scan examination.
This time he was shocked by the result: compared with the former CT, ground-glass opacity was much more obvious, and the whole lung had GGO.
Knowing his health condition turned worse, Zuo Dongbo was directly hospitalized in the Dongxihu District People’s Hospital Infection Department. This hospital was opposite to the Second Dongxihu District Hospital which he worked at, and the office director Dr liu was his good friend.
Being hospitalized, Zoo Dongbo was suffering from the illness.“On the way leaving the hospital, I felt like I was dying. It’s like drowning, once I stopped having HPO, I cannot breathe.”
From January 9th, moving into the Dongxihu District People’s Hospital, to January 16th, transferring to the Jinyintan Hospital, Zuo Dongbo had had his most unbearable week in his life.
From Dongxihu to Jinyintan, the ambulance carried Zuo Dongbo to the hope of life.

====李可依 Li Keyi ====

当他再次醒来时，发现自己已经在金银潭医院了， “我很庆幸，多亏了我妹妹和妹夫，替我做了一个很重要的决定—— 转到金银潭医院。”
刚转到金银潭医院，左东波话也说不出来。慢慢地恢复意识后，他的第一个感受是，这里的护士对待每个患者都如同自己家人。危重患者治疗要求不能脱氧，只能在床上大小便。年纪大的患者，翻身时需要几个护士一起做。身为同行和患者，左东波对于护士们的付出第一次感受得如此深入。

When he woke up again, he found himself in Jinyintan Hospital, "I am very lucky that thanks to my sister and brother-in-law, they made a very important decision for me - to transfer me to Jinyintan Hospital." When he was first transferred to Jinyintan Hospital, Zuo Dongbo couldn't even speak. After slowly regaining consciousness, his first feeling was that the nurses here treated every patient like their own family. The treatment for critically ill patients requires that they cannot go off oxygen and can only urinate and defecate in bed. For older patients, it takes several nurses to turn them over. As a peer and a patient, Zuo Dongbo felt the nurses' dedication so deeply for the first time.

====李玮瑶 Li Weiyao====

同病房有四个重症患者，左东波眼看着他们一个个地离去，心里很不是滋味。在转入轻症病房前，左东波主动提议和护理他的上海支援湖北医疗队队员、复旦大学附属金山医院神经外科重症监护室主管护师张文英合影留念，互相加油鼓劲。

There were four critically ill patients in the same ward. Zuo Dongbo was very upset when he watched them leave one by one. Before he was transferred to the mild illness ward, Zuo Dongbo actively proposed to take a group photo with Zhang Wenying, the member of the Shanghai Support Hubei Medical Team and the nurse in charge of the neurosurgery intensive care unit of Jinshan Hospital affiliated to Fudan University, to cheer each other on.

1月31号，因不需要高流量给氧，左东波转到了普通病房。

On January 31, Zuo Dongbo was transferred to the general ward because he did not need high flow oxygen.

在普通病房，左东波经常跟护士们交流防护方面的问题，叮嘱他们多注意穿脱细节。“因为穿着防护服，我其实记不住他们的长相，但确实很感激。”

In the general ward, Zuo Dongbo often communicated with nurses about protection issues, and told them to pay more attention to the details of wearing and taking off. "I can't remember their looks because I wore protective clothing, but I really appreciate it."

从金银潭出院后，左东波进行了 14天的隔离观察。隔离观察期结束后，左东波又奔赴抗疫战场。
（李杰）

After discharge from Jinyintan hospital, Zuo Dongbo carried out an isolation observation for 14 days. After the isolation and observation period, Zuo Dongbo went to the anti epidemic battlefield again.
(Li Jie)

金银潭抗疫纪爭

Anti epidemic Disciplinary Struggle in Jinyintan

==Part 6==

====李心田 Li Xintian====

第二早

坚守阵地的金银潭战士们

白衣作战袍，塵战金银潭。

金银潭医院作为抗击新冠肺炎疫情之战的风暴眼中心，可以说是战争最激烈的地方。医院所有在职干部职工坚守阵地，毫不退缩，与疫魔展开塵战。
院长张定宇是这一片战场的主心骨。在他的身后，是亲密无间的战友——“以身试药”的副院长黄朝林、为前线战士输送弹药的医院药师们、“生命摆渡人” 120团队、医院南二病区楼道和病房中进进出出的白衣天使、为所有医护人员和患者守着“一盏灯”的后勤员工、争分夺秒寻找病毒“解药”的医院 GCP机构、比任何人都更接近病毒的检验科员工

拼渐冻生命与疫魔竟速

记疫情“风暴眼”中武汉金银潭医院院长张定宇

The second morning

The ground-holding soldiers of Jinyintan Hospital

With white coat being campaign gown, fighting fiercely in Jinyintan Hospital.

As the storm eye center of the anti-pandemic battle, Jinyintan Hospital can be seen as the fiercest place of this battle. All the hospital’s cadres in work held the ground without any thought of retreating back and fought fiercely against the evil pandemic. Director Zhang Dingyu was the backbone of this field. Behind him were his close fellow fighters: vice director Huang Chaolin who “tested medicine in person”, pharmacists providing medicine “bullets” for the fighters in the front, the 120 work team who ferried lives, doctors in and out of the corridors and wards of the hospital south No. 2 department, the logistic staff supporting all medical staff and patients, the hospital GCP agency seizing every minute and second to find the cure for the virus, and the clinical laboratory staff who were the closest to the virus.

Strain an ALS life and race against evil pandemic

A recording of Director Zhang Dingyu of the Wuhan Jinyintan Hospital in the “storm eye” of the pandemic.

Correction：The second morning

The ground-holding soldiers of Jinyintan Hospital

With white coat being campaign gown, fighting fiercely in Jinyintan Hospital.

As the storm eye center of the anti-pandemic battle, Jinyintan Hospital can be seen as the fiercest place of this battle. All the hospital’s cadres in work held the ground without any thought of retreating back and fought fiercely against the evil pandemic. Director Zhang Dingyu was the backbone of this field. Behind him were his close fellow fighters: vice director Huang Chaolin who “tested medicine in person”, pharmacists providing medicine “bullets” for the fighters in the front, the 120 work team who ferried lives, doctors in and out of the corridors and wards of the hospital south No. 2 department, the logistic staff supporting all medical staff and patients, the hospital GCP agency seizing every minute and second to find the cure for the virus, and the clinical laboratory staff who were the closest to the virus.

Strain an ALS life and race against evil pandemic

A recording of Director Zhang Dingyu of the Wuhan Jinyintan Hospital in the “storm eye” of the pandemic.

====李彦 Li Yan====

生命，有起点，也会有终点。张定宇——武汉抗疫一线一位医护人员，似乎在按倒计时的方式与生命和时间进行着搏斗。
手里接打着一个又一个几乎不间断的电话，脚下步子也不停，还不忘对身边人发出一个又一个清晰的指令……
这，是武汉市金银潭医院院长张定宇给人的第一印象。
金银潭，老武汉人都未必熟悉的一家传染病专科医院，这些天频繁见诸媒体。这里，是最早集中收治不明肺炎患者的医院，是这场全民抗“疫”之战最早打响的地方。
张定宇在这场与病毒赛跑、与死神竞速的战事中，已经战斗了 33天。而他自己，也在同“渐冻症”进行着顽强斗争。
个性“粗糙”的院长：“幸亏靠了他的暴脾气和果断！”

Life has a beginning and an end. Zhang Dingyu, a paramedic on the front line of the fight against the epidemic in Wuhan, seems to be fighting for his life and time in a countdown manner.
With phone call after phone call almost non-stop in his hands and his feet on the ground, he is still giving clear instructions to those around him. ......
This, is the first impression given by Zhang Dingyu, the director of Wuhan Jinyintan Hospital.
The first thing that struck me was that Zhang Dingyu, the director of the Jinyintan Hospital in Wuhan, a specialist hospital for infectious diseases that may not be familiar to any old Wuhaner, is frequently seen in the media these days. It was the first hospital to focus on patients with unknown pneumonia and the first place where the battle against the epidemic was fought.
Zhang Dingyu has been fighting for 33 days in this race against the virus and death. He, too, has been fighting a tough battle against the disease.
The "rough" personality of the dean: "Fortunately, we can rely on his temper and determination!

====李梓玉 Li Ziyu====

2019年12月29日，武汉，雾，多云。
武汉华南海鲜批发市场首批不明肺炎患者转入位于武汉三环外的金银潭医院。
“当时不少医疗机构也陆续出现不明原因肺炎患者，绝对不能大意。”多年从事传染病防治，职业敏感让张定宇第一时间判断，这不是普通的传染病。
果断决策：他将这些患者迅速集中到隔离病房，穿上防护服，进隔离区查看症状，分析研判。
隆冬，一股寒意向张定宇袭来，情况比他想象的要糟。

====梁昕璐 Liang Xinlu====

12月30日一早，他再度决策：紧急布置腾退病房，抽调更多医疗力量，新开两个病区，转入80多名患者，完成清洁消毒，设备物资人员调配……
平时少有人知晓的金银潭，拌和着空气中浓浓消毒水味的，还有凝重紧张的气氛。
人类与重大疾病斗争史上，未知和恐惧，从来都如影随形；清醒和果敢，也愈加珍贵地相生相伴。

2020年1月2 9S,武汉市金银潭医院院长张定宇回到医院后马上换装投入工作。（新华社记者肖艺九摄）

2020年1月29日，武汉金银潭医院院长张定宇接受新华社记者采访。（新华社记者肖艺九摄）

Early in the morning of December 30, he made another decision: emergency arrangements to vacate the wards, the deployment of more medical forces, the opening of two new wards, the transfer of more than 80 patients, the completion of the cleaning and disinfection, equipment and materials and personnel deployment ...... usually little-known Jinyintan, mixed with the strong smell of disinfectant water in the air, and the atmosphere of gloomy tension. In the history of mankind's struggle with major diseases, the unknown and fear have always followed each other; sobriety and boldness have become more and more precious together.

Zhang Dingyu, president of Wuhan Jinyintan Hospital, returns to the hospital and immediately dresses for work on January 2, 2020. (Xinhua News Agency reporter Xiao Yijiu) On January 29, 2020, Zhang Dingyu, president of Wuhan Jinyintan Hospital, was interviewed by Xinhua News Agency. (Photo by Xiao Yijiu, Xinhua News Agency)

correction：

Early in the morning of December 30, he made another decision: emergency arrangements to vacate the wards, the deployment of more medical forces, the opening of two new wards, the transfer of more than 80 patients, the completion of the cleaning and disinfection, the deployment of equipment, materials and personnel... Usually little-known Jinyintan is mixed with the strong smell of disinfectant water in the air and the atmosphere of tension. In the history of mankind's struggle with major diseases, the unknown and fear have always followed people; sobriety and boldness have intertwined and become more precious.

Zhang Dingyu, president of Jinyintan Hospital in Wuhan, returned to the hospital and immediately dresses for work on January 29, 2020. (Photo/Xinhua News Agency reporter Xiao Yijiu) On January 29, 2020, Zhang Dingyu, president of Wuhan Jinyintan Hospital, was interviewed by Xinhua News Agency. (Photo/Xiao Yijiu, Xinhua News Agency)

====廖璐佳 Liao Lujia ====

之后的日子，时钟的钟摆对金银潭、对张定宇、对已知和未知的所有，似乎都踏上了加速度的轨道。
不断有新患者转入，相当于医院要不断“换水”，任何一丝不细致都会弄出乱子。
早上7点半，往往换班的医护人员还没到，张定宇就已经到了。“今天收了多少患者？ ” “多少出院？ ”他每次问，都要回答者脱口而出说出精确数字。“收患者、转患者、管患者，按道理有些事他可以不管，但他都会到现场亲自过问。”南三病区主任张丽说。
张丽2003年曾参与过抗击非典，对传染病防治是见过大场面的。搁平时，这位资深传染病医生，见了张定宇却多少会躲着走。“脾气粗糙，你和他说话都不许插嘴”，张丽说。

In the days that followed, the pendulum of the clock seemed to accelerate for Jin Yintan, Zhang Dingyu, and everything known and unknown. New patients were transferred to the hospital, which means hospital constantly cured former patients, and lack of meticulousness will make a mess. At 7:30 a.m., Zhang Dingyu had already arrived before the medical staff who worked the shift arrived. "How many patients were admitted today? How many are discharges?" Every time he asked, he had the respondents blurt out the exact number. “Accepting, transferring and managing patients are not his business and he can ignore some things, but he will go to the scene to personally inquire.” Zhang Li, director of the South Three ward, said. Zhang Li participated in the fight against SARS in 2003 and has seen big scenes in the prevention and control of infectious diseases. Usually, this senior infectious disease doctor would hide away to some extent when he saw Zhang Dingyu. "You have a rough temper, so you are not allowed to interrupt him when you talk to him." Zhang Li said.

correction:
In the following days, the pendulum of the clock seemed to have accelerated for Jin Yintan, Zhang Dingyu, and everything known and unknown. New patients were transferred to the hospital, which means hospital constantly cured former patients, and lack of meticulousness will make a mess. At 7:30 a.m., Zhang Dingyu had already arrived before the medical staff who worked the shift arrived. "How many patients were admitted today? How many are discharges?" Every time he asked, he had the respondents blurt out the exact number. “Accepting, transferring and managing patients are not his business and he can ignore some things, but he will go to the scene to personally inquire.” Zhang Li, director of the South Three ward, said. Zhang Li participated in the fight against SARS in 2003 and has seen big scenes in the prevention and control of infectious diseases. In normal times, this senior infectious disease doctor would hide away somewhat when he sees Zhang Dingyu. "He has a rough temper, so you are not allowed to interrupt him when you talk to him." Zhang Li said.

====刘丛领 Liu Congling ====

张丽没想到的是，这次不仅是“粗糙”，更是躲不过去的 “折磨”。“任务布置急、要求高，事无巨细，骂起人来都不留情面。”
被“折磨”的张丽在这次危机中却感觉到张定宇“粗糙” 脾气下的细致。“幸亏靠了他的暴脾气和果断。有困难找他，总会有办法。现在看到他的身影，有种踏实的感觉。”
1月8日，国家卫健委公布，初步确认“新型冠状病毒” 为此次疫情的病原。
武汉，九省通衢，有1100万人口。几乎一夜间，成为一场波及全球疫情的“风暴眼”。
“风暴眼”中：“有他在，医护人员、患者、家属心里都有底。” 疫情袭来，冲击着每一个人。坚毅，能不能战胜恐慌？武汉，紧张中蕴含着不安和骚动。金银潭医院病区内，呼叫医务服务的铃声此起彼伏，与病楼外疏落的人影形成强烈的反差。
Zhang Li did not expect that this time is not only "rough", but also an unavoidable "torture". "The task is urgent and demanding, so there is no mercy in scolding people." "Tortured" Zhang Li in this crisis found Zhang Dingyu’ meticulousness under his cover of "rough" temper. "Thanks to his temper and determination. He can always find out a solution when you are stuck in trouble. I feel a sense of security when I see him." On January 8, the National Health Commission announced that the novel coronavirus was initially identified as the cause of the outbreak. Wuhan, a thoroughfare of nine provinces and home to 11 million people, became the epicentre of a global pandemic all but overnight. In the "eye of the storm", his being makes medical staff, patients, family members feel secure. The rampant epidemic was affecting everyone. Can perseverance conquer panic? In Wuhan, there is unease and commotion in the tension. In the ward of Jinyintan Hospital, the sound of the bell calling for medical services is repeated one after another, in sharp contrast to the scattered figures outside the building.

====刘佳玉 Liu Jiayu ====

“风暴眼”中，张定宇走着、说着。
对患者，他是一种语气。
“您家莫急莫急，我马上安排人出来接。”
对下级，他是另一种态度。
“搞快点，搞快点，这个事情一点都等不得，马上就搞。” 严厉，但是镇定。
张定宇告诉大家：对呼吸道传染病不必过于恐慌，按要求做好防护就没危险。“我们要胆大心细！有什么责任有我担着。”
他身后，从一个病区，到一栋楼，到三栋楼；护士从两小时交接班一次，延长到四五个小时一次；医生更是恨不得把一个人掰成两个人来用……
“去年12月29日到现在，他没休过一天，只有两个晚上离开医院稍微早些。”金银潭医院党委书记王先广说。给他留下深刻印象的还有这位搭档蹒跚的身影。

In the “eye of the storm”, Zhang Dingyu walked and talked. To the patient, he said in a soothing voice, “Don’t worry. I’ll have someone pick you up right away.” To his subordinates, however, he has a different attitude, “Hurry up, hurry up! This can’t be put off. We must do it right now.” He was strict, but calm. Zhang Dingyu told everyone: there was no need to panic about respiratory infections. There would be no danger if everyone took proper precautions as required. “We must be bold but careful! I will take responsibility for whatever it is.” Behind him, it went from one ward, to one building, then to three buildings; nurses shift from once every two hours to once every four or five hours; doctors wished they could divide themselves into two... “Since December 29th last year, he has not taken a day off. Only two nights did he leave the hospital a little early.” said Wang Xianguang, the party secretary of Jinyintan Hospital. He was also impressed by the staggering figure of his partner.

====刘婷婷 Liu Tingting====

越来越多的同事发现，一向脚步如风的院长下楼梯脚步越来越慢。面对越来越多人的追问，张定宇终于承认：“我得了渐冻症，两年前就犯病了，下楼吃力，更怕摔倒。”
渐冻症是一种罕见病症，慢慢会进展为全身肌肉萎缩和吞咽困难，直至呼吸衰竭。“我特别怕下楼，必须扶着。平时，我下楼都会抓住我爱人。”
“多少次问他，都说膝关节动过手术。”感染科主任文丹宁说。直至这次，她和其他同事才回过神来，“为什么他脚步高低不平，上下楼一定要抓紧扶手，慢慢挪。”
北七病区护士长贾春敏却不承认。“他明明走得好快！ ” 1 月21日晚腾退完病房后，正等待转入新患者，贾春敏就接到张定宇电话：“五分钟到北7楼，看新病区还差些什么？ ”
放下电话，贾春敏赶着拉上装物资的小推车一路小跑。“他从办公室到北7楼比我远，等我到的时候，他已经在那儿了。” 贾春敏说，“平时他老跟不上我们，但他拼的时候，我们跟不上他。”
“有他在，医护人员、患者、家属心里都有底。”文丹宁说。

====刘雅琴 Liu Yaqin====

33天和30分钟：“没说太多话，都很疲惫，只是离开时叮嘱了下：保重。”
慢和快，在张定宇身上，在疫情发生后，组成奇妙的复合体。
清早6点钟起床、次日凌晨1点左右睡觉，不知不觉成了常态。好几个夜晚，张定宇凌晨2点刚躺下，4点就被手机叫醒。
情和痛，也不知从什么地方会来个突然袭击。
金银潭医院收治首批患者22天后，张定宇得到消息：在武汉另一家医院工作的妻子，在工作中被感染新型冠状病毒，住进相隔十多公里的另一家医院。
妻子入院三天后，晚上11点多，张定宇赶紧跑去探望，却只待了不到半小时。“没说太多话，都很疲惫，只是离开时叮嘱了下：保重。”采访时，张定宇不愿多回忆那宝贵的30 分钟。
“实在是没时间。我很内疚，我也许是个好医生，但不是个好丈夫。”眼前这位五大三粗，和普通人眼中医生形象很不匹配的硬汉，眼圈忽然红了。“我们结婚28年了，刚开始两天她状态不好，我就怕她扛不过去。”

====刘雨晴 Liu Yuqing====

不能完全停下来，也不能时时刻刻在动。张定宇的渐冻病需要比别人更好掌握这个度。
几乎没时间去看患病的妻子，却又搁不下、放不了挂念，没法想象张定宇心里怎么过的这道坎。
一个多月，夜以继日，张定宇病了。躺在床上输液时，手里仍拿着各种材料数据了解患者情况、重症人数、救治进展，布置各项工作……刚刚好一点，只要可能，张定宇都会再穿上被称为“猴服”的防护服，从患者通道走到隔离病房，走到重症室查房。
“穿着防护服，走路都能听到呼吸、心跳，出来前心后背都湿透了。”张定宇的感受，是疫情笼罩下，医护人员最真实的感受。
好在，坎过去了。妻子在入院十天后的1月29日下午，痊愈出院。这个消息让已经了解张定宇，知道了这样一位战“疫” 勇士事迹的人们，都松了一口气。
急切的记者电话核实这个压抑中难得的好消息时，已经是晚上11点了。开车回家路上的张定宇说了一句话：“对，两次核酸检测呈阴性。”
张定宇的“三重身份”：“无论哪个身份，在这非常时期、危急时刻，都没理由退半步，必须坚决顶上去！”
共产党员、院长、医生，是张定宇的三重身份。
“无论哪个身份，在这非常时期、危急时刻，都没理由退半步，必须坚决顶上去！”张定宇说。
You can't stop completely, nor can you move all the time. Zhang Dingyu's acromegaly requires a better grasp of this than others.
It is impossible to imagine how Zhang Dingyu's heart can survive this hurdle when he barely has time to see his sick wife, but cannot put aside or let go of his worries.
For more than a month, night and day, Zhang Dingyu became ill. While lying in bed receiving an infusion, he was still holding various materials and data to understand the situation of the patients, the number of serious cases, the progress of treatment, and to set up various tasks. ...... Whenever possible, Zhang Dingyu would put on his protective suit, known as the "monkey suit", and walk from the patient corridor to the isolation ward and to the intensive care unit. The first time I saw him, I was in the hospital.
"In the suit, I could hear my breathing and heartbeat when I walked, and the back of my heart was soaked through before I came out." Zhang Dingyu's feelings are the most realistic of the health care workers in the grip of the epidemic.
The good news is that the hurdle has passed. Ten days after his wife was admitted to hospital, on the afternoon of 29 January, she was discharged. The news was a relief to those who already knew about Zhang Dingyu and the story of such a warrior in the battle against the epidemic.
It was already 11pm when an eager reporter called to verify this rare and depressing news. On the drive home, Zhang Dingyu said, "Yes, the two nucleic acid tests were negative.
Zhang Dingyu's "triple identity": "No matter which identity, there is no reason to take a half-step back at this extraordinary and critical time, we must resolutely go up!
The triple identity of Zhang Dingyu is that of a Communist Party member, a director and a doctor.
"No matter which identity he has, there is no reason to take a half-step back in these extraordinary and critical times. Zhang Dingyu said.

====鲁思 Lu Si ====

57岁的张定宇，从一名普通医生起步，先后担任武汉市四医院副院长，武汉血液中心主任。
从医33年，他曾随中国医疗队出征，援助阿尔及利亚； 2011年除夕，作为湖北第一位“无国界医生”，出现在巴基斯坦西北的蒂默加拉医院……
他和同事们的身影，也曾出现在重大灾害发生的现场。 2008年5月14日，四川汶川地震第三天，他带领湖北省第三医疗队出现在重灾区什都市……
“像张定宇这样的党员干部，始终冲在最前线，让大家都感觉特别有主心骨。”张丽说。

2020年1月29日，由于渐冻症的关系，张定宇爬起楼时十分不便。（新华社记者肖艺九摄）

Zhang Dingyu, 57, started out as a general practitioner and has served as vice president of Wuhan Hospital IV and director of Wuhan Blood Center. On New Year's Eve 2011, as the first "Doctors Without Borders" in Hubei, he appeared at the Timergala Hospital in northwest Pakistan ....... He and his colleagues have also appeared at the scene of major disasters. He and his colleagues have also been on the scene of major disasters. On May 14, 2008, the third day of the Wenchuan earthquake in Sichuan Province, he led the third medical team from Hubei Province in the hardest-hit city of Shidu. ......Zhang Li said, "Party members like Zhang Dingyu are always at the front line, making everyone feel especially at ease."

January 29, 2020, due to the relationship of acromegaly, Zhang Dingyu climb up the building is very inconvenient.

Zhang Dingyu, 57, started out as a general practitioner and has served as vice president of Wuhan Hospital IV and director of Wuhan Blood Center. With 33 years of medical service, he once went on an expedition with the Chinese medical team to help Algeria. On New Year's Eve 2011, as the first "Doctors Without Borders" in Hubei, he appeared at the Timergala Hospital in northwest Pakistan ....... He and his colleagues have also been on the scene of major disasters. On May 14, 2008, the third day of the Wenchuan earthquake in Sichuan Province, he led the third medical team from Hubei Province in the hardest-hit city of Shidu. ......Zhang Li said, "Party members and cadres like Zhang Dingyu are always at the front line, making everyone feel especially at ease."

January 29, 2020, it was very inconvenient for Zhang Dingyu to climb up the building due to the ALS.

====陆玉琴 Lu Yuqin ====

55岁的南六病区主任陈南山顶上去了！

Chen Nanshan, the 55 year old director of South No.6 Ward, pressed on!

在春节期间人手最紧张的时候，临危受命，参与两个ICU病区建立，最多的时候1人管理3个病区近百名患者。

During the Spring Festival, when the staff was most scarce, he was assigned to take part in the establishment of two ICU wards. At most, one person managed nearly 100 patients in three wards.

南四病区副主任余婷和同在医院护士岗位的妻子顶上去 T!夫妻俩把上小学的孩子丢给父母，坚守一线30多天。

Yu Ting, the deputy director of South No.4 Ward, and his wife, who was also a nurse in the hospital, pressed on! The couple left their children in primary school to their parents and stuck to the front line for more than 30 days.

一米五出头，看着柔弱的ICU病区主任吴文娟顶上去了！从首批不明原因肺炎患者入院，直到自己因疑似感染新型冠状病毒被隔离才下火线。

At a height of just over 150 centemeters, Wu Wenjuan, the ICU ward director who looked delicate, pressed on! From the first batch of patients with unexplained pneumonia were admitted to the hospital, Wu continued working in the front line until she was quarantined for suspected infection with novel coronavirus.

金银潭医院240多名党员顶上去了!没有一个人迟疑、退缩，全部挺在急难险重岗位。有了张定宇和党员们，600多名职工全部坚守岗位，从未有人主动要“下火线”。

More than 240 Party members of Jinyintan Hospital pressed on! No one hesitated or retreated, and they were all in urgent and dangerous positions. With Zhang Dingyu and the Party members, more than 600 employees all stuck to their posts, and no one had ever taken the initiative to leave the front line.

====马明宇 Ma Mingyu====

战疫魔，金银潭医院动起来了，武汉动起来了，全中国动起来了。战事还远未结束，还会有惨烈，有悲壮，甚至牺牲。

The plague whisperer, Jinyintan Hospital has moved, Wuhan has moved, and the whole of China has moved. The war is far from over, there will be miserable, tragic and even sacrifice.

“健康所系，性命相托”。对张定宇们，这是践行的誓言！对无数民众，这是力量所在，希望所在。

"Tie with health, entrust by life." For Zhang Dingyu and other doctors, this is the oath to practice! For millions of people, this is where strength lies and hope lies.

动如风火的张定宇也有个希望，在自己能动的时候，跑赢这次与新型冠状病毒的赛跑。

Zhang Dingyu, who moves like wind and fire, also has a hope that he will win the race against the COVID-19 when he is active.

“我会慢慢失去知觉，将来会真的跟冻住了一样。”张定宇下意识地摸了摸腿，“慢慢我会缩成小小一团，固定在轮椅上。每个渐冻患者，都是看着自己一点点消逝的……”

"I'll lose consciousness slowly, and I'll be really frozen in the future." Zhang Dingyu subconsciously touched his leg. "Slowly I will shrink into a small ball and stay in a wheelchair." Every patient who has amyotrophic lateral sclerosis is watching himself disappear little by little..."

“生命留给我的时间不多了。必须跑得更快，才能跑赢时间，把重要的事情做完。”

"I don't have much time left. So I have to run faster to beat the time and get the important things done."

====彭琦 Peng Qi ====

2020年1月27 B,在武汉金银潭医院综合病区楼，张定宇在联系协调工作。（新华社发柯皓摄）
伴着高低不平的脚步，和电话那头急促的声音,张定宇转身，朝着隔离病区走去……
1月31日，难得的冬日暖阳照进了这座非常的江城。
下午5点左右，消息传来：20名新型冠状病毒感染的肺炎患者从金银潭医院集体出院，最大年龄患者64岁，最小年龄 15岁。这是疫情发生以来同时出院人数最多的一次。
截至目前，金银潭医院累计出院确诊患者72例。
（新华社武汉2020年1月31日电记者钱彤、李鹏翔、侯文坤、黎昌政）
Zhang Dingyu contacts and coordinates work in the general ward building of Jinyintan Hospital in Wuhan on January 27, 2020. (Xinhua News Agency photo by Ke Hao)
With uneven footsteps and an urgent voice on the other end of the phone, Zhang Dingyu turns around and walks towards the isolation ward ......
The rare warm winter sun shone into the city of Wuhan on January 31.
At around 5 pm, the news came in that 20 pneumonia patients with novel coronavirus infection were discharged from Jinyintan Hospital, the oldest patient 64 years old and the youngest 15 years old. This is the largest number of patients discharged at the same time since the outbreak began.
So far, a total of 72 patients have been discharged from Jinyintan Hospital with confirmed cases.
(Xinhua News Agency, Wuhan, January 31, 2020 - Reporters Qian Tong, Li Pengxiang, Hou Wenkun and Li Changzheng)

On January 27, 2020, Zhang Dingyu (pictured by Ke Hao at Xinhua News Agency) worked on contacts and coordination in the general ward building of Jinyintan Hospital in Wuhan. With uneven footsteps and an urgent voice from the phone, Zhang Dingyu turned around and walked towards the isolation ward…
The warm winter sun rarely shone into the city of Wuhan on January 31.
At around 5 P.M., the news came in that, 20 pneumonia patients with novel coronavirus infection, ranging from 15 to 64 years old, were discharged from Jinyintan Hospital. It the largest release since the epidemic outbreak.
So far, 72 patients in total have been discharged from Jinyintan Hospital with confirmed cases. (Xinhua News Agency, Wuhan, January 31, 2020 - Reporters Qian Tong, Li Pengxiang, Hou Wenkun and Li Changzheng)

====漆羿鑫 Qi Yixin====

老搭档眼中的张定宇
“好搭档好同事，好兄弟好战友。作风硬朗，遇到问题从来不退缩。”这是金银潭医院党委书记王先广对张定宇的评价。王先广和张定宇搭班子，两人再熟悉不过。他也比医院任何人都早一些知道张定宇渐冻症的病情。
王先广和张定宇都是医生，比常人更加了解渐冻症的后果和危险性。王先广说，其实张定宇这个病，是需要好好回家洗个热水澡的，既不能完全停下来，也不能时时刻刻在动。他需要掌握这个度，但是他又不能掌握这个度，因为工作在不断推着他动，最初30多天，张定宇有好几个通宵只是在办公室沙发上打了个盹。
尽管张定宇用了一些治疗方法，但仍然没有明显向好的方向转化的迹象。王先广心里也很难受,渐冻症患者肌肉萎缩以后，力量就会受限制，有一次下楼的时候，张定宇差一点摔倒下去，因为腿没有支撑能力。张定宇私下多次跟他说，两个人在一起的时候让王先广扶一下他。

Eyed as an excellent partner, nice colleague, intimate brother and reliable comrade by the old partner, resolutely Zhang Dingyu keeps moving on when encountering problems. This is what Wang Xianguang, secretary of the Party committee of Jinyintan Hospital, said about Zhang. Owing to common shifts, Wang and Zhang are familiar with each other. Wang also knows how Zhang 's progressive frostbite is like earlier than anyone in the hospital. Wang and Zhang, both doctors, are much clear about the consequences and risks of progressive frostbite than ordinary people. In fact, Zhang's illness needs to go home and take a warm bath, said Wang. It can neither stop completely nor be active all the time. The degree needs to be under control but he can't, because his work keeps pushing him. In the first 30 days, Zhang just took a nap on the office sofa several nights. Although Zhang has used some treatment methods, there is still no obvious sign of improvement. Wang was also very upset. After the muscle atrophy of the patients with progressive frostbite, their strength would be limited. Once, when he went downstairs, Zhang almost fell down because his legs could not support him. Zhang told him many times in private that Wang would help him when they were together.

In the eyes of his old partner， Zhang Dingyu is a "Good partner, good colleague, good brother, good comrade. His style is tough, and he never flinches when he encounters problems." This is the evaluation of Zhang Dingyu by Wang Xianguang, secretary of the Party Committee of Jinyintan Hospital. Wang Xianguang and Zhang Dingyu team up, the two are familiar with each other. He also knew about Zhang Dingyu's acromegaly earlier than anyone else in the hospital.
Wang Xianguang and Zhang Dingyu are both doctors and understand the consequences and dangers of acromegaly better than normal people. Wang Xianguang said, in fact, Zhang Dingyu's disease, is the need to go home and take a hot bath, can not completely stop, but also can not move all the time. He needs to master this degree, but he can not, because the work is constantly pushing him to move, the first 30 days, Zhang Dingyu just stayed in the office sofa doze for a number of overnight.
Despite the treatment methods Zhang Dingyu used, there were no obvious signs of transformation for the better. Wang Xianguang was also very upset, because after the muscle atrophy of patients with acromegaly, their strength would be limited, and once when he went downstairs, Zhang Dingyu almost fell down because his legs had no support. Zhang Dingyu told him many times in private that he should let Wang Xianguang help him when they were together.

====覃诗雅 Qin Shiya====

疫情发生以来，来金银潭医院指导交流的专家越来越多，原本就很疲乏的张定宇，脚步跟不上，只好叫班子其他领导送。
“不是因为他自己受不了，而是来了这么多专家，没有接送，对不住大家。大家来支援指导我们，没有按照礼节做到位，所以把原因说明下，更多人也就知道了他渐冻症的情况。”
“没有誓师，没有举旗喊口号，就是一线战地动员，像张定宇这样的党员自觉往前线走，带动其他医院员工动起来。” 在王先广眼里，张定宇真的是面对生死而不变色，“有险情他一定第一个冲上去”。
很多人都说张定宇是个“急脾气”，对此王先广非常理解，作为院长，张定宇做事风风火火，敢于担当，冲在前、干在前，这是他的优点。有时候如果拖延一点，甚至会耽误一条生命， “所以他说话做事都不喜欢拖泥带水，不管是我跟他讨论问题，还是其他下属向他汇报工作，他都会让大家直入主题”。
在王先广眼里，张定宇是一头狮子，敢冲敢拼，发起脾气来, 暴跳如雷，但是一头温情的狮子，很细心、很细致、很关心人。

Since the outbreak, more and more experts came to Jinyintan Hospital for guidance and exchange. Zhang Dingyu, who was already very tired, could not keep up and had to ask other leaders of the team to send him.
"It's not because he couldn't stand it, but he felt sorry for all the experts who came without transportation. You guys all came to support and guide us, but we didn't do it according to the etiquette. So I decided to explain the reason, and more people will know about his acromegaly."
"No pledge, no flag， no slogans, as if a front-line battlefield mobilization, all of the party members like Zhang Dingyu consciously to the front line, driving other hospital staff to act." In the eyes of Wang Xianguang, Zhang Dingyu really can not cahnge color when he face the life and death, "when there are dangerous situations he must be the first to rush up".
Many people say Zhang Dingyu is a "impetuous temper", which Wang Xianguang understands very well. As a dean, Zhang Dingyu do things very quick, daring to take charge, rushing ahead, trying in front, that are all his advantages. Sometimes if you delay a little, you would even delay a life, "so he does not like to drag out things, whether I discuss issues with him, or other subordinates to report on the work, he will let everyone straight to the point."
In the eyes of Wang Xianguang, Zhang Dingyu is a lion, daring to fight. Once the temper strikes, he will storm out. But he is still a warm lion, very careful, very meticulous, very caring.

====卿子晔 Qing Ziye====

王先广说，作为院长的张定宇要布置全局，要调动力量，有重大险情的时候也会第一个冲上去。他用实际行动践行了对党忠诚、热爱人民的初心和使命！他是这次抗击新冠肺炎疫情中产生的诸多优秀共产党员中的杰出代表。
在张定宇身上，集中体现了无私无畏、担当作为的政治品格和勇毅果敢、雷厉风行的工作作风。作为共产党员，他时刻把人民群众生命安全和身体健康放在第一位，他默默承受着个人身体疾病的巨大痛苦，而用“渐冻的生命”托起了患者生的希望和信心。作为领导干部，他临危不惧、冲锋在前，应对危机镇定自若，是全院干部职工的“主心骨”和抗击疫情的“中流砥柱”。作为医生，凭借多年深厚的职业素养，成就了首战告捷，为全面打赢这场阻击战奠定了坚实基础。用他自己的话说：“我是共产党员、医务工作者，非常时期、危急时刻，必须坚决顶上去。”他是这么说的，也是这么做的，在面对重大疫情的危急时刻，他能够豁得出去，没有丝毫的畏惧和退缩，义无反顾。他是一条硬汉子、一个真英雄。

====仇绪 Qiu Xu ====

王先广说，张定宇的事迹和鲜为人知的病痛被曝光以后，感动了中国，同时更加深深打动了医院所有人。在他强大的精神力量感召下，医院内产生了巨大的冲击波，凝聚起了满满的正能量！
2月1。日，习近平总书记远程连线慰问金银潭医院医务人员代表之后，金银潭医院党委及时组织学习贯彻习近平总书记指示精神，再动员、再鼓劲、再部署。金银潭医院迅速掀起了学习先进典型、营造“比学赶超”浓厚氛围的热潮，全院党员干部职工以张定宇为榜样，在各自岗位上加班加点、奋力拼搏。尽管50多天没有休息，大家任劳任怨，不叫苦不怕累。钏足一股劲，咬咬牙，拼一拼，坚决顶上去。
张定宇就像一面旗帜，在抗击疫情的主战场上高高飘扬。在他的带动下，全院上下充满了决战决胜的责任感、使命感，大家的工作积极性和主动性更强，工作效率更高。
王先广说，抗击疫情的过程中，金银潭医院涌现出来一大批优秀的党员、干部和职工，如副院长黄朝林，科主任陈南山、夏家安，护士长瞿昭辉、吴静，医生涂盛锦、余振兴，护士胡绪娟、樊莉……

Wang Xianguang said that after Zhang Dingyu's story and little-known illness was exposed, it moved China and at the same time touched everyone in the hospital even more deeply. Inspired by his powerful spirit, the hospital has generated a huge shockwave of positive energy!
On February 1, after General Secretary Xi Jinping's remote link condolences to the medical staff representatives of Jinyintan Hospital, the Party Committee of Jinyintan Hospital promptly organised the study and implementation of General Secretary Xi Jinping's instructions, remobilised, re-energised and redeployed. Jinyintan Hospital quickly set off a wave of learning from advanced models and creating a strong atmosphere of "learning from each other and catching up with each other", and all party members and cadres and staff of the hospital followed Zhang Dingyu's example and worked overtime and hard at their respective posts. Although there was no rest for more than 50 days, everyone worked hard and was not afraid of suffering. They gritted their teeth, put up a fight and were determined to go on top.
Zhang Dingyu was like a flag flying high on the main battlefield of the epidemic. Led by him, the whole hospital was filled with a sense of responsibility and mission to win the battle, and everyone was more active and proactive in their work and worked more efficiently.
Wang Xianguang said that in the process of fighting the epidemic, a large number of outstanding party members, cadres and staff emerged from Jinyintan Hospital, such as Vice President Huang Chaolin, department heads Chen Nanshan and Xia Jia'an, head nurses Qu Zhaohui and Wu Jing, doctors Tu Shengjin and Yu Zhenxing, and nurses Hu Xujuan and Fan Li.

====全永慧 Quan Yonghui====

一个人的多身份战“疫”历程
武汉市金银潭医院，与病房里面的忙碌相比，院区的过道上显得特别的安静。
在这里，希望与失望交织，生存与死亡较量，人类与疫病决斗。
这两者，金银潭医院副院长黄朝林都是亲历者。
1月19日 ,武汉市卫健委举行新闻发布会，针对武汉市新型冠状病毒感染的肺炎综合防控答记者问。当时，湖北省医疗组专家、武汉市金银潭医院副院长黄朝林作为专家出席，并在发布会上介绍，武汉市不明原因的病毒性肺炎被确定为新型冠状病毒感染所致后，国家相关科研机构迅速研发出病毒核酸检测试剂盒，随后进行技术优化。1月16日,湖北省疾病预防控制中心收到国家下发的试剂盒后，开始对武汉市送检的不明原因的病毒性肺炎患者标本进行病原学检测。
三天后，1月22日 ,黄朝林的新型冠状病毒核酸检测结果显示为阳性，他也确诊被感染了。

====任嫚嫚 Ren Manman====

3月2日，黄朝林历经40天的隔离治疗和康复，回到工作岗位再战新冠肺炎疫情。
一个人的多身份战“疫”历程要从2019年12月27日说起。
2019年12月27日晩，黄朝林和张定宇正在办公室讨论事情，其间他接到一个武汉同济医院打来的电话，请求将一名冠状病毒肺炎患者转至金银潭医院。对方在电话中说，已在病例样本中检测出冠状病毒基因序列。
凭借职业敏感，黄朝林和张定宇，立即拨通了北京地坛医院专家的电话，得到的建议是接收患者，展开调查和研究。后来因患者家属不同意，未能转入金银潭。
2019年12月29日，对黄朝林来说，是一个特殊的日子。
这一天，也是黄朝林个人战“疫”打响的第一天。
On March 2, after 40 days of isolation treatment and rehabilitation, Huang Chaolin returned to work to fight the COVID-19 again. The course of a person's multi identity war "epidemic" would start on December 27, 2019. On the evening of December 27, 2019, Huang Chaolin and Zhang Dingyu were discussing matters in the office. During the discussion, he received a call from Wuhan Tongji Hospital requesting that a patient with coronavirus pneumonia be transferred to Jinyintan Hospital. The other person said on the phone that the coronavirus gene sequence had been detected in the case samples. With occupational sensitivity, Huang Chaolin and Zhang Dingyu immediately called the experts of Beijing Ditan Hospital, and they were advised to receive patients for investigation and research. Later, because the patient's family members did not agree, they were unable to transfer to Jinyintan. December 29, 2019 is a special day for Huang Chaolin. This day is also the first day of Huang Chaolin's personal battle against the epidemic.

On March 2, after 40 days of isolated treatment and rehabilitation, Huang Chaolin returned to work to fight the COVID-19 again. A person's multi identity war against "epidemic" would start on December 27, 2019. On the evening of December 27, 2019, Huang Chaolin and Zhang Dingyu were discussing matters in the office. During the discussion, he received a call from Wuhan Tongji Hospital requesting that a patient with coronavirus pneumonia be transferred to Jinyintan Hospital. The other person said on the phone that the coronavirus gene sequence had been detected in the case samples. With the sensitivity as a doctor, Huang Chaolin and Zhang Dingyu immediately called the experts of Beijing Ditan Hospital, and they were advised to receive patients for investigation and research. Later, because the patient's family members did not agree, they were unable to transfer to Jinyintan. December 29, 2019 is a special day for Huang Chaolin. This day is also the first day of Huang Chaolin's personal battle against the epidemic.

====疏珊 Shu Shan====

黄朝林得到通知，让他到湖北省中西医结合医院，对不明原因的肺炎患者进行会诊。一一看完患者后，黄朝林说，这些患者可能有传染性，收治在综合医院存在安全隐患。
黄朝林回忆，当天接到通知后，他和另外一名医院同事戴 ±N95 口罩，穿了件普通工作服，迅速赶往湖北省中西医结合医院，发现这些患者已被安排在呼吸科相对独立的区域进行了隔离。
到医院后，呼吸内科主任张继先向他们介绍了这些患者的收治情况、可疑状况等，并和他们一一查看患者。坐下来充分讨论后，专家们决定，把患者转去金银潭。随后，黄朝林通过电话向张定宇和武汉市卫生健康委做了汇报，调来了负压救护车。
一次传染病患者的转运，对一家传染病医院来说习以为常。始料不及的是，随后的这场战“疫”，却前所未有地艰难。
安排好转运的事，黄朝林和同事又赶紧赶回自己的医院。

Huang Chaolin was informed that he had been sent to the Hubei Integrated Hospital of Traditional Chinese and Western Medicine to consult with patients with unexplained pneumonia. After seeing the patients one by one, Huang said that these patients might be infectious and that there was a safety risk if they were admitted to a general hospital.
He and another hospital colleague, wearing a ±N95 mask and ordinary work clothes, quickly rushed to the Hospital, where the patients had been isolated in a relatively separate area of the respiratory department.
On arrival at the hospital, Zhang Jixian, Director of the Respiratory Medicine Department, briefed them on the admissions and suspicious conditions of the patients, and examined them one by one. After a thorough discussion, the experts decided to transfer the patients to Jinyintan. Huang Zhaolin then reported to Zhang Dingyu and the Wuhan Health and Wellness Commission by telephone, and a negative pressure ambulance was brought in.
A transfer of a patient with an infectious disease is not unusual for a hospital. What was unexpected was that the subsequent battle against the "epidemic" was more difficult than ever.
After arranging the transfer, Huang Chaolin and his colleagues rushed back to their hospital.

====王芳玲 Wang Fangling====

为防止传染，他们要用最快的速度，把南七楼的患者转移，腾出病房。
因为南七楼是金银潭医院的重症病区，从外院转来的疑难传染患者，会先安排到这里。
医院给参加转运的医护人员全部上了三级防护，每转一个患者，救护车就要彻底消毒一次，再接下一个患者。
患者全部转入后，金银潭医院的专家立刻开始会诊。您住哪里？在哪里上班？最近接触过什么人？接触过什么动物？……他们一边会诊，一边对患者展开了流行病学调查，直到凌晨三四点……
这次转运从傍晚一直持续到深夜。

To prevent infection, they had to move the patients on the south seventh floor and vacate the wards as quickly as possible. The south seventh floor as the intensive care ward of Jinyintan Hospital, patients who are transferred from other hospitals with difficult infections will be arranged here first. All the medical and nursing staffs who participated in the transfer were put on protection suits, masks at highest-level, and every time a patient was transferred, the ambulance had to be thoroughly disinfected before receiving the next patient. After all the patients transferred, specialists from Jinyintan Hospital immediately started the consultation. Where do you live? Where do you work? Who have you been in contact with recently? What animals have you been in contact with? ...... They started an epidemiological investigation of the patients while consulting them until three or four in the morning. ...... The transfer lasted from late afternoon until late at night.

====王纪龙 Wang Jilong====

此后，黄朝林几乎没有休息，没有外出，没有回过家，几乎夜以继日地奋战在抗疫火力最猛的第一线。
随着时间的推移，这类感染者日益增加，金银潭医院开始人满为患。后来，湖北省卫健委从武汉地区抽调了医护人员支援金银潭医院。
清腾病房、添置各种必须的仪器、安置患者、安排前来支援的外院医护人员……医疗上的事，在他的职责范围，他得管；作为专家，本院外院的会诊他要参加，他还以专家的身份出席了两场疫情发布会。对他来说，每天能睡上4个小时就算是很奢侈了……
进展快，是新冠肺炎的一个特点。作为医生，黄朝林参加了一些危重患者的抢救和病例讨论。当时对这个疾病真的是一无所知，病原不知道，感染途径不知道，患者的病情都比较重。直到几天后，才陆续发现有些轻症患者。

Since then, Huang Chaolin has hardly rested, gone out, or returned home. He has been working on the frontline of fighting the epidemic almost day and night. Over time, the number of such infections has progressively increased, and Jinyintan Hospital has become overcrowded. Later, under the Hubei Provincial Health Commission’s command, health workers were drafted from Wuhan to staff Jinyintan Hospital. Cleaning wards, adding various necessary instruments, hospitalizing patients, and arranging health workers coming from other hospitals for support... As a doctor, he had to take charge of medical matters; As an expert, he had to participate in the internal and external consultations. What’s more, he also attended two COVID-19 briefings as a specialist. For him, it is a luxury to sleep for 4 hours every day... Rapid progress is a feature of COVID-19. As a doctor, Huang Chaolin participated in the rescue and case discussion of some patients who were in dire straits. At that time, there were a lot of unanswered questions about the disease such as the pathogen and the route of infection, and the patients' conditions were relatively serious. It was not until a few days later that some mild patients were found.

====王露 Wang Lu====

连续超负荷工作带来的疲劳和压力让黄朝林的免疫力下降, 每天与之塵战的病毒已不知不觉潜入他的体内，正在等待发作的时机。从1月17日开始，他感到人很不舒服。22日那天，他的核酸检测结果出来，是阳性，他感染了。晚上，他抽空去拍了 CT,双肺已有毛玻璃样病灶。
那天之后，黄朝林再次走进病房时，他的身份已经变成患者, 血氧饱和度不到93%,属于重症。也是同一天，他在参加克力芝试药的临床观察知情同意书上签下自己的名字，以身试药，成为了 “试药人”中的一员，他想要通过自己的治疗，来验证克力芝治疗新冠肺炎的临床疗效和安全性。
服药后，腹泻、呕吐等严重不良反应接踵而来。

Huang Chaolin’s continuous overwork made him exhausted and stressed out, leading to decreased immunity. The coronavirus he fought against every day had crept into his body and was waiting for the right moment to attack. On January 17th, he began to feel unwell. And 5 days later, the result of his Covid test came out. It’s positive which meant he was infected. In the evening, he got a chance to have a CT scan, and it showed that there was ground-glass opacity in his lungs. After that, stepping into the ward, he became the patient in severe condition because his blood oxygen saturation level is less than 93%. At the same day, he signed the informed consent for clinical observation of Corizol test. From then on, he became one of the testers. He wanted to verify the effect and security of Corizol against Covid-19. However, the severe adverse reaction such as diarrhea and emesis kept coming.

Continuous overwork made Huang Chaolin exhausted and stressed out, leading to his decreased immunity. The coronavirus he fought against every day had crept into his body and was waiting for the right moment to attack him. On January 17th, he began to feel ill. And 5 days later, his Covid test showed positive, which meant he was infected. In the evening, he got a chance to have a CT scan, and it showed that there was ground-glass opacity in his lungs. After that, stepping into the ward, he became the patient in severe condition because his blood oxygen saturation level is less than 93%. At the same day, he signed the informed consent for clinical observation of Corizol test and became one of the testers. He wanted to verify the effect and security of Corizol against Covid-19 by his own experience. However, the severe adverse reaction such as diarrhea and emesis kept coming.

====王琪 Wang Qi====

在病房里，黄朝林听其他医生说，此前 ECMO救治的那名患者在坚持了近20天后还是去世了。作为专家，他很清楚，自己的病情可能也会一步步滑向危重，他也担心自己的病情发展到上呼吸机、上 ECM。那一步。病情反复的过程持续了十多天, 2月4日以后病情才出现拐点，肺部影像学逐渐好转，两次核酸检测呈阴性，符合出院标准。
3月2日，黄朝林历经40天的隔离治疗和康复，再回战“疫” 一线上班，再战新冠肺炎疫情。返岗第一天，黄朝林把自己的工作日程安排得满满的，去了很多病区了解情况，参加了一些医疗队交流会。在有的病区，他一边询问入院患者特点、治疗手段、出院情况，一边记录下需要解决的问题。
当前，战“疫”还在持续，黄朝林表示，他会更加小心，做好防护，不到全胜不松懈。

In the ward, Huang Chaolin heard from other doctors that the patient who had been treated in ECMO had died after nearly 20 days. As a specialist, he knew that his own condition might worsen into critical condition, and he also worried that oneday he should put on a ventilator or ECMO. The relapse of illness lasted for more than 10 days, and it was February 4 that his condition showed a turning, with lung imaging eventually improving and nucleic acid tested negative for twice, which meant he may be discharged.
On March 2, after 40 days of quarantine, treatment and recovery, Huang returned to work on the front lines of the "epidemic" and fought theCOVID-19 pandemic again. On his first day back at work, Huang arranged his work schedule to the fullest, visiting many wards to get the situation and attending some medical team exchange meetings. In some wards, he asked about the characteristics of patients admitted to the hospital, their treatment methods and discharge conditions, while taking notes on the problems to be solved.
As the war against the epidemic continues, Huang said he will be more careful, take good precautions, and not let up until the batlle has won.

==Part 7==

====汪世博 Wang Shibo====

为省10分钟，夫妻俩“以车为家”
2月22日晚9时许，不远处“武汉市金银潭医院”的霓虹灯光，揉进车内昏暗的光束里，映在涂盛锦和曹珊脸上，让这个夜晚显得不是那么冷。
这是这对医护夫妻将要在车上度过的第29个晚上。
和往常一样，涂盛锦在前排副驾斜躺着，翻着书，曹珊在后排半卧着，盯着手机，时不时两人就把头凑一块聊上几句。
今年44岁的涂盛锦是武汉市金银潭医院南六楼重症隔离病区副主任医师，40岁的曹珊是南二楼病区护士。
首批9名“不明肺炎患者”转入金银潭医院后的第二天，涂盛锦就参与到了救治工作中。后来，病区越开越多，曹珊从 1月7日也投入到了这场战“疫”。

To save time, the couple chose to live in a car
At 9:00 p.m. on February 22, the lights of the neon sign reading "Wuhan Jinyintan Hospital" not far away mixed with the dim light in the car and reflected on the faces of Tu Shengjin and Cao Shan, making the night not so cold. This is the 29th night the healthcare couple will spend in the car. As usual, Tu Shengjin was lying reclined in the front passenger seat, flipping through a book, while Cao Shan was half reclining in the back row, staring at the mobile phone, and from time to time the two of them put their heads together to chat. 44-year-old Tu Shengjin is the deputy chief physician of the intensive isolation ward on the sixth floor of South Jinyintan Hospital of Wuhan City, and Cao Shan, 40, is a nurse in the ward of the second floor of the south. The day after the first batch of 9 patients with "unknown pneumonia" were transferred to Jinyintan Hospital, Tu Shengjin participated in the treatment work. Later, more and more wards were opened, and Cao Shan also participated in this "epidemic" battle from January 7.(Wang Yashu)

====王雅姝 Wang Yashu ====

同一栋楼，但两人白天各自忙各自，没时间见面，11岁的儿子完全交给了家中的老人。
“家在武汉南湖边，隔着长江，开车要40分钟。”曹珊说，平时都是涂盛锦开车，一起上下班。
疫情暴发后，医院成为抗疫前线，涂盛锦所在的重症病区上下班没准点。曹珊说，有次两人下班匆匆忙忙回到家，丈夫车都没下，又要赶回医院继续上班，“第二天一早又来家里接我上班，那样他太辛苦。“
1月23日，武汉关闭出城交通，不久市内公共交通停运，全院医护和工作人员不能回家的太多，加上前来支援的医疗队，单位宿舍爆满，酒店房间也吃紧。夫妻俩决定把机会让给其他同事，“在车上睡几次也习惯了”。
正月初一那天开始，这辆陪伴8年的爱车成了他们的第二个家。

Though working in the same building, both the husband and the wife were busy with their own jobs during the day and had no time to see each other. Their 11-year-old son was taken care of by his grandparents at home.
"Our house is located at the South Lake in Wuhan, separated from the hospital by the Yangtze River. It takes 40 minutes to drive," said Cao Shan. The couple usually commutes together with Tu Shengjin driving the car. After the outbreak of the epidemic, the hospital became the front line of the fight against the epidemic, and the intensive care area where Tu worked had no fixed time for work and rest. According to Cao Shan, once when they hurried back home, her husband even didn't get out of the car and immediately drove back to the hospital to continue working.
"The next morning, he came back home to pick me up for work. It was too exhausting for him." On January 23, Wuhan imposed a traffic lockdown and soon public transportation was suspended. Too many doctors, nurses, and staff in the hospital could not go home. And with the medical teams who came to support, the hospital's dormitory could not accommodate more people, and the hotel rooms were also under strain. Therefore, the couple decided to give up the opportunity to other colleagues, "I have got used to sleeping in the car after a few times." From the first day of the first lunar month, this beloved car that has been with them for 8 years has become their second home.

====王植碧 Wang Zhibi====

2020年2月22日晩，在武汉市金银潭医院内，涂盛锦（左）和曹珊在车内休息（新华社记者熊琦摄）
“买车时特意挑了一款后备厢大的，想着以后有机会自驾露营。”曹珊笑了起来。
“我个儿不高，前座也还塞得下。她睡后排，为了方便她伸开腿脚，塞了纸箱把后排空隙填起来，还有爱心人士捐的暖宝宝。”涂盛锦对眼前的“居住环境”还蛮知足。
这些天，医院又协调出一些附近的酒店房间，可两人反而有点舍不得这个“小家”。
“房间是有，但酒店到医院开车都得10多分钟。遇到抢救的，那是按秒算，有这时间就可能把患者从死亡线上拉回来！”涂盛锦还是决定在车上过夜，而且基本不脱外套，就盖个被子，“现在是吃饭、睡觉都要抓紧时间的时候，能省多少时间是多少。”
On the evening of February 22, 2020, in Wuhan Jinyintan Hospital, Tu Shengjin (left) and Cao Shan were taking a rest in the car (photographed by Xiong Qi, a reporter from Xinhua News Agency). "When buying a car, we chose a large trunk, thinking that we would have a chance to camp by ourselves in the future." Cao Shan laughed. "I'm not tall, and the front seat can still be stuffed. She sleeps in the back row. In order to make it easier for her to stretch her legs, she fills the space in the back row with cardboard boxes. There are also warm babies(heat patch) donated by good-hearted people." Tu Shengjin is quite satisfied with the "living environment" in front of her. These days, the hospital has coordinated some nearby hotel rooms, but they two are a little reluctant to part with this "small home". "There are rooms, but it takes more than 10 minutes to drive from the hotel to the hospital. In case of rescue, it is calculated by the second, and the patient may be pulled back from the death line at this time!" Tu Shengjin still decided to stay in the car overnight, and did not take off his coat, so he just put on a quilt. "Now it is time to hurry up when eating and sleeping,we need to try our best to save time"

On the evening of February 22, 2020, in Wuhan Jinyintan Hospital, Tu Shengjin (left) and Cao Shan were taking a rest in the car (photographed by Xiong Qi, a reporter from Xinhua News Agency). "When buying a car, we intentionally chose a large trunk, thinking that we would have a chance to camp by ourselves in the future." Cao Shan laughed. "I'm not tall, and the front seat can still be stuffed. She sleeps in the back seat. In order to make it easy for her to stretch her legs, she fills the space in the back row with cardboard boxes. There are also warm babies(heat patches) donated by good-hearted people." Tu Shengjin is quite satisfied with the "living environment" in front of him. These days, the hospital has coordinated some nearby hotel rooms, but they two are a little reluctant to part with this "small home". "There are rooms, but it takes more than 10 minutes to drive from the hotel to the hospital. In case of rescues, time is calculated by the second, and the patient may be pulled back from the death line at this time!" Tu Shengjin still decided to stay in the car overnight and usually did not take off his coat, so he just put on a quilt. "Now it is time to hurry up even when eating and sleeping, we need to try our best to save time."(Wang Zhiling)

====王智灵 Wang Zhiling====

“病房里一个电话，他比谁都跑得快。”曹珊说，知道涂盛锦放心不下患者，她也留下来陪丈夫，“我一个人睡不着，我不在旁边，他也睡不安稳。”
白天4层楼的距离，对涂盛锦和曹珊来说可望而不可即。每天车上说说话，两人已经很满足。
平日里，涂盛锦不怎么爱说话，但在车上这会儿，总喜欢凑着曹珊聊天。
曹珊说，没了生活上的琐事，就聊聊科室里的工作，说着说着就睡着了。
涂盛锦偷偷告诉记者，曹珊一晚上大概要翻身10次左右， “我都数着呢。她一有动静，我都能感觉到，动一下就回头看她一眼，被子有没有掉了，腿有没有放好。”
深夜，武汉的风依旧凛冽。

"As long as a phone call rings in the ward, he runs faster than anyone else." Cao Shan said, Knowing that Tu Shengjin worried about patients, she also stayed with her husband, "I can't sleep alone, he can't sleep well either when I’m not beside him." During the day, Tu Shengjin and Cao shan were separated by the distance of four floors, which is beyond reach for them. They have been very satisfied with talking to each other in the car every day. On ordinary days, Tu Shengjin doesn't like to talk, but he always like to chat with Cao Shan while in the car. Cao shan said, they talk about the work in the department without the trivia of life, and gradually fall asleep while talking. Tu Shengjin secretly told the reporter that Cao Shan would turn over about 10 times a night, "I've counted it. Whenever she moves, I can feel it. If she moves, I will look back at her to see if the quilt has fallen off or if her legs have been put away." Late at night, the wind in Wuhan is still chilly.

“With a call from the hospital ward, he would run faster than anyone.” Cao Shan said that knowing that Tu Shengjin was always worried about the patient, she also stayed with her husband, “I can't sleep on my own, he couldn't sleep well without me around.” During the day, the distance of four stories was out of reach for Tu Shengjin and Cao Shan. The couple was highly satisfied just with the little talks in the car. Usually, Tu Shengjin does not like to talk, but now in the car, he is so fond of chatting with Cao Shan. Cao Shan said, without the trifles in life, they just talk about the work in the department, and they would fall asleep as they were talking. Tu Shengjin secretly told the reporter that Cao Shan would turn over about 10 times a night, “I actually count. Every time she moves, I can feel it and I will look back at her to see if the quilt is off and if her legs are in place.” Late at night, the wind in Wuhan was still brisk.

====吴博涵 Wu Bohan====

“以后回想起来，应该是挺浪漫的一件事吧。”涂盛锦放下手里的书，扭头盯着已相识近20年的曹珊说道。
小车里，有点挤，有点呼噜声，余下的，是关于“疫”时的别样陪伴。
早晨6点半，是夫妻俩下车的时间，他们又将开始新一天的战“疫”
（新华社武汉2020年2月23日电记者侯文坤）

“Looking back on it, it must have been romantic.” Tu Shengjin put down his book and stared at Cao Shan, whom he has met for nearly 20 years. It was a little crowded in the car, some are little snoring noises, and the rest is about a special kind of company at the time of “pandemic”. It was 6:30 a.m. and the time for the couple to get off the car and start another day of fighting the “pandemic”. [Wuhan, February 23rd, 2020 (Xinhua News Agency, Reporter Hou Wenkun)]

“At some point, we’ll look back and this is going to be a romantic story.” Tu Shengjin put down his book and turned to look at Cao Shan, whom he had met for nearly 20 years. It was a little crowded in the car, some were little snoring noises, and the rest was about a special kind of company during pandemic. It was 6:30 a.m. and the time for the couple to get off the car and start another day of fighting the pandemic. [Wuhan, February 23rd, 2020 (Xinhua News Agency, Reporter Hou Wenkun)]

风暴中心的药师们

The pharmacists in the storm center

The pharmacists in the eye of the storm

武汉市金银潭医院内有一支负责为前线输送“弹药”的保障部队——药师们。
为了不能让战士空手与病毒肉搏，药师们放弃所有休假，举全科之力，积极投身到战场中去。

Jinyintan Hospital of Wuhan has a support unit responsible for delivering "ammunition" to the front line -- pharmacists. In order not to leave the soldiers empty-handed while hand-to-hand combating with the virus, the pharmacists gave up all the leave and actively dived into the battlefield with all the strength of the whole department.

Jinyintan Hospital of Wuhan has a support unit responsible for delivering "ammunition" to the front line -- pharmacists. In order not to leave the soldiers empty-handed in the hand-to-hand fight with the virus, the pharmacists gave up all their leave and rallied the whole department to actively dive into the battlefield.

====伍超穎 Wu Chaoying====

疫情就是命令！

Go where there is epidemic, fight it till it perishes.

战“疫”刚刚打响，医院药剂科党支部书记郭晓红就立即召开了支部党员大会，宣布进入战时状态。门诊药房冯金海，中药房韩龙蜂，住院药房闫勇、涂莉、祁玮，药办张志右、章文、段洪，纷纷表态服从科室安排，随时支援工作量大的部门。

As soon as the fight against COVID-19 started, Guo Xiaohong, secretary of the Party branch of the Pharmacy Department of the hospital, immediately held a Party member meeting of the Party branch and announced that it had entered into a “wartime” state. Feng Jinhai of Outpatient Pharmacy, Han Longfeng of Traditional Chinese Pharmacy, Yan Yong, Tu Li, Qi Wei of Inpatient Pharmacy, and Zhang Zhiyou, Zhang Wen, and Duan Hong of the Office of Pharmaceutical Science, all said that they would be subject to the arrangement of the department and support sections with heavy workloads at any time.

战斗一开始，药剂科就少了两名员工，紧接着又因病减员一人。关键时刻，药剂科党支部的党员们，主动申请加入到人员紧张的药库和住院药房，充分发挥党员先锋模范带头作用，奋战在药剂科最前线，保证了药剂科各项工作的顺利开展，给医护一线提供了强有力的药品保障。

At the beginning of the battle, the Pharmacy Department was two members short, and then one less person due to illness. At a critical moment, the Party members of the Party branch of the Pharmacy Department took the initiative to apply to join the understaffed drug storehouse and Inpatient Pharmacy and give full play to the exemplary vanguard role of Party members, fighting at the forefront of the Pharmacy Department to ensure a good start of various tasks in the Pharmacy Department and the full supply of medicines for frontline health workers.

党支部书记郭晓红、住院药房班组长闫勇、药剂科负责人陈靖瞰就是其中代表人物。

Guo Xiaohong, secretary of the Party branch, Yan Yong, team leader of the Inpatient Pharmacy, and Chen Jingkan, head of the Pharmacy Department, were among the representatives.

====吴敏 Wu Min====

郭晓红自战“疫”打响那一刻起，就放弃了所有的休息，即便自己身体不适，仍然一直坚守在药房一线。在这非常时期，她一方面积极协助药剂科各项工作，做好人员调配、药品消毒品领用与发放等工作，另一方面挤出时间安排支部党员的主题党日学习。她说，工作再忙也不能放弃学习，尤其要向身边先进典型学习，学习英雄人物张定宇院长“舍小家顾大家”的无私奉献精神，学习放射科樊艳青主任爱岗敬业、精益求精的专业精神。
同时她又是科室职工的贴心人，工作之余，经常关心职工，嘘寒问暖，每天反复多次叮嘱大家一定要做好个人防护，确保零感染。她常说：“做好个人防护，既是保护自己，也是保护家人！”
1月2 8日，早上7时30分许，郭晓红突然接到电话，马上有一批援助药品到医院，需要接收。她放下电话，立即推上推车赶往医院门诊大楼。一辆堆满了足足有数百件药品的超长大卡车停在门诊大楼前。
Guo Xiaohong gave up all her rest from the moment the "epidemic" began. Even if she was not feeling well, she still stayed on the front line of the pharmacy. During this extraordinary period, on the one hand, she actively assisted the pharmacy department in various work, doing a good job in personnel deployment, drug disinfection collection and distribution, etc. On the other hand, she squeezed out time to arrange the theme of party members of the branch on Party Day study. She said that no matter how busy you are at work, you can't give up your study. In particular, you should learn from the selfless dedication of the hero Dean Zhang Dingyu, who "giving up his family and taking care of everyone", and learn the professionalism of Director Fan Yanqing of the Department of Radiology。At the same time, she is also a caring person for the staff in the department. After work, she often cares about the staff, asks for their warmth, and repeatedly urges them to do a good job of personal protection several times a day to ensure zero infection. She often said, "To do a good job of personal protection is not only to protect yourself, but also to protect your family! On January 28, at 7:30 a.m., Guo Xiaohong suddenly received a call that there was a batch of aid drugs coming to the hospital and needed to be received. She put down the phone and immediately pushed on the trolley to the hospital outpatient building. An extra-long truck filled with hundreds of pieces of medicine was parked in front of the clinic building.

====伍晓莉 Wu Xiaoli====

“大家都在各自岗位坚守，没有搬运工人，只能靠我们药师自己上啦！ ”她招呼大家行动起来，用小推车一车接着一车，把所有药品一箱箱运到了药库。
正如她所说，战“疫”非常时期，科室职工都在超负荷工作, 药工人数严重不足，再苦再累的活儿药师都得顶上！ “我身为共产党员，更应该站在前头！”
2月9日凌晨，郭晓红手机再次响起，“嫂子嫂子，父亲走了，怎么办啊！”
远在家乡的小叔子在电话里伤心地哭着说，原来郭晓红的公公于2019年12月底确诊为心梗合并脑梗，一个多月来一直在当地医院住院治疗，但由于武汉疫情严峻，抗疫工作需要，郭晓红没休息过一天，根本无暇回去看望老人，“直到他老人家临走前那一刻，我都不能送他一程，我这当晚辈的真是万分的悲痛和惭愧啊！”郭晓红边说边哽咽着。

"Everyone is sticking to their posts. There are no porters. We have to rely on the medicine man himself!" She called them into action and carried all the medicines to the drugstore by cart after cart. As she said, in the emergency period of the war against the epidemic, the department staff were overloaded with work, and the number of pharmaceutical workers was seriously insufficient. No matter how hard and tiring the work, pharmacists had to take over! "As a Communist, I should stand in the front!" In the early morning of February 9, Guo Xiaohong's mobile phone rang again, "sister-in-law sister-in-law, father left, how to do ah!" Guo Xiaohong's father-in-law was diagnosed with myocardial infarction combined with cerebral infarction at the end of December 2019, and has been hospitalized in the local hospital for more than a month. However, due to the severe epidemic situation in Wuhan and the need of the anti-epidemic work, Guo Xiaohong didn't take a day off and had no time to go back to visit the old man. "Until the moment before he left, I can not even see him off, I am a junior, how sad and ashamed!" Guo Xiaohong choked up as she spoke.

“Everyone holds fast to their position. Since there are no porters, now our pharmacists can only rely on ourselves!” She called on everyone to take actions and carry all the medicines to the drugstore cart by cart. As she said, at the crucial stage against the epidemic, staff in all department were overloaded with work. As the pharmaceutical workers were in shortage, our pharmacists have to take over the work, no matter how hard it is. As a Communist, I should stand at the front!" In the early morning of February 9, Guo Xiaohong's mobile phone rang again, "sister-in-law! sister-in-law! father passed away, what shall we do!”, her brother-in-law wined heartrendingly on the other side of the phone. Guo Xiaohong's father-in-law was diagnosed with myocardial infarction combined with cerebral infarction at the end of December 2019, and has been hospitalized in the local hospital for more than a month. However, due to the severe epidemic situation in Wuhan and the need of the anti-epidemic work, Guo Xiaohong didn't take a day off and also had no time to go back to visit the old man. "Even by the moment he left, I cannot see him off. How sad and ashamed I am to be his junior!" Guo Xiaohong spoke in a choked voice.

====席书涵 Xi Shuhan ====

住院药房是药剂科工作量最大的部门，不仅为全院21个病区调剂药品，还要直接送药品到病区。团队共11人，最年轻的药师杨文也有40岁了，都是上有老下有小的年纪。
进入2020年，医院通知取消假日休息，住院药房工作量猛然增加，作为班组长的闫勇，感觉到了用药和班务人员的紧张。临床使用药品品种的增多，必将增加调剂差错风险。他一边关注每天药品的消耗情况，一边调增上班人数。
闫勇幵始每天在工作群发布消息，大家称为闫式“碎碎念”，

金银潭医院药邠坚守在药房

The inpatient pharmacy was the department with the most workload since it not only needed to dispense medicines for totally 21 inpatient areas but had to send them directly there. Totally there are 11 people in the team. The youngest pharmacist Li Wen was already 40 years old, an age that one has both his parents and children to take care of. Entering 2020, the hospital cancelled all the vacations and the workload of the inpatient pharmacy surged. Yan Yong who was the head of the department noticed they were badly in need of medicines and medical workers. With larger varieties of medicines put in use in clinical practice, the risk of wrongly dispensing medicine would also increase. In this case, every day, he, on the one hand, needed to overlook the consumption of the medicines and on the other hand, had to deploy more medical workers to share their workload. Yan Yong started to send messages in the working group every day and his colleagues called it jokingly as “Yan style nagging”.

The inpatient pharmacy was the department with the most workload since it not only needed to dispense medicines for totally 21 inpatient areas but had to send them directly there. Totally there are 11 people in the team. The youngest pharmacist Li Wen was already 40 years old, an age that one has both his parents and children to care. Entering 2020, the hospital cancelled all the vacations and the workload of the inpatient pharmacy surged. Yan Yong who was the head of the department noticed they were urgently in need of medicines and medical workers. With larger varieties of medicines put in use in clinical practice, the risk of wrongly dispensing medicine would also increase. In this case, every day, he, on the one hand, needed to overlook the consumption of the medicines and on the other hand, had to deploy more medical workers to share their workload. Yan Yong started to send messages in the working group every day and his colleagues called it jokingly as “Yan style nagging”

====夏盼 Xia Pan====

或是给大家鼓劲，或是提醒大家药品规格、剂型的变动，减少调剂差错。“碎碎念”满怀着对工作人员的关爱，更寄托着一份药剂人员的工作责任。
随着战“疫”形势的日益严峻，各个医疗队的进驻，新开病区的增多，支援的医生、护士纷纷加入临床一线，但是医院药学人员并没有增加，住院药房压力骤增。
连日奋战没有休息的药师们已经很辛苦了，雪上加霜的是1月23日开始武汉市公共交通停运，住在光谷的同事措手不及，面临上下班问题。关键时候，作为共产党员的闫勇顶了上去, 有同事身体不舒服，闫勇帮他上夜班；住在光谷的同事上班遇到困难，闫勇开着私家车起个大早去接。

Yaobin of Jinyintan Hospital sticks to the pharmacy, either to encourage everyone, or to remind everyone of changes in drug specifications and dosage forms, so as to reduce dispensing errors. " Yan style nagging " is full of care for the staff, and entrusts the responsibility of a pharmacy staff. With the increasingly severe situation of the war against the "epidemic", various medical teams stationed in, the number of newly opened wards increased, and supporting doctors and nurses joined the clinical front line one after another. However, the number of hospital pharmacy personnel did not increase, and the pressure on inpatient pharmacies increased sharply. The pharmacists who have been fighting for days without a break have already worked very hard. To make matters worse, public transportation in Wuhan was shut down on January 23. Colleagues living in Guanggu region were caught off guard and faced with commuting problems. At the critical moment, Yan Yong, a member of the Communist Party, stepped forward. Some colleagues were not feeling well, so Yan Yong helped him with the night shift; when a colleague living in Guanggu regioon encountered difficulties at work, Yan Yong drove his private car early to pick him up.

Yaobin of Jinyintan Hospital sticks to the pharmacy to encourage everyone or remind everyone of changes in drug specifications and dosage forms to reduce dispensing errors. " Yan style nagging " is full of care for the staff, and entrusts the responsibility of the pharmacy staff. With the increasingly severe situation of the war against the "epidemic", various medical teams were stationed, the number of newly opened wards increased, and supporting doctors and nurses joined the clinical front line one after another. However, the number of hospital pharmacy personnel did not increase, and the pressure on inpatient pharmacies increased sharply. The pharmacists who have been fighting for days without a break have already worked very hard. To make matters worse, public transportation in Wuhan was shut down on January 23. Colleagues living in Guanggu region were caught off guard and faced with commuting problems. At this critical moment, Yan Yong, a member of the Communist Party, stepped forward. Some colleagues were not feeling well, so Yan helped them with the night shift; when a colleague living in Guanggu region encountered difficulties at work, Yan drove his private car early to pick him up.

====夏依颐 Xia Yiyi====

陈靖圖是药剂科党支部宣传委员，药剂科科室负责人，多重身份和角色决定了他丝毫不敢马虎。自疫情发生以来，他已经三十多天没回过家。
既要协调全院的药品、消毒品采购供应，又要统筹安排科室管理。尽管身体不适，但是他依然坚守岗位，经常加班到深夜, 被大家称为“奔波中的忙人”。
1月13日晚8点多，ICU患者急需尼卡地平针，当晚就要使用，这个时间找医药公司送货完全不可能，陈靖岐紧急联系各大医院，最终跑了两家医院的夜间药房才借来30支，并连夜赶回医院送到ICU。
后来医院又新增了 4个ICU,全国各地医疗队也进驻医院。陈靖蹟更忙了，他白天监控全院用药数据、调整库存，晚上联系第二天到货药品，保证紧俏药品如丙球、阿比多尔、连花清瘟等不断货。
春节期间医药公司运力不足，经常会晚上送货过来，于是，为了更迅速地调配和接收药品物资，陈靖岐索性不回家了。他说, 跟临床一线比起来，这点苦不算什么，只要不断货，不影响患者治疗，一切都是值得的。
Chen Jingtu is a propaganda member of the Party Branch of the Pharmacy Department and the head of the Pharmacy Department. His multiple identities and roles dictate that he does not dare to be sloppy in any way. He has not returned home for more than 30 days since the outbreak. He has to coordinate the procurement and supply of drugs and disinfection products for the whole hospital, as well as to coordinate the management of the department. Despite his ill health, he remained at his post and often worked late into the night, and was known as the "busy man on the run". On January 13 at 8:00 p.m., ICU patients urgently needed nicardipine injections, which were to be used that night, and it was impossible to find a pharmaceutical company to deliver them at this time. Chen Jingmu was even busier, monitoring the hospital's medication data and adjusting the inventory during the day, and contacting the next day's arrival at night to ensure that drugs in short supply, such as Propecia, Abidor, and Lianhua, were kept in stock. During the Chinese New Year, the pharmaceutical company's capacity is insufficient, so they often deliver at night, so in order to allocate and receive drugs and supplies more quickly, Chen Jingqi simply does not go home. He said, "Compared to the clinical frontline, this is nothing, as long as we don't keep the goods and don't affect the patients' treatment, everything is worth it.

Chen Jingtu is the propaganda committee member of the Party branch of the pharmacy department and the head of the pharmacy department. His multiple identities and roles determine that he cannot be careless at all. He hasn't been home for more than 30 days since the outbreak. He should not only coordinate the procurement and supply of drugs and disinfectants in the whole hospital, but also make overall arrangements for the management of departments and offices. Despite his physical discomfort, he still sticks to his post, often working late into the night, known as "busy man on the run." At 8 o 'clock in the evening of January 13, ICU patients urgently needed Nicadi needle. It is needed that night, but this time to find a pharmaceutical company delivery is completely impossible. Chen Jingqi made an urgent contact to major hospitals. He finally ran to the night pharmacy of two hospitals, borrowed 30, and rushed back to the hospital overnight to ICU. Later, four new ICUs were added to the hospital and medical teams from all over China were stationed in the hospital. During the day, he monitored the hospital's medication data and adjusted the inventory, and at night, he contacted the next day's arrival of drugs to ensure that drugs in short supply, such as Propecia, Abidor, and Lianhua, would not be stocked. During the Chinese New Year, the pharmaceutical company's capacity is insufficient, so they often deliver at night, so in order to allocate and receive drugs and supplies more quickly, Chen Jingqi simply does not go home. He said, "Compared with the front line of the clinic, this is nothing, as long as we do not keep the goods and do not affect the treatment of patients, everything is worth it.

====夏紫纯 Xia Zichun====

这场疫情恰逢年关，医院后勤物业人员紧缺，协助搬运输液送药的工人没有了。药剂科理解医院人员荒的困境，面对每周500件输液以及每天21个病区药品没人送到病房的严峻问题，药剂科紧急动员起来，药库、住院药房、门诊药房、小药房、临床药学所有部门人员紧急行动起来，在陈靖赜的带领下一箱箱装车，一车车拖到病区。
作为科室负责人，陈靖赜没有坐在办公室，而是有困难亲自带领队伍冲上去，体现了共产党员迎难而上的精神。
“张定宇院长说现在是战时状态，在这场艰苦的战’疫’中，药剂科团队没有一人当逃兵。”陈靖赜说。

庚子春疫情中的“120部队”

The epidemic coincided with the New Year's Eve, and the hospital's logistics and property staff were in short supply, so workers to assist in transporting fluids and delivering medications were not available. The pharmacy department understood the plight of the hospital's staff shortage. Faced with the serious problem of 500 infusions per week and no one to deliver medications to the wards in 21 wards every day, the pharmacy department mobilized urgently. The pharmacy, inpatient pharmacy, outpatient pharmacy, small pharmacy, and clinical pharmacy all acted with urgency, loading boxes of drugs onto trucks and hauling them to the wards under the leadership of Chen Jingtan.

The epidemic coincided with Spring Festival holidays so logistics and property staff were in short supply and workers transporting infusions and medications were not available. To alleviate the woe that 500 infusions per week and everyday medications for 21 wards had on one to deliver, each person in the pharmacy department act quickly, assisted by staff in the drugstore house, inpatient and outpatient dispensaries, small pharmacies and clinical pharmacy. They loaded boxes of drugs and hauled them to the wards under the leadership Chen Jingze.

As the head of the department, Chen Jingmu did not stay in the office, but led the team to rush up when there were difficulties, embodying the spirit of the Communist Party members to rise to the occasion.

As the head of the department, Chen Jingze did not stay in the office, but led the team to overcome those difficulties, embodying the unyielding spirit of a Communist.

"President Zhang Dingyu said it is now a wartime state, and in this tough 'epidemic', no one in the pharmacy team is a deserter." Chen Jingqi said.

“President Zhang Dingyu said we were in a tough war against this epidemic, no one in the pharmacy department was a deserter." said Chen Jingze.

The "120 Emergency Team" at the beginning of the epidemic in 2020 Spring.

The Emergency Team in the Outbreak During Spring of 2020

====向明慧 Xiang Minghui ====

2019年12月29日，金银潭医院门诊120接到指令，要求着三级防护从湖北省中西医结合医院转运一批不明原因肺炎患者至金银潭医院。从那天起，这支“120部队”就正式进入了抗击新冠肺炎的战役中。
突如其来的一场疫情，打乱了所有人的工作和生活。从慌忙应战到忙中有序，从担忧害怕到奋起战“疫”，从孤军作战到团结抗疫，个中滋味，五味杂陈。
疫情期间，医院“120部队”经历了很多很多，有感人的事迹，也有窝心的委屈，更有大是大非面前的坚定和勇敢！在这场没有硝烟的战争中，他们用实际行动证明了，这是一支讲原则、守纪律、能吃苦、能战斗的队伍！

On December 29,2019, the outpatient department of Jinyintan Hospital received instructions to transfer a group of patients with pneumonia of unknown cause from Hubei Hospital of Integrated Traditional Chinese and Western Medicine to Jinyintan Hospital with level 3 (the highest level) protective devices. Sine then, they engaged in the battle against Covid-19.

The sudden outbreak disrupted their life. They managed to overcome obstacles and negative emotions to fight the virus methodically and courageously. Staff from different departments work together. Only those who experienced it knew the mixed feelings.

They went through lots of difficulties. Despite bitterness, they were still determined and brave, leaving touching stories. Over time, they proved with practical action that they are principled, disciplined, tenacious and resilient.

On December 29, 2019, the outpatient department of Jinyintan Hospital received instructions to transfer a group of patients with pneumonia of unknown cause from Hubei Hospital of Integrated Traditional Chinese and Western Medicine to Jinyintan Hospital with level 3 (the highest level) protective devices. Since then, they have engaged in the battle against Covid-19.

The sudden outbreak disrupted people’s life. From panic to order, from fear to courage and from fighting alone to unity, staff from different departments work together. Only those who experienced it knew the mixed feelings.

They went through lots of difficulties. Despite bitterness, they were still determined and brave, leaving touching stories. Over time, they proved with practical action that they are principled, disciplined, tenacious and capable.

====肖家禹 Xiao Jiayu====

一个好的团队，需要一个好的领头羊，她就是金银潭医院急救站站长李晓松。提起她，包括网络站点的所有人都说她是一个“铁娘子”。
从疫情刚开始到现在，她一天都不休息，特别是在大型转运期间，几乎每天工作到凌晨，有时甚至到凌晨两三点。几乎所有参与转运的急救车辆都能看到她，站在刺骨的寒风中，拿
着对讲机和转诊名单，对接每一位转来的患者。

A good team needs a good leader. The good leader of Jinyintan Hospital is the first aid station master named Li Xiaosong. Everyone, including the people in the online site, called her the "Iron Lady". Since the beginning of the epidemic, she has not taken a day off. Especially during the large referral of patients, she worked almost daily until the early hours, sometimes until two or three o’clock in the morning. Almost all of the emergency vehicles involved in the referral had seen her standing in the biting cold, holding a walkie-talkie and a referral list and docking with each incoming patient.

A good team needs a good leader.Li Xiaosong, who is the first aid station master of Jinyintan Hosptital, could be called a good leader. Everyone, including the people in the online site, called her the "Iron Lady". Since the beginning of the epidemic, she had never had a rest, specially during the large referral of patients, she worked almost daily until the early hours, sometimes until two or three o’clock in the morning. Almost you could see her in all of the emergency vehicles involved in the referral and standing in the biting cold, holding a walkie-talkie and a referral list and docking with each incoming patient.

====肖娜 Xiao Na====

据不完全统计，经她对接的患者有388人次。从安排转运、核对名单、评估病情、患者交接到收治完成，整个过程，她都协调跟踪。
在大型转运时，可以看到这样的场景：120的急救车一路蓝光闪烁，急驰而来，在急诊通道排成一条长龙，等待对接。在交接的过程中，有时会碰到这样或那样的问题，有的车氧气不够了、有的患者需要轮椅、有的车辆需要消毒……碰到这些琐碎又急需解决的问题，120总部都会通知她来协调处理。连续一个多月，天天如此。看到她忙得像个陀螺，又没有外援，同事心疼地说：“你真是狠哪，所有120的转运任务结束了，你才能睡，要学会心疼自己，身体要紧，悠着点。”

According to incomplete statistics, there were 388 patients who had been docked by her. She coordinated the entire process, from arranging transfer, checking lists, assessing the condition, transferring the patients to the completion of admission. In large-scale transport, you could see the following scenario: The 120 ambulances flashed blue light all the way and came at a rapid pace, forming a long queue in the emergency passage, waiting for docking. In the process of handing over, sometimes we encountered problems of one kind or another. Some cars had insufficient oxygen, some patients needed wheelchairs, and some vehicles needed disinfection...When these trivial and urgent problems were met, 120 headquarters would inform her to handle. Every day for over a month. Seeing that she was busy like a top and had no outside help, her colleagues said distressedly: "You are really ruthless. It's not to sleep for you until all 120 transshipment task ended. You should learn how to love yourself and your health is more important."

According to incomplete statistics, there were 388 patients who had been docked by her. She coordinated the entire process, from arranging transfer, checking lists, assessing the condition, transferring the patients to the completion of admission. In large-scale transport, you could see the following scenario: The 120 ambulances flashed blue light all the way and came at a rapid pace, forming a long queue in the emergency passage, waiting for docking. In the process of handing over, sometimes we encountered problems of one kind or another. Some cars had insufficient oxygen, some patients needed wheelchairs, and some vehicles needed disinfection...When these trivial and urgent problems were met, 120 headquarters would inform her to handle. Every day for over a month. Seeing that she was busy like a top and had no outside help, her colleagues said distressedly: "You are really ruthless. It's not to sleep for you until all 120 transshipment task ended. You should learn how to love yourself and your health is more important."

====肖喆琳 Xiao Zhelin====

李晓松笑着说：“没有办法，事情落到头上来，只能做好，毕竟，天下急救一家亲，最重要的是不能给我们金银潭医院丢脸。”
李晓松性格外向开朗，经常在科室讲笑话，调节紧张的气氛，逗同事开心，还时不时给同事打气鼓劲。她说：“一定要有信心，经历了非典、甲流、禽流感、H7N9,所有的疫情我都参与了，也都挺过来了，相信这次的疫情也会过去的。”她的最大心愿就是希望科室所有的人都平平安安，做到零感染。
零感染不光是一个目标、一句口号，需要真正落实到每一个细节中去。医院120作为一个特殊的科室，不仅有医生护士，还有驾驶员和担架员，只有每个人都按标准流程防护，才能真正达到零感染。作为科室负责人，李晓松重视岗前培训、严格考核和监管。在她的严格要求下，人人熟知工作流程，个个规范穿脱防护。

Li Xiausong smiled and said, "We have no choice but to do it better when we are responible for things.After all, the most important thing for us is that we can not to bring shame on our hospital."
Li Xiaosong's character is outgoing and cheerful.She often tells jokes in the department, adjusts the tense atmosphere, makes his colleagues happy and gives them encouragement from time to time.She said: "We must have confidence, experienced SARS, H1N1, bird flu, H7N9, all the epidemic I have participated in and survived, I believe this epidemic will pass as well."Her greatest wish is to hope that all the people in the department are safe, to achieve zero infection.
Zero infection is not just a goal or a slogan. It needs to be implemented in every detail. As a special unit, the hospital has not only doctors and nurses, but also drivers and stretcher bearers. Only when everyone follows standard procedures can we really reach zero infections. As the head of the department, Li Xiaosong attaches great importance to pre-job training, strict assessment and supervision.Under her strict requirements, everyone knows the procedures, and everyone is dressed and unguarded strictly.

====谢佳玉 Xie Jiayu ====

从1月中旬起，每天的转运量开始急剧上升，考虑到医院目前人员紧张，为了不增加医院的困难，李晓松率先改变排班模式，将急救团队分成三个小组，每天两台负压车满负荷运转，实行弹性排班，所有人24小时处于待命状态！她本人则24小时守在科室，除了日常管理，每天还要操心耗材、对接患者、消毒督导，遇到特殊的任务，还要亲自参与转运。
在一次火神山的转运任务中，120总部让她协助当天的核对转运工作，10台负压车同时出发，从中午1时起，穿上厚厚的防护服，直到晚上9点多才回到医院，全身的衣服都湿透了。
就是这样的一位“铁娘子”，当提起她的母亲时，禁不住泪流满面。李晓松的家人因为工作和学习的原因，都在国外，家里只有她和母亲两人，因为疫情防控工作，她将年近八旬的老人独自留在家中，休息的时候才会打个电话，问候一下。

From the middle of January, daily transport volume began to rise sharply. Considering the hospital was overstaffed, in order not to increase the difficulties of the hospital, Li Xiaosong took the lead in changing the scheduling mode. She divided the first aid team into three groups, with two negative pressure vehicles running at full capacity every day, implementing flexible scheduling, and everyone on standby 24 hours a day! She spent 24 hours in the department. In addition to daily management, she also had to worry about consumables, dock patients, provide supervision and guidance for disinfection, and personally participate in transport when encountering special tasks. During a transport mission in Huoshenshan, the 120 headquarter asked her to assist in the check and transport work that day. Ten negative pressure vehicles set off at the same time. She wore a thick protective suit from 1 p.m., and did not return to the hospital until after 9 p.m. Her clothes were drenched with sweat. Such an “iron lady”, when talking about her mother, could not help bursting into tears. Li Xiaosong’s family were abroad due to work and study, and she and her mother were the only two people at home. Due to the epidemic prevention and control work, she left the elderly women in her late 70s alone at home, and only called her when she had a rest.

<nowiki>Insert non-formatted text here</nowiki>====谢茜敏 Xie Ximin ====

当问到她选择这个职业后不后悔时，她毫不犹豫地说，不后悔！她相信所有的付出都是值得的，为了自己的祖国，为了自己的家乡，必须坚守岗位，无私奉献。
在120工作，是没有生活规律可循的，能睡觉时赶快睡，能吃饭时赶快吃，因为你永远不知道完成任务后，会不会马上还有下一单。更多的时候，中午出发，也许到晚上才能回。一单接一单的急救任务，数量有限的防护装备，决定了 “随遇而安、随时待命”是李晓松和同事唯一能选择的工作方式。有一次，来了一单任务，将一位疑似感染的患者从家里送到指定的隔离酒店。当李晓松的同事到达呼救地点时，患者始终联系不上，经多方打听，终于联系上远在外地的子女，才将患者送到隔离酒店。

When asked if she regreted choosing this career, she said no without hesitation! She believed that all the efforts were worth it. For her own motherland and hometown, she must stick to the post with selfless dedication. There was no daily routine when working in 120. You must sleep and eat as soon as you could, because you never knew if there would be another order after you just finished one task. More often, they left at noon and might not return until evening. With a series of first-aid tasks and a finite amount of protective equipment, the only working mode Li Xiaosong and his colleagues could choose was to "make the best of things and be always ready". Once came a mission transferring a patient with suspected infection from his or her home to the designated quarantine hotel. When Li Xiaosong's colleagues arrived at the rescue site, the patient could not be reached. After making inquiries, they finally contacted the patient's children far away from home, and sent the patient to the quarantine hotel.

When asked if she regretted choosing this career, she said no without hesitation! She believed that all the efforts were worth it. For her own motherland and hometown, she must stick to the post with selfless dedication. There was no daily routine when working in 120. You must sleep and eat as soon as you can, because you never know if there will be another order after you have just finished one task. More often, they left at noon and might not return until evening. With a series of first-aid tasks and a finite amount of protective equipment, the only working mode Li Xiaosong and his colleagues could choose was to "make the best of things and be always ready". Once came a mission transferring a patient with suspected infection from his or her home to the designated quarantine hotel. When Li Xiaosong's colleagues arrived at the rescue site, the patient could not be reached. After making inquiries, they finally contacted the patient's children far away from home, and sent the patient to the quarantine hotel.

====谢州周 Xie Zhouzhou====

然而，此时隔离酒店并不接受这位患者，称其不具备收治无法自理老人的条件，李晓松和同事只能带着老人一家医院一家医院地跑，又被一家又一家的医院拒绝，经过三个小时的努力，仍然无能为力，只能将患者又送回家中。
故事很平淡，但是对于患者和家属，对于120的医生护士而言，却深深感到发自内心的无助和无奈，其间拨打的所有电话要么没有人接，要么就是不了了之，中间的几个小时，对于他们都是煎熬和折磨。
这是金银潭医院“120部队”无数次急救任务中的一个缩影。当战“疫”来临时，他们冲在最前线，他们是真正第一批次接触新冠肺炎的一线医务人员。
However, at this time, the isolation hotel did not accept the patient, saying that he did not have the conditions to treat the elderly who could not take care of themselves. Li Xiaosong and his colleagues had to take the elderly to one hospital after another, but they were refused by one hospital after another. After three hours of effort, they were still powerless and had to send the patient home again.
The story is very simple, but for the patients and their families, as well as for the doctors and nurses in the emergency team, they deeply felt helpless and helpless from the bottom of their hearts. All the calls they made in the meantime were either not answered, or they just did nothing. The middle hours were painful and torturing for them.
This is a microcosm of the countless first aid tasks of the first aid team of Jinyintan Hospital. When the pandemic came, they rushed to the forefront, and they were the first batch of first-line medical staff who really contacted COVID-19.

However, at this time, the isolation hotel did not accept the patient, saying that he did not have the conditions to treat the elderly who could not take care of themselves. Li Xiaosong and his colleagues had to take the elderly to one hospital after another, but they were refused by one hospital after another. After three hours of effort, they were still powerless and had to send the patient home again.
The story is very simple, but for the patients and their families, as well as for the doctors and nurses on the emergency team, deeply felt helpless and helpless from the bottom of their hearts. All the calls they made in the meantime were either not answered, or they just did nothing. The middle hours were painful and torturing for them.
This is a microcosm of the countless first aid tasks of the first aid team of Jinyintan Hospital. When the pandemic came, they rushed to the forefront, and they were the first batch of first-line medical staff who really contacted COVID-19.

====谢紫佳 Xie Zijia====

战“疫”开始的阶段，所有的医护人员都有着相同的剧本：身在疫区的自己，就是一颗定时炸弹。于是选择远离亲朋好友，一个人上下班，一个人生活，备好食品药品，做持久战的准备。每每接到家人关心的电话，嘱咐一定要注意安全；总是听到又有哪位同事不幸被感染，又有多少患者不幸去世……
但是白衣战士的责任和担当，又让他们选择继续穿上防护服，毅然出征。
郭威波是金银潭“120部队”的一名急救驾驶员，平时大家都喜欢亲切地叫他“鸽子”。他是一位名副其实的大帅哥，身材魁梧、相貌英俊、心思细腻。每当他出车回来，都会认真做笔记，走的哪条线路、距离多远、用时多少，堪称“120 活地图”。
郭威波本来是准备今年春节完婚的，一直计划着元旦休息
At the beginning of the "epidemic", all medical staff had the same script: being in the epidemic area was a time bomb.So I chose to stay away from my friends and family, work alone, live alone, prepare food and drugs, and prepare for a long war. Every time I receive a phone call from my family, telling them to be safe; I always hear which of my colleagues have unfortunately been infected, and how many patients have unfortunately passed away ......
But the responsibility and commitment of the white soldiers, and let them choose to continue to wear protective clothing, determined to go out.
Guo Weibo is an emergency driver of the "120 unit" in Jinyintan, and usually people like to call him "Pigeon" with affection. He's a truly handsome man, sturdy, handsome and fine in heart. Whenever he came back from a trip, he would take serious notes on which route he took, how far it was, and how much time it took, which is called a "120 living map".
Guo Weibo was planning to finish the wedding this spring, and have been planning to take a break on New Year's Day.

====熊丹 Xiong Dan====

时将准备工作做完，谁料到疫情突然暴发，他只得将家里的大小事物都拜托给未婚妻，将婚期一拖再拖。
在“120部队”中，还有这样一个特殊的不可或缺的群体最容易被忽视。他们来自农村，没有耀眼的学历，没有傲人的医术，不会说什么豪言壮语，却有一颗纯朴、善良、负责的心，在这个特殊的时期，不畏疫情,与医护人员一起守护人民的健康, 他们就是担架师傅。
在防护用品短缺的情况下，他们主动把N95 口罩和厚一点的防护服让给医生护士，他们说：“我们是农村人，身体好。你们医生护士是有文化的人，有本领，能救更多的人，千万不能得病。”
这些朴实的话语让人忍不住流下了眼泪。
He would be ready to finish work.Who knows the sudden outbreak of the pandemic. He had to give the chores to his fiancee,and the wedding was delayed again and again.
There is one particular indispensable group in the 120-Force that is most easily overlooked. They come from the countryside, no dazzling education, no proud medical skills, do not speak bold words, but have a simple, kind, responsible heart.In this special period, they don’t afraid of the pandemic, together with the medical staff to protect people's health. They are stretcher masters.
In the face of a shortage of protective equipment, they volunteered to give N95 masks and thicker protective suits to doctors and nurses, saying, "We are rural people and in good health. You doctors and nurses are educated and capable people who can save more people. You must not get sick."
Those simple words brought tears to one's eyes.

====徐思禹 Xu Siyu====

疫情肆虐时，很多人选择了逃离，而更多担架工师傅却选择留下来。其中最年轻的黄启胜，在封城前利用休息时间回了家。封城后，由于道路不通，无法按时到岗，他非常着急，担心因为个人原因影响医院的工作。后来经过多方协调，终于回到了工作岗位。他们是无数个奉献者中的一员，同样是这个时代最可爱的人。
如果说临床科室医生和护士是战斗在一线的勇士，那么这支“120部队”急救人员就是战斗在疫情最前沿的尖兵！
医院南二病区的他们
生命重于泰山，疫情就是命令，防控就是责任！
When the epidemic was raging, many people chose to flee, while more stretcher bearers chose to stay. The youngest of them, Huang Qisheng, used his break to return home before the city lockdown. After the closure, he was very anxious because he could not arrive at work on time due to the closed roads, and was worried that his personal reasons would affect the work of the hospital. Later, after coordination, he finally returned to work. They are one of the countless dedicated people who are also the most lovely people of this era. If the doctors and nurses in the clinical departments are the warriors fighting on the front line, then the "120 units" of emergency personnel are the frontline soldiers fighting in the pandemic! Their lives are more important than the mountains, the pandemic is an order, and prevention and control is a responsibility!

====颜琦 Yan Qi ====

在这场疫情阻击战中，武汉市金银潭医院南二病区全体医护人员在主任谢学磊的带领下，持续冲锋在一线，夜以继日地开展救治工作，他们竭尽所能、争分夺秒，如今已连轴战斗了50多个日日夜夜。

In the battle against the virus, all the health workers in the South Second Ward of Wuhan Jinyintan Hospital, guided by Xie Xuelei, the hospital director, continued to work in the front line and struggled to cure patients around the clock. They did their best and wasted no time. It has been over 50 days and 50 nights since they worked almost without a break.

最“铁心”的妈妈——李坤霞

The Most "Hard-Headed" Mother: Li Kunxia

“我刚才跟妈打电话了，女儿很懂事，很听话，你只管安心地工作，自己也要做好防护啊！家里，你就不要牵挂了，有我呢！”李坤霞接到丈夫的电话，眼里闪着泪花。

"I just talked to your mom on the phone. Our girl is very sensible and obedient. you only need to focus on your job and protect yourself! Don't worry about us at home, I'm here!" Li Kunxia answers the phone from her husband, eyes flashing with tears.

为做好安全隔离，更为了家人健康考虑，她执意一个人住宾馆，一岁多的女儿只能交给老人照顾。

In order to safely isolated humans and consider the health of her family, she insisted on living alone in a hotel, and her daughter who is more than one year old was sent to her parents for good care.

她心里虽有千言万语，但深知使命崇高、责无旁贷，每次只能与家人几句简短的问候，便匆忙挂掉电话，收起眼泪直奔病房。

Although she had many words to say, she knew her moral obligations and duties as a medic. Every time she could only tell a few brief greetings to her family before she hung up the phone hurriedly, wiped away her tears and ran to the wards.

最“倔强”的大姐——王芳

The Most "Stubborn" Big Sister: Wang Fang

====杨思吟 Yang Siyin====

王芳是一个有着丰富救治经验的“老前辈”，也是个热心肠的大姐，对科室的年轻医生非常照顾，并经常将自己宝贵的工作经验与大家分享。
随着疫情形势的日益严峻，接诊量大幅增多，她顾不上正处在初三学习冲刺阶段的儿子，自疫情开始，一直穿着密闭的防护服连续奋战，在隔离区不敢喝水，不能上厕所，浑身闷透。
每当同事忍不住说起：“王大姐，您休息一会儿，让我去吧”，“倔强”的她总是回复：“我还行。”
最“拼命”的伙伴一黄晴

Wang Fang is a senior medical worker with wealthy treatment experience. Also being kind-hearted, she is considerable to young doctors in her department and often shares her invaluable working experience with them. As the pandemic grew serious, with the surging number of patients, she could not take care of her son who are striving to study hard in the final year of middle school. Since the outbreak of pandemic, she had worked for several days running wearing airtight protective clothing. In the isolation zone, she was afraid of drinking water and could not go to toilet, stuffy and sweaty. Every time her colleagues couldn’t help saying that, “ you should take a break. I can do this work.” She always replied stubbornly, “ I am OK.” The most hard working partner— Huang Qing

====杨晰微 Yang Xiwei====

疫情发生以来，连续在一线奋战40多天的高强度工作，让黄晴医生的身体开始吃不消了，身体不适的她本应少走动多休息，但刚打完吊瓶的她，就第一时间主动请缨，强烈要求继续参与战斗，看着她虚弱的身体，大家纷纷劝她注意休息。
“你们都在火线竭尽所能，我这点小病算不了什么，关键时候绝不能’掉链子’，不用担心，我还可以！”她坚定的话语让大家既心疼又钦佩。
最“贴心”的暖男一李翼、余振兴

Since the outbreak of pandemic, Doctor Huang Qing has been working in the frontline for over 40 days in a high intensity and she started to wear herself out. Because she was uncomfortable, she should have more rest and walk less. Nevertheless, after taking an IV drip, she just took the initiative the first time, strongly asking to keep on fighting. Looking that she was weak, everyone tried to persuade her to have a rest.

"You all work in the frontline and my minor illness doesn't matter. I can't "drop the chain" at key at a key moment. Don't worry. I can hold on." Her firm words made them feel sorry and admired.

The most "thoughful" warm boys were Li Yi, Yu Zhenxin.

Since the outbreak of the pandemic, Doctor Huang Qing has been working in the frontline for more than 40 days in a high intensity and she started to wear herself out. Because she was uncomfortable, she should have walked less and rested more. Nevertheless, after taking an IV drip, she just took the initiative the first time, strongly asking to keep on fighting. Looking that she was weak, everyone tried to persuade her to have a rest.

"You all work in the frontline and my minor illness doesn't matter. I can't "drop the chain" at key at a key moment. Don't worry. I can hold on." Her firm words made everyone feel both pain and admiration.

The most "thoughful" warm boys were Li Yi, Yu Zhenxin.

====余海铭 Yu Haiming====

李翼和余振兴的爱人都是本院的职工，为打赢疫情阻击战，他们把孩子托给年迈的父母照料。这两对夫妻同心协力，携手逆行，义无反顾。
每次丈夫一句“戴好口罩，做好防护”，妻子一句“知道了”，接着就双双奔赴病房。即便爱人也在同一个医院工作，但经常是36到48小时，甚至更长时间见不到一面，这也是医院诸多双职工的日常。
虽然他们顾不上“小家”，但独揽了科室“大家”的后勤，大到防护物资领取，小到分发科室盒饭，在这场日夜不息的战斗中，他们既是火线“急先锋”，又是科室“勤务兵”。
最“心细”的娘家人一一谢学磊
Li Yi and Yu Zhenxing, whose lovers are both employees of the hospital, entrusted their children to the care of their elderly parents in order to win the battle against the epidemic. These two couples worked together and went against the odds hand in hand. Every time the husband said, "Wear a mask and take good care of yourself," and the wife said, "Got it," and then they both ran to the ward. Even though they work in the same hospital, they often do not see each other for 36 to 48 hours, or even longer, which is the daily routine of many double workers in the hospital. Although they can't take care of the "small family", they take charge of the logistics of the "big family" of the department, from the collection of protective materials to the distribution of departmental box lunches. In this day and night battle, they are not only the "pioneers" of the fire line, but also the "orderly soldiers" of the department. The most "attentive" mother's family one by one Xie Xuelei

====曾晨 Zeng Chen ====

谢学磊是南二病区的主任，面对焦虑的患者,她都亲力亲为，一声声问诊，一遍遍安慰，一句句嘱咐，即使自己再苦再累都藏在心底。
在隔离病区，医生和护士要直接、密切地接触患者，感染风险高、心理压力大，穿戴层层防护装备后，闷热、憋气，时间长了会有缺氧的感觉，每次她都会在第一时间为大家进行心理疏导。
“有谢主任无微不至的关怀，即便疫情再凶猛，工作再辛苦我们也不怕，因为谢主任就是我们坚强的后盾。”谢学磊的存在，让科室同事感到踏实。
在这次新型冠状病毒疫情面前，他们没有豪言壮语，也没有耀眼的光环，只是默默努力，坚守自己的岗位。疫情面前，他们就是战士，疫情就是命令，岗位就是战场，他们不惧风险、严阵以待，用实际行动恪守初心、践行使命。

==Part 8==

====张海珊 Zhang Haishan ====

后勤，一群不回家的人
在疫情风暴眼中心的武汉市金银潭医院，有这样一群以科室为家的人。白天，办公室是他们的调度指挥室。晚上，就在办公室搭起简易行军床，24小时在医院值守，真正做到了 “闻令即行”，成为春节中“不回家的人”。
他们，就是医院后勤保障战线的干部职工。
路灯下的身影

In the back-office, there was a group of people who were not going home. At Wuhan Jinyintan Hospital, the center of this epidemic, there is a group of people who take the office as their home. During the day, the office is their dispatching room. In the evening, they set up simple camp beds in the office and were on duty in the hospital 24 hours a day, truly "acting on orders" and becoming "people who won't go home" during the Spring Festival. They are the cadres and workers of the hospital backup support front.
Figures under the street lamp.

In the back offices of hospital, there was always a group of people who were not going home. At Wuhan Jinyintan Hospital, the center of this epidemic, there is a group of people who regard the office as their home. During the day, the office is their dispatching room. In the evening, they set up simple camp beds in the office and were on duty in the hospital day and night, truly "acting on orders" and becoming "people who won't go home" during the Spring Festival. They are the cadres and workers of the hospital backup support front.
Figures under the street lamp.

====张珂珂 Zhang Keke====

医院总务科的工作历来琐碎杂乱，特别是在应对新型冠状病毒疫情这个非常时期，头绪多，任务重，承担着为前方队友送炮弹、做好全方位保障的艰巨任务。
医院总务科科长黄高平把“增强四个意识、坚定四个自信、做到两个维护”转化在实实在在的行动中。他克服自己年龄偏大、家庭负担较重的困难，全心全意投入到医院总务科的各项工作中来。黄高平每天坚持巡查水、电、气管线多次，尤其是晚上，总是能看到路灯下他拿着手持电话机在医院每个点位巡查的咼大身影。
由于医院收治的重症患者偏多，在医护人员救治过程中难免会突发一些意外事件。一次，在ICU病区的抢救中，患者喷出来的血痰导致医疗设备短路，黄高平带领维修组的同志第一时间赶赴现场抢修，及时保障了设备的正常运行。

members in the general affairs office of hospital have trivial and messy work, especially on the critical stage of fighting against Covid-19 coronavirus, with heavy tasks, and need to provide wholesale equipments and servic. Huang Gaoping, the Chief of the General Affairs Section of the Hospital, transformed "enhancing the four consciousnesses and strengthening the four self-confidences and then achieving the two maintenances" into concrete actions. Although he is old with heavy family burden, he still overcame these difficulties and devoted himself wholeheartedly to all the work of the general affairs of hospital. He sticks to check the water, electricity and gas pipelines many times. Especially at night, people would always see him patrol every point of the hospital with a handled phone under the street lamp.
Because there are too many critically ill patients admitted to the hospital, it is difficult to avoid some accidents in the treatment. One day, In the rescue of patient in ICU ward, the patient's blood sputum caused short circuit of medical equipment, the maintenance team led by Huang Gaoping rushed so quickly there for emergency repair that guarantee the normal operation of the equipment.

====张祺葳 Zhang Qiwei====

由于没有家属陪护，医院有些患者生活无法自理，会出现将污物随意丢弃，堵塞下水管的情况。维修组的同志们毫无怨言，尽早疏通，还主动排查保证各个下水管道的畅通。
除了保证医院的水电气、电梯以及污水处理站的正常运行外，他们无论白天、黑夜接到电话都会以最短的时间赶到现场，处理各种应急事件，院内的路灯下留下了他们长长的身影。
据统计，在40多天的时间里，总务科共安装了 200多台挂壁式消毒机、近600盏紫外线灯，铺设病区电线近千米，维修全院路灯60多盏、病区感应水龙头几百个，更换300来套隔离病区的锁扣，疏通病区内的厕所下水道及洗脸盆下水道 40处。
他们还配合企业5天内完成了医院液氧站的建设改造，由原来2个5立方氧罐改为2个10立方氧罐，落实了病区不间断高流量供氧的需求。
匆匆的脚步

====张思诗 Zhang Sishi====

“15分钟后有12名病患到门诊CT室做检查，各自到位做好道路管制，快点！快点！”在医院院区总能看到一位一边快速奔走一边用对讲机呼叫的高大身影，他就是金银潭医院保卫科科长周德义，一位近20年党龄的老党员。面对疫情，他没有恐惧，没有退缩，不分昼夜地奋战在自己的岗位上。
保卫科虽然不在救治病患的最前线，但在这次防控工作中保卫工作显得尤其重要。每栋病房楼下面都要安排人员24小时值守，不让患者和家属随意进出病区,还要负责转运病区的患者, 运送各病区所需的医疗和生活物资，安排去医技科室检查的道路清场等。

"We have 12 patients in the outpatient CT room in 15 minutes. Get in position. Do your road control. Hurry up!" In the hospital area, you can always see a tall figure running fast while calling with the intercom. In the face of the epidemic, he did not fear or retreat, but fought day and night at his post. Although the security department was not at the forefront of the treatment of patients, it was particularly important in the prevention and control work. He was also responsible for transferring patients from the wards, transporting medical and living materials to the wards, and arranging for road clearances to the medical and technical departments.

====张婷 Zhang Ting====

疫情发生正是春节期间，而且金银潭医院收治的都是确诊的新冠肺炎患者，很多物业人员因为害怕被感染都回家了，在急缺人手的情况下，周德义经请示批准后调动了一切可以调配的人员组建了临时班组，毫无怨言地接下了繁重的工作。
年近花甲的他奔赴在医院的每一个角落，时值冬季，汗水常常浸透了他的衣衫。
保卫科的职工吴昌顺，是2019年入党的新党员，平日里是位活泼可爱的阳光大男孩。疫情期间，他除了完成医院的安保工作，还承担了为病区走廊上的加床患者送瓶装氧气的工作，随着医院救治任务加重，走廊上的加床患者越来越多，这些患者没有中心供氧设施，主要靠瓶装氧气供应，他和同事们接到任务后都以最快的速度把氧气瓶送到病区。

The epidemic occurred during the Spring Festival, and Jinyintan Hospital admitted all patients with confirmed covid-19, many property staff went home for fear of being infected.
Although he was almost an old man, he ran in every corner of the hospital. Even if it was in winter, sweat often soaked through his clothes.
Wu Changshun, an employee of the Security Section, was a new member of the Party who joined the Party in 2019 and was usually a lively and lovely sunny boy. During the epidemic, in addition to completing the hospital's security work, he also took on the job of delivering bottled oxygen to the extra bed patients in the corridor of the ward. As the hospital's treatment tasks increased, there were more and more extra bed patients in the corridor, and these patients did not have central oxygen supply facilities and mainly relied on bottled oxygen supply. Both he and his colleagues delivered oxygen cylinders to the ward as quickly as possible after receiving the assignment.

====张文琦 Zhang Wenqi ====

医院防护物资紧缺，为了保障一线医护人员的供应，他和同事们只能穿着爱心人士捐赠的没有达到应有防护级别的隔离服进病区，“我们送到后就及时出来，隔离服要留给医生护士，他们在里面待得久，不能没有保障。”吴昌顺的话语非常朴实。
他们也是战士，虽然默默无闻，却一样冒着生命危险守卫着这片土地上的人民。
寒冬中的汗水
金银潭医院在新冠肺炎疫情中备受关注，得到了全国人民的支援与关爱。社会企业和公众发挥大爱无疆的公益精神，踊跃捐献各类物资到医院。

Due to the shortage of protective materials in the hospital, he and his colleagues could only wear isolation suits caring people donated which did not meet the due protection level, so as to guarantee the supply of front-line medical staff. “We came out as soon as materials were sent to them. Isolation suits should be left to medical staff, because they cannot stay inside for a long time without security,” said Wu Changshun sincerely.
They were fighters, too. Although unknown, they risked their lives to protect the people of this land.
Sweat in the Severe Winter
Jinyintan Hospital has drawn much attention in the COVID-19 pandemic and has received support and care from the people of the whole country. Social enterprises and the public gave full play to the public spirit of boundless love through active donations of various materials to hospitals.

Due to the shortage of protective materials in the hospital, he and his colleagues could only wear isolation suits caring people donated which did not meet the due protection level, in order to guarantee the supply of front-line medical staff. “We came out as soon as materials were sent to them. Isolation suits should be left to medical staff, because they cannot stay inside for a long time without security,” said Wu Changshun sincerely. They were also fighters. Though unknown, they risked their lives to protect the local people.
Sweat in the severe winter
Jinyintan Hospital has drawn much attention in the COVID-19 pandemic and has received support and care from the people of the whole country. Social enterprises and the public gave full play to the public spirit of boundless love through active donations of various materials to hospitals.

====周晓兰 Zhou Xiaolan====

把捐献的物资保管好、分配好、使用好，是保证一线医护人员顺利生活、工作的基础。金银潭医院后勤保障战线的同志除了完成本职工作外还义无反顾地承担起接收与分配捐献物资的重任。社会各界捐献的物资千差万别，有生活用品，有医疗用品；有鲜活型的，有长期型的；有对口指定支援的，有特殊用途的。他们秉持一颗公心，事事突出"精准"特点，讲规矩，听指挥。
接收捐献物资医疗器材、食品、各种生活用品全部都登记入账，保存安全并分发及时，做到了 “账目清晰、公开廉政、使用合理、保障有力”。
2月15日的晚上10点多钟，忙碌了一天的医院逐渐地放慢了节奏。此时，医院突然接到一批消毒用品的捐献，车辆即将到达医院。
夜晚寒冷，白天的疲劳还未消退，但一想到明天医护人员还要冲锋上前，全院需要消杀保障，爱心人士正在路上奔波，医院后勤的员工临时组建突击小分队，第一时间集结，由食堂的班组
长袁勇带队，8个人10分钟内到齐，开辟通道，整理仓库。

The basis for the smooth life and work of front-line medical staff is the careful reservation, equal distribution and sufficient use of donated materials. These donations from all walks of life can be divided into different types, including daily necessities and medical supplies; some for instant use, some for long-term use; some for designated support and some for a specific purpose. The receiving and distribution of them is undertaken by comrades from Jinyintan Hospital logistics support front, who also do their regular work well. Taking an orientated approach and following the instructions, these comrades all work for the public. Under the principle of clear accounts, open and clean work, reasonable use and full guarantee, medical equipment, food and all kinds of daily necessities are registered, kept safely and distributed in a timely manner. After 10 o ’clock in the evening on February 15, the staff gradually slowed down after a busy day. At that time, they were informed that a batch of disinfection supplies are about to arrive at the hospital. Though cold and tired, they were assembled immediately to ensure that tomorrow’s work is smooth and to support the work of the caring people. Led by Yuan Yong, the team leader of the canteen, eight people arrived within 10 minutes to open the channel and sort out the warehouse.

====周子豪 Zhou Zihao ====

车辆一到达医院，即开始紧张的清点、交接与卸载工作。每个人平均搬运40多件包装品，仅用了 50分钟便全部整理入库。前来捐献的爱心人士敬佩地说：“我跑了那么多的单位，金银潭医院的同志们最是认真负责，物品捐赠给你们，我们放心！”
当爱心人士的车辆离开后，8个人才发现，虽然是在寒冷的冬夜，但每个人脸上都挂满了汗珠。
在这场战“疫”中，金银潭医院后勤保障战线的这个群体，主动请缨，并肩作战。医院的每一个角落都是他们的战场，守护好身边的“白衣战士”、守护好身处的这座城，是他们唯一的心愿。
The nervous work of counting, transferring and unloading started right after the cars have arrived. Everyone took averagely more than 40 packages and it took only 50 minutes to put them all in storage. "Among all the places I hav ever been, people here are the most meticulous ones. It did reassure me to rely on you." people who came to donate said respectfully. It was after the cars had left they noticed the sweat on their faces in such a cold weather. During the battle against the pandemic, the logistical department of Jinyintan Hospital took its responsibilities to fight hand in hand. Their batteground covered every corner of the hospital. It was the only wish that they safeguard their warriors in white and the city behind.

====庄昊康 Zhuang Haokang====

金银潭医院后勤员工在搬运物资
“暴风之眼”中的医院GCP
2019年12月30日，武汉市金银潭医院GCP （药物临床试验机构）及项目组成员在I期临床试验研究室召开了 2个BE项目的启动会，兼任项目PI的张定宇院长在会议总结时重点强调： “当前流感盛行，大家一定要注意保暖，避免感冒。”
当时，GCP的同事并未觉察到院长的深意。几天后，他们才知道，就在启动会的前一天晚上（12月29日），医院收治了几名不明原因肺炎患者。
也就是从这天起，金银潭医院，特别是呼吸道感染科，在超前谋划的张定宇带领下，积极投身于这场没有硝烟的战“疫”。
加快试验入组，机构、伦理齐迈步

====Wellsand, Benjamin====

2020年新年伊始，随着医院收治的类似患者日渐增加，且临床未找到有效药物治疗的情形下，帮助临床寻找特效药物成了当务之急。
他们通过文献检索、同类机构指导发现：洛匹那韦/利托那韦和干扰素-a2b, Remdesivir,对新型冠状病毒单/多克隆抗体可能有效，需紧急开展临床试验以验证这些药物对治疗新冠肺炎的有效性。接下来的每天，他们与时间赛跑，在确保符合药物临床试验规范的基础上，与中日友好医院、北京协和医院、北京朝阳医院、中国科学院武汉病毒所等多家研究单位展开通力合作，GCP机构办公室统筹协调，机构人员分工协作，自2020年1月6日起，开始了寻找治疗新冠肺炎有效治疗药物的临床研究攻关。
2020年1月9日，首个新冠肺炎项目“克力芝”进行伦理上会审批,经过几例预试验后，1月17号正式入组。截至2月2日，该项目入组新冠肺炎患者202例，入组速度相较于平时提升了 80%0

At the beginning of 2020, as the number of similar patients admitted to the hospital was increasing day by day, and no effective drug treatment had been found clinically, helping the clinic find specific drugs had become a top priority.
Through research and guidance from similar institutions, they found that lopinavir/ritonavir and interferon-a2b, Remdesivir, may be effective against new coronavirus monoclonal/polyclonal antibodies. In addition, urgent clinical trials are needed to verify the effectiveness of these drugs for treatment of COVID-19. In the following days, they raced against time. On the basis of ensuring compliance with drug clinical trial specifications, they cooperated with China-Japan Friendship Hospital, Peking Union Medical College Hospital, Beijing Chaoyang Hospital, Wuhan Institute of Virology, Chinese Academy of Sciences, and other research units. GCP Institutional Office is coordinating overall, and the personnel of the institution work together in the division of labor. Since January 6, 2020, the clinical research to find effective drugs for the treatment of new coronary pneumonia has begun. On January 9, 2020, the first COVID-19 project, Kalitra, was approved by the ethics committee. After several pre-tests, it was formally subscribed on January 17th. As of February 2nd, the project has admitted 202 patients with new coronary pneumonia, and enrollment is 80% above the normal rate.

---------end----------

2020年1月24日，国家科技部下达应急攻关专项，金银潭医院作为牵头单位承担“重症患者救治及诊疗方案优化项目”。

金银潭医院GCP机构员工正在硏讨

金银潭医院GCP机构参加武汉市传染病医院医学伦理委员会2020年度第一次伦理审查会议。

当日，金银潭医院内紧急召开“重症患者救治及诊疗方案优化项目临床科技攻关小组成立暨项目启动会”。1月29日，科技部应急攻关项目工作会暨项目启动会召开，并快速确定第一批的8个项目，以尽快确定临床治疗方案。

2020年2月5日下午，深受人们期望的“Remdesivir” 瑞德西韦临床研究项目启动会在金银潭医院召开，开启了新一轮的“特效药” ID期临床试验验证过程。
身处防疫一线核心的金银潭，摆在该院临床试验机构面前最大的困难是：如何在避免交叉感染的情况下，既要确保伦理时效性，又要保证项目审查质量。经过多方协调，他们最终通过院外专家远程微信视频+院内专家现场会议的新型形式解读

瑞德西韦临床研究项目启动会在金银潭医院召开

特殊时期应急情况。短短1个多月，他们共召开了4次伦理会议审查，其中新冠肺炎应急攻关项目会议审查14项。快审3项，备案3项。
身兼多职，全员参与保进度
GCP机构在全力配合用于治疗新冠肺炎的临床应急试验的同时，除了认真对待邮箱中每一个新冠肺炎项目咨询和解释相关要求外,在疫情特殊背景下,部分之前由院外人员承担的责任, 也落到了 GCP机构的肩上。
他们需要兼任CRO组织管理项目，查阅文献，审阅、撰写方案，制定项目专属SOP,为项目顺利启动做充足准备。
他们需要去病区，或作为PM统筹协调其他资源保障项目顺利如期展开，或作为质控员保障研究者按规范进行试验，或作为CRA监控试验实施详细过程，或作为CRC协助研究者顺利开展项目……

他们需要筛选符合入组条件的病例。每天从上千份病例中逐一筛选，挑选符合入组条件的病例，有任何遗漏，就可能造成某位患者错失早日接受治疗的机会。
他们需要根据患者知情入组的时间，配合临床，完成受试者随机分配，并跟踪直至给药完成。给药完成的时间，或是白天, 或是黑夜，甚至是凌晨，他们从不说苦，因为这就是责任。
他们需要录入试验原始数据。入组试验重要，但数据分析却更为重要，有效的结果能促进临床的规模使用，无效的结果能及时纠正研究方向，避免资源浪费。
获得试验数据后，他们又立刻将数据录入电脑，争分夺秒。在他们的信念中：只要早一秒录完，就能早一秒进行数据统计分析，药效就能早一秒知晓。

治病救人是医生护士的责任，而尽快获取第一手的试验结果，就是GCP机构的使命。他们精细划分每一项工作，分配好任务，及时跟踪反馈，确保所有工作能尽快有效落地。
快速响应，I期病房在行动
2020年1月，I期临床试验研究室除了照常完成已经启动入组的BE临床试验，还要协助其他病区防控疫情。
为确保受试者健康安全，同时最大限度增加医院床位，武汉市唯一的定点传染病医院的掌舵人、兼任I期临床试验研究室负责人的张定宇再一次做出决定：立刻暂停其他与疫情防控无关的药物I期

临床试验项目入组，已经入组的项目快速结束，腾出I期临床试验用病房，用以收治新冠肺炎患者。
接到指令后，GCP机构办主任龚凤云动员I期病房的所有医生、护士立即行动起来，仅仅用了两天就完成了病房的升级改造，随时待命。1月27日，I期病房开始收治第一例新冠肺炎患者。
舍小“家”为大“家”，把爱传递
GCP机构办公室主任刘颖以院为家，坚守前线统筹协调，咨询和立项的每一个方案都是经由她手，自12月29日起至

金银潭GCP机构同事合影
今未休息一天。每天连轴转，下班时间从未早于晚8点，深夜十一二点下班也是常态，每天只能抽空与未满4岁的女儿视频连线……
GCP机构的质控管理员阮姝楠，1月8号才做了肝脏囊肿手术，出院刚满一周，1月16号就重返工作岗位。伦理、机构的事情都少不了她，有一次，工作劳累之后，阮姝楠上腹部疼痛难忍，只好下午回家休息了半天，但第二天就重返岗位。她说：“我们GCPX作正接受前所未有的挑战，这种时候我不能缺席！ “
同事们心疼她，也只能尽量不让她干体力活。

自疫情防控战在金银潭医院率先打响以来，金银潭医院 GCP机构人员积极响应院号召，取消周末双休，很早就与家人沟通，退了回家的车票，取消与家人团聚的机会，投身于防疫工作。
他们已经连续战斗了 50余天，有时也会互相吐槽：真累啊，好想睡一大觉。但看着确诊病例不断增长，他们心急如焚，这不仅仅是数字，而是一个个如你如我如他的生命，一个个身边的同胞。
每想及此，他们又充满了斗志。他们相信：在全国人民的支援下，湖北、武汉一定能战胜这场疫情；他们相信：经过这场防疫战后的GCP机构，将会为守护人民健康积累丰厚的经验。
医院检验科的坚守

疫情开始的初期，对于病原的性质、毒力、传播等各种信息均不明确，导致很多员工在思想上焦虑，不安全感很严重。医院检验科党支部第一时间召开党员大会，号召全体党员在这个关键时刻出列，每个党员要在工作中成为一面红色的旗帜，在思想上成为一根定海神针。
检验科的管理团队根据专业的生物安全管理，迅即制定了更为严格的通道管理，提高了防护级别，调整检测流程适应高危样本的防护，持续性地开展防护服的规范穿脱程序的培训和检测环节的生物安全培训，严查细节，筑起保护工作人员和工作环境的一道防护墙。
检验科党支部的党员、干部、普通员工从这场战“疫”开始, 就站在了队伍的前列，科主任们把科室管理和员工的安全放在首位；风险高、任务重的岗位，党员先上。

检验科主任项杰从疫情开始就一直奋战在第一线，一直没回家。妻子生病不能照顾，两个孩子见不到父亲，自己身体撑不住也依然坚持工作。
检验科吴志强，夫妻两人都是检验科职工，疫情来临，为了工作，无法照料家里近90岁的老父亲，只好送到养老院。一个多月过去了，老人想儿女想回家，吴志强一次次在电话中安慰老人，挂了电话，自己却难过得直掉泪。
每天要忙到晚上10点多，整理大量的患者信息和核酸检测数据匹配，以保证及时准确地上传给省、市防疫指挥部；平日还要把关领回的防护用品是否适用于实验室的防护级别；对讲机时刻在手边，协调防护区内外的沟通……这是检验科刘婷的工作日常。

马峻本来到了不上夜班的年龄，因为科室根据安全考虑，接二连三有需要隔离观察的同事暂时离岗，马峻主动成为了 “顶班专业户”。
“我考虑了，我相信ICU的同志会照顾好我公公，孩子我送到她姑姑家，就算是刘伟（方国妍爱人）在一线，我也不退二线，我要回来上班”，这是检验科方国妍度过隔离期后的决定。
每一个岗位，都有他们坚守和奋斗的身影。
金银潭抗疫纪事

==Part 9==

第四章
“小人物”的“大故事”
如果说金银潭医院是与疫魔激烈交锋的战区，那么金银潭医院的所有医护人员和员工都是无畏的英雄战士。
然而，医院之夕卜，他们也只是一群普通的“小人物”，有各自的小家需要去操持。面对肆虐的病毒，他们顾全大局、參力力同心，沉着应对、主动作为，用最质朴的坚守、最无私的奉献打响了这场生命至上的保卫战，演绎出一个个感人的“大故事”。
于无声处听惊雷

有一种执着，在惊涛骇浪中弥足珍贵；有一种坚守，在困难逆境中传递温暖。
在抗击新型冠状病毒的伟大斗争中，影像确诊是第一道关口，为提供精准治疗发挥着前置性服务作用，承担着“预警机” 的角色与功能。
放射科便是医院治疗体系的“预警机”，在筛查、诊断、病情评估、疗效评估、出院判断等方面提供重要的参考决策依据O
拍CT、看胸片，是确诊新冠肺炎的关键环节。樊艳青是金银潭医院医技党支部书记，也是放射科主任。从2019年12月底以来，在金银潭医院收治新冠肺炎患者期间，她主动取消了休假，放弃了和家人春节团聚的机会，以院为家，日夜奋战在抗击疫情一线。

疫情形势严峻，樊艳青广泛动员和充分发动科室全体同志取消休假，她并没有豪情壮语，也没有硬性要求，只是简单地一句话“共产党员和同志们，看我的，跟我上！”
朴实而坚定，简洁而有力。在党支部的坚强堡垒带领作用下，医院放射科21名医护人员全部取消休假，其中包括5名党员。他们一力承担起6000多人次的门诊疑似病例、新冠肺炎确诊病例，同时还要负责1000多医护人员的筛查。
樊艳青还承担着大量的一线工作任务。每天坚持到隔离病房为患者做床边胸片，努力克服了工作量大、防护严苛、设备笨重、通讯不便等困难，出色完成了临床诊断要求。平均下来她每天要诊断检查300到400人次，每个CT要看600到900 帧图像。对待每个患者，她都以高度负责的态度，不放过任何的疑问与细节，每个患者资料要反复查看2到3遍，才撰写文字报告。
从疫情开始至今，她的眼睛每天都是酸胀、干涩，布满了血丝。

作为党员，樊艳青充分地发挥了先锋模范带头作用，哪里的任务重，她就带队冲锋到哪里。她以自己的行动和感染力，践行了共产党员的初心和使命。正是有樊艳青这样无数牺牲小我、奋不顾身的共产党员，在平凡岗位中默默奉献，于无声处听惊雷，抗击疫情这场伟大斗争的曙光才能提前到来。
军功章上有你的一半，也有我的一半
“我能想到最浪漫的事，不是和你一起慢慢变老，而是一起在烈火狂风中相互携手，抗击风暴，共同迎接黎明的到来。”
这是金银潭医院南四病区医生余婷和他的妻子——医院护士丁娜的共同心愿。他们以自己的实际行动，在医疗战线上抒写着爱情的动人篇章。

医院南四病区负责着四十多名新冠肺炎患者的治疗工作，其中有不少是重症患者。而南四区的医生总共才有四名，平均每人每天要治疗十多个患者，救治任务是平常工作量的五倍。而且，重症患者思想情绪波动大，病菌传染不可控风险高。
面对着这场艰巨的工作任务，余婷首先考虑的却是带动妻子一起来投身于这场伟大的斗争中。他们一起妥善安排好家里的事务，克服困难，第一个批次报名，第一个批次写请战书，第一个批次站在阵地的最前线。
余婷每天坚持到病房巡查、诊断。防护装备穿戴下来，要花费不少时间。他为了节约时间与装备，一进病房就是四五个小时。逐床问诊，对症下药，心理辅导，加油鼓劲，不仅从药物上治疗患者，还从心理上给重症患者以生的希望和春天般的温暖O

他的妻子丁娜，也全身心地投入到病房的护理工作中去，一丝不苟、兢兢业业，常常忙得连饭也顾不上吃。两口子一天下来，汗水浸湿衣背，水汽弥漫面罩，手上的动作不再敏捷，脚步不再有力，脸上被口罩压出了深深的痕迹。忙碌的背后，余婷与丁娜两人经常一天见不上一面，只能在休息时间打个电话互相问候、相互勉励。但他们都彼此约定，待到樱花烂漫时，两人一起去赏花，去品尝胜利的喜悦。
因为，“军功章上有你的一半，也有我的一半！”
不能守护的家人
2020年2月3日，如同往常一样，医生王珂和护士赵欣刚结束繁忙而紧张的抢救工作。当晚有2个患者病情危重不稳定，他们一直忙碌于诊治，待写完抢救记录，时针已指向凌晨 3点。当晚，本不是

王珂值班，是他主动要求参与抢救危重患者。
不仅仅是这次，平素工作中他也是如此。
时间回溯至2020年的1月20 0,接到紧急通知，当晚就要腾空病房收治新冠肺炎患者。疫情就是命令，金银潭医院结核病科第三党支部紧急撤离一批患者,布置病房，研究实施方案, 一直忙到晚上10点，终于为收治新冠肺炎患者创造好完备的环境条件。
作为一名党员，44岁的王珂，顾不上疲惫，积极请战，开始收治第一批患者，到当天凌晨3点金银潭医院结核病科第三党支部总共收治31个患者，仅王珂一人就收治了 10多个患者。
脱下防护服的那一刻，他的衣服已被汗水湿透，脸颊上也被压出深深的褶痕。

在接下来的工作中，他总是不顾危险，率先冲在最前面：积极要求接管病情比较危重的患者；主动要求参加危重患者的抢救工作；危重患者转科时，积极进病房帮忙搬运吸氧设备和呼吸机……
只要有需要，随处都可以看到他的身影。在承担患者救治工作之余，他还要协助完成治疗新冠肺炎的临床研究项目，利用休息时间采集和处理住院患者的临床医疗信息，频繁下病房去询问、了解患者病情。除去吃饭和睡觉的时间，他的生活被安排得满满当当，全身心扑在治病救人工作上。
不幸的是，这期间他的小姨被确诊患有新冠肺炎。然而，在疫情紧张的局面下，医院仍有许多重患需要救治，治疗项目也亟待突破。几番思量，他选择忍痛留守在没有硝烟，却异乎残酷的战场上，没能去看小姨一眼，只是通过电话交代了一些注意事项。由于病情危重，他的小姨很快去世了。接到电话通知的那一刻，这个大个头男人眼里都是泪水，他抢救了那么多患者，唯独自己的亲人需要他守护时，却不能出现在身边……

仅仅过了数日，他的妹妹也被确诊，好在妹妹年轻，病情也比较轻，他却也只能借助电话向妹妹传达问候和关心。
“家是最小国，国是千万家”。多少这样平凡的白衣战士心甘情愿舍小家为众人筑起一道抗疫的长城，只为这场疫情防控阻击战能早日胜利，只盼彼时冬去春来，雪消冰释。
那个蹒跚的身影
2017年8月一2018年8月赴藏对口援建工作第一批成员。
2019年2月由于临时加开北五楼病区并腾空原有北六楼结核病区收治流感患儿，大大缓解其他科室收治压力。
2020年1月1日接管南六楼新冠肺炎病区，1月19日将南六楼改造成为ICUo
这是陈南山近三年的工作轨迹。他的身份在临床医生、援藏队员、病区主任之间无缝转换。

作为金银潭医院耐药病区的科主任，他的每一个亲切的笑脸，每一个鼓励的眼神，每一句温暖的问候语，每一个细微的动作，对于耐药患者都是一味对症的良药。
陈南山从事医疗事业三十多年来，无论是在行政管理，还是临床医疗的岗位上，都是兢兢业业，刻苦钻研，得到了患者的赞誉、同事的好评。他有着良好的职业道德、严谨的工作态度、很强的综合分析能力，非常重视诊疗过程中的心理疏通，关注患者心理变化。
随着新冠肺炎危重症患者收治越来越多，1月19日医院决定将南六楼从普通病房改造成为ICU,从人员分配、环境布查完房从病房里出来的陈南山。

陈南山穿戴防护装备。（第四章图片除有特殊说明外均为武汉市金银潭医院供图）

仪器设备到一张床一把椅，陈南山带领大家动了起来，一边收治危重患者，一边改造，仅花了两天半时间把整个病区改造成功。

他身体力行，每天不管多忙多累都坚持下病房，详细查看每一位患者，掌握患者的病情变化，半夜突发状况比较多时他就干脆睡在医院。
陈南山已年近六旬，高血压、痛风症常年折磨着他，同事从他走路的样子就能看出他痛风又犯了。
数十天的坚守，他没有豪言壮语，没有遗书遗言，没有光头明志，只有那略弯着腰、微弓着背的蹒跚身影深深印在同事和患者的脑海中。
哪有什么生而勇敢，

只是因为选择了无畏
从2019年12月底开始，医院检验科已满负荷地工作2个多月了。检验科入职不久的“小朋友们”，有的刚当上父亲，有的还是奶奶最疼爱的孙女，然而，只要穿上白大褂，他们瞬间就化身为勇敢而无畏的战士。
何旭，生化组，2017年入职。
何旭每天要穿梭在三台生化仪旁，检测几百例样本、几十个项目。
他说，刚开始，因为对这个病毒到底是什么、怎样传、毒力怎样都未知，想着家里又有老人又有小孩，还是挺担心的。后来随着科室的防护措施一步步提升到位，科室不断地给大家做生物安全培训，各方面细节都涉及了，心里有底了，开始逐渐踏实下来。
对何旭来讲，最大的动力之一，莫过于家里人的支持，他的妻子带孩子住在岳母那里，老人把孩子照顾得很好，免了他的后顾之忧。有时下夜班，何旭会帮家里买点菜，把冰箱塞满。

何旭在工作中（右图左一为何旭）。

“我只能做这些，不敢在家久待，所以对家人挺愧疚的。” 何旭说。
闫明哲，分子生物组，2019年入职。
闫明哲负责病毒核酸检测。1米9的小伙子，笑起来还像个腼腆的大男孩，儿子才出生3个月。
闫明哲说，刚开始还是有点害怕的，不过“这就是我们的责任啊，不能退”。尤其看到外省的医务人员不远千里一拨一拨地赶来支援，看到私家车司机自发地守在医院门口接送医务人员，他在心里想，除了加倍地做好工作，哪有理由退缩。

这段时间以来，闫明哲最想感谢的还是自己的妻子。虽然闫明哲父母帮着妻子一起带宝宝，可好多方面，妻子都得去适应，“挺难为她的”。宝宝后来发湿疹，也不方便带到医院去看, 只能干着急。
有时候，闫明哲挺想回去一下，但疫情防控需要，闫明哲只能隔着玻璃看看宝宝，“儿子现在还不会找我……”
吴煙，临检组，2019年入职。
吴哗本来准备今年结婚，疫情暴发后，头发都没时间去剪，婚纱照就更没时间去拍了。
吴煙说，刚开始也害怕，特别是身边有熟悉的人感染，但是科室的防护工作做得很细致，“老师和前辈们没有一个人退缩，我也就安下心了”。

何柳、张媛媛，微生物组，分别于2011年和2018年入职。
疫情一开始，何柳就将自己在医院附近的房子让给了科室的两个老师居住，她说：“江老师和刘老师家里都是几代同堂，住得又远，让她们住我家，她们的家人就少些风险。”
何柳平时话少，却贴心地为老师们备好了洗手液、洗发水。
自从科室提高防护级别后，有些风险高的项目就挪到了 P2 实验室内完成。每天张媛媛和何柳在江丽萍老师的带领下，在 P2实验室里一待就是三四个小时。张媛媛说：“科室老师们都是这样在工作，我和她们在一起，不怕。”

刘梦元，临检组，2019年入职。
刘梦元说，刚开始也会害怕，后来看着科室生物安全管理非常严格，各个环节、各个细节都注意到，一遍遍地培训，也就不怕了。“在我们科室里，我感觉最安全。有时爸爸妈妈打电话时，我就跟他们讲，我们怎么做防护的，让他们放心。” 刘梦元说，有时老师们从实验室出来后，一起说说话，开开玩笑, 就感觉很轻松，心里很踏实。
一副副年轻的脸庞，一个个瘦小的身躯。哪有什么生而勇敢, 只是因为选择了无畏。
在金银潭医院检验科这群90后的年轻人眼里，这次疫情是考验，是锻炼，是个人难忘的一次成长。他们从检验科严谨的生物安全管理措施和持续的培训中，获得了安全感；从科主任率先垂范的行为中生发了责任感；从前辈老师们乐观、坚韧的精神中获得了坚持下去的力量；从科室和同事们的关怀中得到心灵上的安慰。
累，但是值得!

吴婷是金银潭医院综合二楼护士。作为一名有着近七年工作经验的一线护士，面对疫情，吴婷深知，穿上白袍，就等于选择了责任与使命，作为医护工作者,救死扶伤是工作更是责任, 抗击疫情责无旁贷。
2019年冬季的流感暴发，吴婷所在的科室作为流感病房，承担着小儿流感及各类感染性疾病的收治工作，每天出入量都在50人次左右，正是这样一个无比团结、和谐的队伍在坚持，并将继续坚持着，从未落后过，也从未放弃过。
自1月19日开始收治疑似病例以来，金银潭医院上下同心同德，全力投入救治工作。隔离病区的医护人员更是日夜奋战在疫情防控第一线。
1月19日，吴婷所在科室接到医院通知，清空病房，全体搬迁至南三楼收治新冠肺炎患者，科室同事集体报名加班，做好病房的布置工作。老病房和新病房的处理在科主任和护士长的带领下，进行得有条不紊。

吴婷记得，当天她上夜班就收治了 18个患者。新型冠状病毒感染的肺炎这样一个新病种，当时对于她们来说还有点陌生，但是大家都经过医院的严格培训，并且有禽流感救治的经验，所以很快就进入了角色。
1月26日，又接到医院通知，科室护士全体搬迁至综合楼二楼，大家又积极报名改造和布置病房、清洁区、潜在污染物、污染区等等。
这些细小的工作看似简单，做起来却并不容易，但吴婷和同事们经过科学的考虑，科室布局都符合院感（医院感染管理）的要求，至今为止，吴婷所在的科室无一例医护人员感染。
1月26日晚上，吴婷和同事就接收了 30个新患者。接收后，医生立即分类，护士马上报总值班。医生们按轻重缓急有条不紊地处理患者；护士们测生命体征、吸氧、输液等等，穿梭于患者之间。医护之间争分夺秒、配合默契，一直到次日凌晨3点，才将所有患者处理完毕。
处理完患者，又开始处理病房，因为没有卫生员，这时护士不仅只是护士，还是清洁工、患者的家属等等，承担着各种角色，但大家没有一句怨言。

从流感到肺炎，吴婷和同事几乎没有休息过，“累，但是也很快乐，因为正做着一件很伟大的事情。”
“哪有不怕的，说不怕是假的。”但是在病房里，每当看到患者的意志力是如此之顽强，听到患者每天给大家打气，为武汉加油，为自己加油，吴婷觉得一切都是值得的。
吴婷觉得，正如钟南山院士所说，“武汉本来就是一座很英雄的城市，有全国、有大家的支持，武汉肯定能过关。”
一名医者的担当
中午，值班室里，大家陆陆续续吃完了午餐，郑汉丹医生这才顶着湿漉漉的头发过来，问有没有多余的盒饭，她要带一份给家中的孩子。
她的儿子今年上高中，自理能力不错，为什么今天要送饭回去？
原来郑汉丹今天夜班，查完房她要把家中唯一的汽车开回去，这样的话，晚上她爱人就可以开车送郑医生的母亲去武汉中心医院南京路院区做透析。

郑汉丹医生是金银潭医院的一名普通医生，一直从事传染病的临床诊治工作。她的父母也是医疗战线工作者，父亲是金银潭医院退休的老院长，已85岁高龄；母亲是武汉市中心医院妇产科退休的老主任，5年前因为糖尿病、肾病开始就近在武汉市中心医院后湖院区透析，郑汉丹需要经常过去照顾。
郑汉丹自己患有哮喘，常年使用药物控制发作，她爱人曾俊在武汉市疾病预防控制中心工作。2003年的非典战役，郑汉丹参加过，儿子也是那一年出生。没想到17年后，金银潭医院作为武汉市首批收治新冠肺炎危重患者的定点医院，她又一次投入到了新的战场上，肩上的职责丝毫未变。
从疫情开始，他们夫妻不分昼夜，在各自的岗位上奔波忙碌，没有多少精力顾及家庭。所幸的是刚上高一的儿子自理能力强，做饭洗衣等驾轻就熟，因为父母特殊的工作岗位，孩子早已磨砺出来，这段时间一直都是独自一人在家自己照顾自己。

最让郑汉丹担心的是母亲年老体弱，透析治疗已有5年，近期因为疫情越来越严峻，原来做透析的武汉市中心医院后湖院区临时改为收治新冠肺炎患者，透析需换到离家较远的武汉市中心医院南京路院区，加上母亲因脑梗造成双下肢瘫痪，每周3次的透析无奈减至2次。
按现有情况，必须靠车辆接送才能完成透析。夫妻俩单位——父母家——透析中心，往返奔波，为了交接唯一的交通工具——私家车，夫妻俩人才能见个面，说几句话。为了工作，她和医生商量，母亲的透析时间安排在晚上8时至12时，每次透析结束，都是凌晨才能安顿好父母，次日又要投入到忙碌的工作中。
在这场看不见硝烟的战争中，所有家庭都面临着各种困难，经受着各种考验，但是为了人民的健康和幸福，郑汉丹和她的同事们“舍小家，顾大家”，以医务工作者的责任和担当，义无反顾地投入到抗击新冠肺炎的阻击战中。他们的付出，是众志成城打赢疫情防控阻击战的坚实基础。
“一点都不害怕那是假话，但也容不得我们害怕”

“一点都不害怕那是假话，但也容不得我们害怕。”已经从业13年，31岁的金银潭医院南七楼重症监护室护士马丹说。
“现在是每天都要进去，排班就像车轮一样不断往前滚。” 马丹当天的排班是晚上11点到凌晨4点。她们科室总共40 多个护士，7至8个人为一个班组，每个班进去一次就是5个小时。
马丹的老公是一名货运火车司机，疫情发生后，他也一直坚守在岗位，调运货物。夫妻俩4岁的儿子现在特别“可怜”，成了留守儿童，都是家里老人帮忙在带。
马丹唯一一次回家是1月30日，原因是86岁奶奶去世。但那天她和爱人仅仅是回家看了一眼就走了，没有多逗留。疫情笼罩之下，奶奶过世，没有几个亲人相送，没有一个花圈，在马丹的记忆中没见过哪个老人去世时，走得这么悲凉。
马丹回忆，2019年12月29日首批转入金银潭医院的9名不明原因肺炎患者就是进了她们科室。“当时还不清楚是什么病毒，我当时在武汉市的其他医院进修，然后看到工作群里说，
突然转入不明肺炎患者，我就说我要回来，不能抛下同事。第二天一早我就回到了工作岗位。”

“一点都不害怕那是假话，但也容不得我们害怕。”马丹说，她参加过禽流感、甲流的疫情防控工作。
“我觉得本来就是传染病专科医院，如果我们都不顶上去，那还等谁，还能指着谁，这是我们的专业，我们不能退缩！”
在重症室，患者的生活起居、大小便等全部要护士来帮忙。
马丹的病房里十多个重症患者，最轻松的时候，一个护士也要管2—3个患者。“在那里面的压力是很大的，患者都是全院最病重的，抢救、用药都很急，我们时时刻刻都要面临可能出现的抢救工作，节奏很快很紧张，强度很大，神经绷得很紧。”
“科室护士长从疫情发生就没有回过家，天天守在病房，她连酒店都没有回过，她要守着患者做ECMO （体外膜肺氧合），做完了她就直接在病房休息。”马丹回忆，有一天工作完了之后护士长流鼻血了，就捂着鼻子，搞了个氧气在那里吸氧，即使这样了也不离开岗位。护士长和女儿视频，经常是对着手机躲在一边哭。“有了她的带动，我们才有坚持下来的动力。”马丹说。

马丹所在科室在疫情中相互鼓励。

“爸爸每天早上五六点的时候给我发一篇心灵鸡汤文章，慰问一下我和同事，鼓励我。” 一直在前线坚守的马丹，最感恩的是家里的爸爸妈妈和婆婆的支持，“特别是我爸爸，他是一个老党员，他认为遇到这个事情，国家需要我，我能参与是我的责任，也是我的光荣，他以我为傲，每天在微信鼓励我。”
马丹说，她的婆婆不善言语，但让她特别安心。婆婆跟她说：“我帮你把孩子带好，你安心在前线工作！”

“每个人做好自己的事情，就是对疫情防控最大的帮助。” 马丹说，只希望自己能尽最大的能力，救治每一个患者，让疫情快点结束。

==Part 10==
不只是在疫情中才是战士
46岁的金银潭医院南四病区护士长吴静，已经从业28年。
从1月1日开始投入这场战“疫”，腾退病房，做好准备，2

是一个没有硝烟的战场！不计报
,无论生死！这八个字朴实无华，却是每位医护人员的职业道德和信念的写照！十多天来，我亲身经历了这战场发生的一切，医生、护士、医务人员冒着生命危险，穿着厚重且不甚透气的防护服，24小时奋战在病床一线。为了节约时间, 他们走路都是一路小跑......看着他们一个个疲惫的样子，我心疼的流泪 To （说实话，我自己都没有为我生这场病流泪！）我无法用语言来表达对这些医生、护士的敬畏之心！通过这次疫灾，我深切体会到身为中国人是有满满的安全感、幸福感的！感谢习主席、感谢党中央、感谢武汉市政府、感谢金银潭医院及南四楼的余主任和所有的护士，让我携起手来共同努力，坚决战胜侵袭武汉的新型冠状病毒感染的肺炎，坚决打赢疫情防控战！加油武活、治疗上的事全部都是护士来管。护士穿着防护服后行动会变慢，防护服里很闷，动一下就会大喘气。
当时情况就是“今天排明天的班，后面三天四天的班就排不下去了，非常缺人。我着急得都快哭了！”
后来人手多了些，吴静抽出时间回了趟家。
“我走的时候，家里人只说让我放心，工作之余方便的时候报个平安。”
吴静的科室护理团队里很多都是年轻的姑娘，28个护士，
90后占了 80%。“这些小丫头其实也都有各自的困难，心里也害怕，但觉悟都很高，不用安排她们去做什么，她们已经主动在做了。从来不叫苦，从来不讲条件。”

吴静所在科室的护士们合影，相互加油鼓劲
初期，吴静最担心的还是防护用品，自己都保护不了，怎么去保护别人。
“我们病区最小的护士才22岁。让人家在这么危险的环境工作，必须先保证她们的安全，也能更好照顾患者。”
吴静说，由于防护服是连体的，没有口袋，护士巡视输液时需要签名，笔、对讲机等小件物品没地方放。为了工作方便，科室护士的爸爸妈妈亲手帮她们做了
“爱心腰包”，吴静还在上面画上了笑脸，鼓励患者和医护人员都要乐观面对。
在吴静眼里，没有觉得自己是个战士，就是做好本职工作, “不管什么样的患者我们都要救助，不只是在疫情中才是战士, 平时的工作做好也是战士。”
宁愿穿纸尿裤干活，
也不愿离岗的大男人
金银潭医院工程部维修班副班长肖剑池怎么也想不到，46 岁身强体壮的自己，也会有穿上成人纸尿裤的一天。
但即便如此，他也从没想过退下抗疫一线，“病房里的事情要做啊，班长由于密切接触新冠肺炎患者被隔离,我是个党员，事事更要带头做！”
抗疫前线，肖剑池不愿缺席，哪怕突发痔疮，给工作和生活带来了各种不便。
2月12日，刚刚从医院综合4病区和5病区装完紫外线消毒灯回来的肖剑池接到电话：“北七病区15床跳闸，麻烦来看看。”来不及喝口水，他就和同事一起赶往北七病区。考虑到防护物资紧缺和维修难度，他让同事先在清洁区等候，自己穿好防护服进了病房。首先接上临时电源，保障医疗设备用电，再查找原因，近1米8身高的他，蹲在这里看看，趴在那里瞧瞧，终于在患者床下发现了原因，“重症患者小便失禁，尿液把设备的电源插座打湿烧坏了。”
处理完故障回到科室后，肖剑池疼得身上直冒冷汗，他换下工作服后径直去了厕所,这才发现内衣全部被血水打湿。原来, 长时间的蹲姿诱发了痔疮。
“怎么办？班长还没有结束隔离，这种特殊时期我肯定不能下火线！”他突然想到前段时间有爱心企业捐赠了成人纸尿裤，“我们要进病房工作，时间长了，穿个纸尿裤方便些。” 于是他找护士要了一包，由于拿着一包纸尿裤回去，“目标” 太明显，他只拿了一个，偷偷去厕所穿上，然后又去开了点痔疮膏。
后来，肖剑池想着纸尿裤穿着方便，但在男厕所里太过显眼, 他就用卫生纸代替了纸尿裤。每次需要更换卫生纸了，他边揪卫生纸边跟同事说拉肚子，就这样偷偷换了3天的卫生纸。突然有一天，同事发现哪怕再辛苦再累，肖剑池回来后也不坐着，经多次询问，无奈之下，他“坦白” 了，因为疼痛，一旦坐下来, 起身很困难，必须扶着凳子才能起身，所以他宁愿站着。
为保证后勤保障工作有条不紊，肖剑池主动顶替被隔离的班长上夜班。最长时间，他连续值了 2个夜班，工作超过48个小时，“虽然疼得火辣辣，但是问心无愧。”肖剑池说。
背后的她
优秀的共产党员，唯有在生动艰苦的工作实践中，方能显现出身上可贵的品质。作为金银潭医院财务科党支部书记、审计科长，李斌迅速地调整心态，投入到这场史无前例的抗击疫情的伟大斗争中。
这次疫情金银潭医院承担着新冠肺炎重症、危重症患者救治的任务，病毒传染风险一度令人谈之色变。入院患者没有家属陪护，生活自理能力差，需要医院提供全方位的生活保障服务。
李斌直面疫情，有序应对，在领导的布置下，主动承担起每天三餐给患者送饭到传递窗口，为病区运送消毒药品、办公物资等任务。病区内的医生与护士均为最高等级防护，每次送饭、送物资前，她都缜密地多方协调，科学有序做好隔离消毒和防护等各个环节，严格把关后勤保障供应的质量，在约定时间给患者提供营养可口、舒适温暖的后勤保障服务。李斌知道，患者营养有了保证，治疗效果才能确保。
医院行政管理人员一般都没有经过系统的医护专业培训，没有烈性传染环境中自我防护的专业技能与设备，普遍会产生一定的心理恐慌与畏惧情绪。李斌及时发现了这些情绪与苗头，她没有死板的说教，也没有严苛的命令，而是将自己的心得体会、成功做法、防护经验毫无保留地与大家分享，以自身的实际行动带动大家，发动大家正确认识病疫，普及科学防护的常识与要点，增强大家的信心。
小小身体里的巨大能量
李向蓉，是南一楼的一名普通护士。她爱笑，似乎没有什么事在她那里是过不去的，无论多忙，多累，同事们总是可以看见她欢快的小身影，快乐的小步伐。
疫情袭来，李向蓉冷静地安排了自己的家人，把婆婆和两岁三个月的儿子送回了老家，同时叮嘱好老公每一件注意事项，然后默默地收拾好了自己的行李，上了战场。家人们都很支持她的决定，同为党员的公公跟她说：“作为一个党员，在这个时候你一定要起到带头作用,冲在最前面！家里的一切你放心, 保护好自己，才能更好地为人民服务！”婆婆也是跟她立下了 “军令状”：“你安心去战斗，等你凯旋归来，我保证你儿子又长胖了好几斤！”
厚厚的防护服，层层的口罩与隔离衣，每天都汗如雨下，连说话都困难，走快一点都觉得喘不上气，可是她从没有说一句累，没有丝毫的退缩之意，依然“健步如飞”。
只要患者有需要，她总是用最快的速度来到他们面前解决所有的问题。喂饭、翻身、倒便盆尿壶等等，所有的脏活累活她从不挑剔，像对待自己的亲人一样，每一件事都尽心尽力。遇到不想吃饭的患者，她总是耐心地劝他们，一口一口地哄他们吃，患者们都说自己的亲孙女都不见得有她那么仔细照顾人。
遇到一些不听话、不配合治疗的患者，她气急了也会“凶”，生气地跟他们说“再这样我就不管你们了！”可是当真的有事时，她还是狠不下心，说不管的是她，冲在最前面的也是她。
李向蓉每天都充满了正能量，用同事的话说，像“打了鸡血” 一样，像个铁人，什么都打不倒她。
有一天，李向蓉接到了家里打来的电话。挂了电话，她飞快地跑到一个角落，号啕大哭。等她情绪稳定了一点后，同事们才知道，原来她的儿子已经生病好几天了，高烧不退，不吃不喝，家里人怕她担心，没敢告诉她，后来实在是瞒不住，孩子情况越来越不好，家里人也不知道该怎么办了，才给她打的电话。
领导说放她几天假，让她回去看看孩子，她没有拒绝。可到了下午，她又找到领导，说不回去了，“孩子有家里人照顾，这里更需要我！”所幸，几天后，孩子恢复了健康。笑容又回到了李向蓉的脸上。
新冠肺炎疫情下的耐药之战
2019年12月29日，武汉市金银潭医院打响了抗击新冠肺炎病毒的第一枪，随之所有病房清空，举全院之力收治新冠肺炎重症、危重症患者，800余名医务人员进入战疫一线，作为湖北省耐药定点医院、耐药定点培训基地，医院耐药结核病区也在2020年1月21日进入了一场新的战斗。
全市封城，交通不便，门诊有限，就诊困难，有些疾病可以等，但耐药结核病患者等不了。耐药患者一旦停药，就会导致情况更加恶化，治疗方案更加复杂，诱发并发症，进而使整个“耐药之战”功亏一簧，严重时甚至危及生命。
为了让耐药结核病患者不停药，保证疗程，减少新冠肺炎对疾病的影响，金银潭医院耐药病区医生周勇、护士长贾春敏带领咨询员在保证新冠肺炎患者的救治工作的前提下，利用休息时间，提供24小时线上问诊、心理疏导、信息登记、快递药品等志愿服务，累计服务患者350余人，快递药品近100份。
询问、记录、安抚，根据患者需求，医护人员首先登记好患者的姓名、年龄、手机号、收货地址等信息，交由周勇进行完善。随后，贾春敏拿着信息统一去挂号、开处方、缴费、拿药，取出药物后按要求分类消毒打包，再一个个写上名字，之后寄
给患者。
因为封城，出行成了大难题，患者进不来，药品也出不去，为了能让这些沉甸甸的希望送到患者手上，志愿服务队的队员们利用下班时间去联系快递公司。一家不送，再找一家。一处碰壁，再碰~处。
一次，护士谢家强好不容易寄出的快递，由于封城被扣在快递公司，身高不到1米6、刚下夜班的她担心药品丢失，在寒风中骑行7公里，历时一个半小时，终于把药取回，并经过多家辗转，最终寄出了这些药物。
志愿服务队的队员最终也感动了快递师傅，主动来院取药、寄药。
抗击新冠肺炎的战“疫”还未结束，这场耐药之战仍在继续。
一名护士长的抗疫实录
我是武汉市金银潭医院南二病区护士长胡徐娟，从“武汉不明原因肺炎” 2019年12月29日流传以来，至元宵节，整整 41天，我和我的很多战友没有休息。
我们真的很累，但是身处一线，如果不继续奋战，那我们的意义又是什么？
连续在一线作战，持续的高强度高负荷工作让我们医护人员喘不过气，但看着躺在床上的患者那渴望被治好的眼神，我们一次又一次给自己打气，继续站在危险的第一线。
今天的我，回头再看，从那天起，我们其实已经走进了一场全球瞩目的巨大疫情之中。谁也没曾想到25天后的1月23 日武汉封城，紧随着湖北省内13个城市逐步停掉公共交通，进而全国各个城市卷入其中。
从12月底到1月初的那一周里，医院收治类似的患者越来越多，由于病情性质的特殊，重症患者较多，对于医护人员的防护级别和病房的要求越来越高。我们不断地新开病房，由于时间紧，对病房的要求高，一天的时间我们就得把一个普通病房改造成类似ICU模式的重症病房，其间辛苦，难以言表。
没有具体的时间，我们就已经走在了疫情抗战的第一线。
谁也没曾想到，会持续至今，且形势愈演愈烈。
面对不断增加的患者，人员不足开始显现。1月11 EJ ,医院发布通知，即日起取消休息，全员上班，但是在不断转院进来的患者面前，我们开始了连轴转的状态，上完白班跟着上中班，上完中班继续上夜班。
1月的武汉进入到一年最冷的时节，而我们在密不透风的防护服里，衣服从未干过，患者身边各种监护仪器此起彼伏的报警声让我们无暇顾及额头的汗水，当走出病房脱下防护服，全身衣物早已被汗水浸透。
在连续作战的日子里，我们负伤却依旧前行，我们不敢倒下，因为面前还有更多需要我们去救助的人，我们肩上挑着责任，背负着使命，我们要为武汉加油！

金银潭医护人员脱下防护服后，全身衣物早已被汗水浸透

医护人员脸上被勒出深深的印痕。

每一次诳病房前，医护人员都会测重体温和血氧饱和度.然后认真地记录下来
医护人员在病房合影鼓劲一
两伯医护人员在迸病房前相互整理防护报.
这是医护人员繁重工作的一个“小角落

金银潭医院迎来来自祖国四面八方的医疗队的支援。

在疫情愈发严重后，武汉受到了全国的关注，而作为重中之重的武汉金银潭医院，我们得到了四面八方的支援。有本市的、上海的、福建的、吉林的、重庆的。我们的护理团队从十几人变成20多人。这一刻我们看到了国家的力量。
尽管来了多方支援，可是在面对科室30多个患者，近20 个危重患者，经常一个患者就得两个人操作时，我们20来人的护理团队仍然有点力不从心。
由于此次疫情在春节期间，加上后来多方的宣传，疫情也得到了全民的重视，在防护层面来说是好事，然而也为医院带来了一些困扰，比如医院的保洁和保安陆续走了，甚至连食堂的阿姨也走了。

从四面八方，从全国各地，温暖源源不断
吃的、喝的、用的、穿的，凡是能想到的，爰心人士
都想方设法送到金银潭医院医护人员手上。

位叔叔和阿姨留了下来，和我们一起战斗，她们体谅我们的辛苦, 我们也感恩他们的付出。
了保障我们的生活，医院行政的领导们每天在楼下为我们派饭，运送防护物资。我见过党委书记来病房清理垃圾，见过院长会没开完就哭了，见过院办、党办主任每天帮着送物资，见过工会主席每天给患者送饭，我还见到了我的同事们因为压力太大而哭泣
爱，一直都在。此时的我们知道，我们不是独自战斗，全国人民的心和我们在一起。

==Part 11==
金银潭白衣战士群像

乐观、坚强的金银潭医护人员。

这群可爱的白衣天使，远比我们想象的能干，修厕所、修灯管，都不在话下

乐观、坚强的金银潭医护人员。
金银潭抗疫纪事

第五章
并肩战斗
新冠肺炎疫情肆虐，武汉市金银潭医院作为湖北省、武汉市突发公共卫生事件医疗救治定点医院，第一时间冲在最前沿。全体医务人员毫不畏惧，超负荷坚守岗位，迎难而上，逆风而行。
一方有难，八方支援，在疫情防控的严峻形势下，各地医疗队紧急驰援。战“疫”的战场上，他们与金银潭医院的医护人员并肩作战，使得新冠肺炎患者的诊疗质量得到大大提升，挽救了一条条生命。
我们要更加坚定要竭尽所能
位重症医学医师的“武汉六日记”
时时面对夕匕亡，每次都要尽最大努力！从诞生之日起，重症医学就与抢救生命密不可分。作为奉命驰援武汉诸多重症医学医师中的一位，首都医科大学宣武医院重症医学科主任姜利 1月26日清晨抵达武汉后即进入这次疫情的“暴风眼”——武汉市金银潭医院，坚守至今。
连日来，这位从事危重病医学临床工作27年、参与救治危重症患者数千例、在急性呼吸窘迫综合征等方面积累了丰富临床经验的重症医学医师坚守一线，也坚持写下了 “武汉日记”。
第一天1月26日
到达武汉市金银潭医院：一个一个地梳理患者
一夜火车，早晨7:48到达武昌火车站。费了些周折联系到接站人员，到达驻地武汉会议中心，路上几乎没有车辆和行人。安顿好后，和东南大学附属中大医院党委副书记邱海波、首都医科大学附属北京朝阳医院副院长童朝晖、北京协和医院重症医学科（ICU ）主任杜斌，以及几位各地来的ICU医生一起到达武汉市金银潭医院。我和杜斌教授今天去的南六病区，是由普通病房改造的ICU病房。部分患者病情危重，还有一些是不稳定的。病区的工作人员来自不同地区、不同医院，专业背景各异，大家认真把管床方式与流程进行了梳理，重新分工，接下来就是一个一个地梳理患者。在穿好防护服进入病区后，人就不能轻易出来，里面的一片纸也不能带出来，和非传染病房的工作方式有很大不同。大半天时间就这样过去了，对要处理的患者也有了初步印象。
第二天1月27日
内外配合逐渐开始默契
病房早交班是7：55O驻地离医院大概十来公里，所以一早赶过去。南方天气阴冷。昨夜有患者去世，心中涌上来的悲伤，让我们更加坚定要竭尽所能。今天开始早晚双查房制，为夜班排除隐患，减少可以避免的抢救。我们管理的9名患者中，5 名重症、3名危重，低氧程度远较普通肺炎严重。ICU医生多花时间在床旁，而金银潭医院的医生帮助完成开医嘱和记病程的工作，内外配合逐渐开始默契。又把整理好的一部分工作流程贴在病区和治疗室的墙上，让大家执行时简单易行。
第三天1月28日
个子不高的男护士：像病房里的一个“稳压器”
依旧是在阴冽的清晨到达医院。今天我们组有两个“大活”，一名肾衰患者要做血液净化，另外一名则要进行最危险的操作一一气管插管。看完患者后，几位医生兵分两路，分别去处理血液净化和气管插管。有了前几次的经验，我们提前把需要的药品事先准备好。不料喉镜又出了问题，在等待新喉镜的过程中，一位个子不高的男护士引起我的注意，他手法娴熟，一个多余的动作都没有，活干得让人看着极其舒服，操作的同时还不停地安慰一旁新来的护士和屋子里焦虑的患者，像病房里的一个“稳压器”。喉镜和负压吸引装置终于来了。管床的小伙子义无反顾地戴上防护头套，像个勇士一样完成了危险的操作，淡然镇静。
午饭时，发现医院宣教中心的老师给我做了个小视频，被学生发到网上。从下午到晚上,涌来了雪片般的问候，家人、朋友、同学、同事，认识的、不认识的……心中暖暖的。
第四天1月29日
作为同行，这时候能做的唯有鼓励
早晨一过去，得知夜间又有一名患者去世，多少有些沮丧。然而，宝贵时间更要留给活着的人。穿防护服时又被告知，防护用品很紧张，进去一次一定要多完成一些工作。但是，ICU 患者的病情瞬息万变，在外面中心台看着像过山车一样的生命体征，恨不得马上到床旁看看究竟发生了什么。然而，现实不允许这么做，只有一遍一遍拿着对讲机，和里面的护士们反复沟通，想办法找到原因并纠正。
下午得到通知，去另外一家医院会诊及看望一名医生，才 40岁，他因为病情加重，又和夫人双双染病，很是焦虑。我们看了他的病历资料和肺部CT,心里不免又一沉。好在视频通话时，他居然可以连续说话，不太费劲。作为同行，这时候能做的唯有鼓励。而作为外科医生，40岁正是干事的年龄，希望这把“手术刀”能够保有锐利。
第五天1月30日
每个人的防护服上都写着名字和“加油”
刚踏进病区门，就被护士长拉住，说有个小护士喘得不行，让我过去看看。脸上还是外科口罩，就麻烦护士长拿了个 N95,我走进护士值班室。1991年出生的小姑娘一边喘一边哭，还在打电话，情绪很激动。我先摸了摸，不烧，心里大概有点数了。算算这姑娘比我女儿只大几岁，能够想象她所承受的压力和恐惧。跟护士长商量后，安排这姑娘休息，查个咽拭子再扫个CT,都是阴性，就踏实了。
因为插管上机的患者多了，进病房前和护士长达成共识，加强气道管理和其他重症常规护理。进病房后，又看到了一些新面孔，每个人的防护服上都写着名字和“加油”，都是各地来支援的ICU护士，日间的工作流程明显顺畅了许多。中午，几个情况不太好的患者都逐渐趋于稳定，连日阴天后太阳出来 T,大家都心情大好。而好事成双的时候就更令人鼓舞。我们拿到了一箱可视喉镜和一次性叶片，使得这项高危操作的时间得以缩短。
临下班前得知，90后姑娘没发烧，肺部CT也没问题。希望姑娘能顺利回家。
第六天1月31日
昨天所有的患者都还在
昨天下午到晚上，一共转进来3名患者，都是一进门就气
管插管和复苏。值班的周医生来自湖北荆门，年纪不小了，很担心这一夜的工作会让他吃不消。他见到我后很“得意”地说，昨天所有的患者都还在，这是几天来的第一次呢。外科出身的周医生活干得漂亮，昨天给一个下肢皮肤切开减压的患者换药，好好地露了一手。查完房出来已近中午。吃完饭走到院外，阳光洒到身上暖洋洋的，很难得。
回来不久，一位老年患者病情突然恶化，冲进去穿衣服时护士告诉我，别穿黄色的，不透气，还帮助我完美地完成防护，心里很是感动，在床旁协助我的医生完成气管插管和深静脉置管，镇静镇痛。出来后看到几位大教授在等我，赶紧和夜班医生做了交接。临走时，护士长给了一件社会捐助的崭新羽绒服，终于可以回去把我的脏衣服洗洗了。
“重症医学的专业使命，决定了我们必将成为此次阻击新型冠状病毒感染的肺炎流行战役中的重症患者生命救治的主力军”，1月29日，中华医学会重症医学分会、中国医师协会重症医学医师分会、中国病理生理学会危重病医学专业委员会共同发布《齐心协力，拯救生命，打赢新型冠状病毒感染的肺炎阻击战——致全国重症医学专业同道倡议书》，作为中国病理生理学会危重病医学专业委员会秘书长，姜利和另外10多位在武汉一线参加救治工作的委员一起，在倡议书中提出“凡为医者, 侠之大者，奉命于病难之间，受任于疫虐之际。国有难，招必归，战必胜”，希望全国奔赴一线的重症医学专业医护人员，要坚决打赢疫情防控的阻击战。
（新华社北京2月2日电记者李斌、侠克、林苗苗）
战“疫”前线的医生心声:
前线保住了，后方才安全
口罩、帽子、防护面罩、鞋套等全副武装，戴上双层手套…… 穿戴完毕，在金银潭医院参与救治的东南大学附属中大医院重症医学科副主任医师潘纯，开始了新一天的工作。
潘纯和援助湖北医疗队的医生们，负责金银潭医院五楼病区重症患者的救治指导等工作。病区有5位患者，每天都需要医护人员帮助翻身。算起来，一天要翻很多次。穿着包裹严密的防护服给患者翻身，医护人员的工作量要比往常大很多。“每次给患者翻身都需要5个医生一起，遇到体重较重的患者，就更费劲了。”潘纯说。
在隔离病房里，常常一待就是三四个小时，每次出来时，汗水都湿透衣背。潘纯说：“还好现在是冬天，如果夏天穿着防护服待这么长时间，人肯定会更难受。”
潘纯1月24日接到要做好驰援武汉准备的消息，他没有半点犹豫。家里人虽然有些担心，但还是给予了支持。“去吧，穿上这身白大褂，这就是你的职责。我们等你平安归来。”父亲对他说。
26日13时38分，潘纯乘坐高铁奔赴抗疫第一线。到达武汉第二天，在经过必要的培训后，立即进入工作状态。
在隔离病房查看患者情况、写医嘱，与同事讨论疑难、复杂患者的救治方案……忙碌了一天，晚上从病区回到住的地方后，工作仍在继续。潘纯还需要通过工作群了解每位患者情况、指导救治。遇到紧急情况，要随时“冲”回患者病床前进行救治。潘纯所在的病区有13位医生、19名护士，和他一样，每个人每天都是“超长待机”工作。
面对的全都是重症患者，经常与感染源“零距离接触”，有没有觉得怕的时候？他说：“没有，从来没有。重症医生是挽救患者生命的最后一道关口，就是要到最危险的地方去。从接到任务的那一刻起，就做好了准备,竭尽全力救治每一位患者。只有战’疫’前线保住了，后方才安全。”
回到住处，有空时，潘纯也会给家人报个平安，但他很少说起前方可能遇到的各种风险。来自7岁儿子的鼓励，总让他觉得动力满满——“爸爸，加油！早点回来！”
（新华社武汉2020年1月31日电记者邱冰清、梁建强）
“等疫情结束后，我娶你”
对1992年出生的朱瑞而言，今年的情人节有了别样意义。
2020年2月14日零点，在金银潭医院值夜班的他突发奇想，用笔在白色的防护服上写上几个大字“邵媚铃：等疫情结束后，我娶你”，旁边还画上了一个爱心。
邵媚铃是朱瑞的女友，两人同为护士，六年前相识。朱瑞说, 今年过年原本打算上女友家中“提亲”，不料被疫情耽搁。
朱瑞的表白，不仅传到了千里之外屏幕的另一端，也触动了网友的泪腺。当晚，他发在朋友圈的图片，在微博上“红” 了。
“海有舟可渡，山有路可行，所爱隔山海，山海皆可平。” 有网友评论。
私人告白突然被“昭告天下”，邵媚铃感动之余，还是提醒他， “把心思更多放在工作上。”
事实上，在武汉的日子并不轻松。这个春节，朱瑞已在福州市第一医院重症医学科值班到了大年初二。当天，组建支援武汉医疗队信息传来，他回家简单收拾了下行李，就随队出发。
如今的他，每天大部分时间在红区（污染区）负责为患者挂瓶抽血检查等，鲜有空闲，“每天确诊的患者还比较多，虽说每天也有患者出院，但还不能掉以轻心。”
在武汉，医务人员的生物钟完全跟着排班走，睡觉时间也不定期，连日的夜班让他有些疲惫。
他说，眼下最大的愿望就是“好好睡上一觉”。
（节选自《“不会期望明天就会好，但相信最终一定是好的”——与三位90后白衣战士的对话》，新华社福州2020年2 月19日电记者孟昭丽、陈弘毅、吴剑锋）
“为了节约防护服同事穿上了纸尿裤”
——湖南支援武汉金银潭医院护士的一线日记
“今天，我看到了用尽全身力气呼吸的感染患者渴望的眼神，这一刻感觉自己能为他们恢复健康献出力量，觉得能来到武汉救治是非常正确的选择 ”这是中南大学湘雅二医院血液净化中心护士李婉贞的一线日记。
近日，在国家卫健委统一调度下，中南大学湘雅二医院一支由5名血液净化护士组成的国家医疗队驰援武汉，5名护士分别是侯亦平、黄艳清、李婉贞、钟晓平、刘亮，她们平均年龄28岁，是医院的中坚力量。
1月27日下午，李婉贞和同事进驻金银潭医院重症监护室支援，她们的主要工作是为患者提供连续性肾脏替代治疗。李婉贞说：“为了节约防护服，我们在穿上防护服之前都要上厕所，并且少喝水，有的同事干脆穿上了成人纸尿裤再穿防护服，这样可以减少浪费。防护服一旦脱下来就不能再用了，少上一次厕所，就能节约一套，所有这一切只有一个目的——减少短缺的防护资源损耗。”
李婉贞在日记中写道：“我们被分配到医院的各科重症监护室，我的工作地点是在一个由病房改成的临时重症监护室，负责护理一些重症患者，能为他们做一些事情，我觉得很有意义。”
湘雅二医院医疗队队长侯亦平说：“驰援武汉是一份责任，我们会全力救治患者，圆满完成任务。”
（新华社长沙2020年1月31日电记者帅才）

==Part 12==
这件白大褂其实很沉
“对于未知疾病的恐惧，人人都会有，医护人员脱下白大褂也是普通人。但是，一旦穿上白大褂，真的会感到一种使命感。这件白大褂其实很沉、很有分量。”刚从救治新型冠状病毒感染者一线返回的武汉大学人民医院护士朱庭萱说。
1月7日，正在休息的朱庭萱接到通知，医院要选派人员前往武汉市金银潭医院，支援新型冠状病毒感染的肺炎患者的定点收治工作。
接到通知后，朱庭萱给家里打了电话。
“如果我不去，就需要派别的同事去，他们家里可能有更多的困难。这个任务既然分配给了我，我就应该接受它。父母从小到大都很支持我，这次也不例外。”朱庭萱说。
“妈妈说过，可能我天生就是要从事医学这一行的。”朱庭萱回忆说。小时候，别的女孩子大多喜欢玩娃娃，而朱庭萱最喜欢拿根牙签给别人“打针”。填写高考志愿时，她选择的所有专业都与医学有关。
简单收拾些洗漱用品和换洗衣物，朱庭萱与同事当天下午就赶到金银潭医院报到，第二天开始参加科室值班。
在朱庭萱眼里，在金银潭医院的这段时间和在其他医院里差不多，护士工作都是“三班倒”：打针换药、护理患者、监测生命体征……毕业后到武汉大学人民医院，朱庭萱主动报名担任机动护士，医院里哪个科室需要就赶到哪里。因此，这种火线增援的任务对她来说并不陌生。
在抗击新型冠状病毒感染的肺炎疫情战斗中，护士们在进入隔离病房时需要穿上防护服。“我很幸运自己不是容易出汗的体质。有的同事下班脱掉防护服，里面的护士服整个都被汗水湿透了。”朱庭萱说。
和朱庭萱一起前往金银潭医院增援的杨宇成则没有那么幸运。他说，工作中需要戴上两层手套和两层鞋套，防护面罩上的雾气也常常令他的视线变得模糊。
“刚开始出汗特别多，甚至有一些缺氧的感觉。最困难的是打针，戴上手套后，对患者血管的触感不是很好，而护理工作要求所有操作都必须精确。”杨宇成说。
“除了换药，还要照顾患者的生活起居，帮重症患者大小便。有的患者心里不舒服也会喊，碰到这种情况我们要耐心跟他们解释，开导他们，给他们打气。”杨宇成说。
令朱庭萱最难忘的是同事间的相互鼓励。“在那里工作的同事很多都跟我一样是’90后’。由于穿上防护服后只能看到眼睛，可能连对方的长相都不知道。但大家在换班的时候，都会互相说一声加油。”她说。
25日，武汉大学人民医院派出的新一批增援人员启程出发，朱庭萱、杨宇成被接替回来观察、休整。谈到对这一段难得的轻松时间如何安排，朱庭萱简单利落地回答了四个字“看剧、躺着”。
对于是否会重返抗击疫情前线，朱庭萱和杨宇成给出了一样的答案。
“妈妈告诉我，我在一线的这段时间，父亲经常晚上睡不着觉。但是如果需要，我一定会重返岗位。既然选择了这个职业, 我有责任去帮助那些患者，分担同事们的压力，这是我的价值所在。”杨宇成说。
“如果我不去，别人就要去，在这份责任面前必须有担当。大家对医生护士一定要有信心，我们不会放弃你们。同时，大家也要好好地做好防护措施。”朱庭萱说。
还有很多支援湖北医疗队在武汉市金银潭医院发生的感人故事，未能一一展开，在这里同样向你们致以最崇高的敬意。
（新华社武汉2020年1月26日电记者王作葵、乐文婉、方亚东）

那些发出的感谢信
一方有难，八方支援。自2020年1月24日除夕之夜起，全国各地医务人员紧急驰援，与金银潭人一起手拉手、心连心，并肩作战、攻坚克难，使新冠肺炎疫情得到有效遏制，患者的诊疗质量得到大大提升。
金银潭医院发出的一•封封感谢信，是感谢和感恩，是问候和致敬，体现的是武汉人民、湖北人民、全国人民勸力同心，众志成城抗击疫情的强大中国力量和中国精神。
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金银潭抗疫纪事

第六章
金银潭医院之外
当金银潭医院内发生着一连串惊心动魄、感人至深的故事时，医院围墙之外，武汉2100多个社区，数以万计的基层社区工作人员和3.8万名警务人员同样在为守护人民群众的生命安全而战。
在历史上，人们从未比现在更关注社区；也从来没有哪座城市，比武汉管控社区的力度还要大。
抗击疫情有两个阵地，一个是医院救死扶伤阵地，一个是社区防控阵地。社区胜则武汉胜，武汉胜则湖北胜，湖北胜则全国胜。

2020年1月23 S,武汉封城首日，乘客搭乘最后一班地铁。（第六章图片除有特殊说明外均为新华社记者冯国栋拍摄）
社区工作的重中之重：
确保900万居家市民生活
地处中国版图天元位置的武汉，是中国乃至世界上都少有的特大城市。常住人口超过1000万，流动人口超过300万，总人口数近1500万。

2020年1月29日，大年初五，武汉的街上几乎看不到车辆。
武汉封城时临近春节，除约500万人流出武汉外，全市约有900万人口留守江城。
留守人口的稳定与生活保障成了武汉能否取得抗疫斗争胜利的重要一环。
在武汉还没有对居民小区进行封闭管理时，我们探访了地处武汉市青山区钢都花园123社区服务中心。
这里是原武汉钢铁公司职工最集中居住的小区之一。
我们到达时，社区工作人员正在分配民政部门刚刚发放的青菜、水果和食品等生活物资。
123社区成立于2001年，位于武汉市青山区二环外，离武汉市中心有一定距离。由于住户多为同单位的职工，这个社区与外界沟通并不像市中心社区那样频繁、密切。
连日来，123社区加大了各小区发热患者的排查力度和对外来人员的进出管控。小区现有门栋132栋，住户1916户，常住人口 6312人，春节期间留在社区的有4226人，占常住人口 2/3。其余1/3住户在武汉“封城”前就已外出，多是走亲访友。
社区书记赵旭玲介绍，疫情发生后，社区主要在信息发布、生活保障和分级筛查三方面釆取了措施：
一是信息渠道要24小时畅通。社区工作人员主要通过电话、微信和“微邻里”软件发布权威信息。“微邻里”是武汉市打造的一个便民服务平台。“像我们武汉市发的《致市民群众一封信》和《青山区发给居民的公开信》，还有抗击疫情的相关通告，全部都通过’微邻里’来发布。疫情发生后，平台还新增了发热患者信息上报等功能。对于不常用智能手机的独

疫情期间的社区药店。

疫情期间的社区超市。

2020年2月1日上午，武汉市青山区钢都花园123社区“天天敲门组”为居民提供服务。

居、空巢老人，社区通过大喇叭确保重要信息通知到位。”赵旭玲说。
今年49岁的赵旭玲告诉我们，她的母亲在孝感老家，从春节前一直病危（与新冠肺炎无关），她却由于武汉“封城”和忙碌的工作根本无法回家探望。“母亲去世，我都没法回家。社区的事情太多，400。多人的生命和安危都必须盯着。”赵旭玲几度哽咽。
我们了解到，和她工作强度类似的基层工作人员并不在少数。基层工作中女同志较多，她们不得不抛下家务事，不分白昼黑夜保障社区运转。一天打100个电话是常态。
二是确保生活保障。1月23日武汉实施“封城”后，公共交通停摆、大小餐饮店春节放假，这给社区百姓的生活和出

2020年2月1日上午，武汉市青山区钢都花园123社区服务中心内的抗疫救灾物资。

行带来诸多不便。这时，青山区打造的民生食堂“社区好味到食堂”发挥了很大的作用，保障了特殊时期社区居民的日常饮食需求。
我们来到食堂探访时，食堂员工正在准备午饭。
一位厨师说，食堂每天能保证至少2—3个菜品，每天服务的困难群体有100个人，对于行动不方便的独居、空巢老人等，社区还通过“天天敲门组”工作人员，为他们送服务。一袋米、一盒药、一碗热饭・••…只要群众提出的合理要求，社区工作人员立马响应，为困难群众提供物质上和精神上的定心丸。
同时，社区还配备了 3辆应急交通车，满足居民出行需求。尹志鸿是“曹操出行”的专车司机，根据社区统一安排，他每天工作8小时，穿着防护服，义务开车送社区群众外出买药，或到医院就诊。
三是实施分级筛查。123社区对发烧居民实施分级筛查。社区居民出现发热情况后，第一时间上报给网格员。网格员先是建立一人一档，再联系社区卫生服务中心进行筛查。如果病情轻微，则指导发热居民在家服药；确实需要到医院门诊看病的，再建议他们去看病。
“疫情来得凶猛，有些居民特别恐慌。加上秋冬季节感冒确实也比较多。刚开始’封城’时，我们每天忙于接居民打来的电话。后来，社区卫生服务中心给发烧的患者开了药，吃了之后，烧降下来了。接到的电话就少了。”社区书记赵旭玲说。

2020年2月1日上午拍摄的武汉市青山区“123社区”的社区好味到食堂

2020年2月1日上午，司机尹志鸿为社区提供交通出行服务。

谈到抗击疫情的感悟，赵旭玲说：“基层的社区干部，对居民是一个安慰，一颗定心丸。做好群众工作就是我的一切, 我已融入社区工作的方方面面。沟通到位，保障到位，可以在很大程度上避免恐慌。”
社区书记：我恨不得变成孙悟空
防控疫情，社区是关键。
新冠肺炎疫情发生以来，武汉的每一个社区工作者，都奋战在抗疫一线。
董守芝是江汉区唐家墩街西桥社区书记，这个社区距离华南海鲜市场不足两公里，居民有16000多人，防控难度可想

武汉疫情热力图，红色部分为发热患者聚集区。

2020年2月17日下午，武汉市江汉区唐家墩街西桥社区对人员进行排查。

而知。
从1月23日开始，她就夜以继日地投身工作，开通社区之音、开展拉网式大排查、对社区进行封闭式管理……董守芝裝京, 每天能接100多个电话，恨不得变成孙悟空，多分几个身出来, 为自己做事。
以下是董守芝的讲述：
我是西桥社区书记，从1993年开始，就从事社区工作。
目前，我所在的西桥社区有两大特点：人多、老旧小区多，管理难度非常大。社区常住人口有16000多，7351户居民，社区里有11个老旧小区，442栋平房区，有物业管理的小区只有 6个。
社区的工作人员有25名。疫情发生以来，我们一直在防控一线。面对小区的各种状况，我和同事们也会感觉压力很大。
后来，来了 59个区机关干部，他们下沉到一线，帮我们解决了很多难题，分摊了许多压力。小区封闭之后，他们也派人到路口值守。
1月23日封城之后，我就一直没有休息，投入到疫情防控一线工作当中。疫情发生以来，我们社区主要采取了三个措施——
第一，开通社区之音，滚动播报各类通告和提示。我们把省市发布的公告和疫情提示，在广播里循环播放；第二，开展拉网式大排查，通过网络上报和电话的方式，及时发现发热患者，准确上报；第三，进行封闭式管理，原来的37个路口，现在只剩17个开着，每个路口都有志愿者值守。刚开始，很多居民不理解，感觉出入不便，但我们还是尽最大努力向大家解释，让他们理解。

西桥社区党群服务中心
了解到社区内有500户特困人员，包括生病的患者、隔离人员、老人和一些困难户。我和同事们上门送药、送粮油、送菜、送关爱。每天，我和同事们平均要给一百多户居民送菜、送药，保障居民的日常生活物资。
前段时间，从社区旁边的酒店打来一通求助电话。
原来，这是住在酒店的一家三口，他们是红安县人，是年前到武汉儿童医院给孩子看病的。
1月23日封城，他们就回不去了，一直在酒店隔离，现在已经弹尽粮绝了，连给孩子买奶粉的钱都没有。
接到消息，我和同事们就在社区拿了一些防护用品，包括本就不够用的口罩，还有方便面等食物送到酒店，还帮他们申报了 3000元的救济金，心想起码孩子买奶粉的钱是有了。
疫情发生之后，我每天都得接100多个电话，手机24小时开机，就怕漏接一个电话。从年前开始，每天19个小时都在工作，真正休息的时间只有五六个小时。
现在恨不得自己变成孙悟空，一根汗毛就能变一个分身，这样就能有精力去做更多的事情了。
社区工作压力很大，最近几天，我接到同事打来的电话，她在电话那头哭得很厉害。我年纪比他们大点，遇到这种情况我会安慰他们，然后大家再一起继续投入战斗。
现在，我有个心愿，就是希望疫情赶紧过去。等疫情过去之后，我就找个有山的地方大睡三天三夜，好好休息一下。
拉网式大排查
“请大家按登记表全面排查。住址、姓名、联系电话要登记好。情况特殊的要备注清楚。” 2月17日下午，我们再次来到唐家墩街西桥社区时，董守芝和20多位社区工作人员正在开会布置任务。
当天，一场为期3天的拉网式大排查在武汉3300多个社区、村湾同步展开。
“有人在家吗？ ”在西桥社区三眼桥一村小区，网格员易君与社区派出所民警熊松，以及下沉到社区的3名特警对一处出租房进行排查。房东说，春节前几天，里面的租客一直咳嗽， “这几天没听到动静，担心他出事。”
开门的是位小伙子。易君先用无接触式体温仪测量了他的体温，确认没有发烧，随后又详细询问了他的健康状况。民警核验了租客的身份，叮嘱他待在屋内不要出门。临走时，易君登记了租客的电话，“遇到问题请跟我联系。”
西桥社区是“万人社区”，因距离最先发现疫情的华南海鲜市场不到两公里，疫情较重。
董守芝说，春节至今，社区深入宣传“发热不上报”的危害, 广泛发动居民通过电话或微信平台，主动上报发热情况。
“这次拉网式大排查，目标是确保不漏一户、不漏一人。重点排查与新冠肺炎相关的所有人员，还包括危重在家的基础病患者，比如尿毒症透析患者、恶性肿瘤、其他疾病重症患者，以及孕产妇。”董守芝说。
武汉市要求本次排查要做到五个“百分百”：确诊患者百分百应收尽收、疑似患者百分百核酸检测、发热患者百分百进行检测、密切接触者百分百隔离、小区村庄百分百实行24小时封闭管理。
“董主任，我在电视上看到你了，你现在怎么痩得这么狠哪？我年纪大了，不能给你帮忙，我一点力都出不了。我老伴说我，这么大岁数了，待在家里不给社区添乱，就是给董主任帮忙了。你要保重身体啊！”
一通来自90多岁的叶婆婆的电话，让董守芝倍感暖心。新

2020年2月17日，武汉市江汉区唐家墩街西桥社区民警正在展开排查。当天, 一场为期3天的拉网式大排查在武汉3300多个社区、村湾同步展开。

2020年2月17日下午，武汉市江汉区唐家墩街西桥社区网格员易君（中）社区人员和派出所民警熊松（左一）对出租房进行排查。

冠肺炎疫情发生以来，董守芝一直奋战在社区防控一线。从年前开始，董守芝和同事们就开始在社区清楼道、清屋顶、清死角，做大扫除，用消毒液在整个社区开展消杀。
社区是疫情防控的第一道防线。疫情蔓延后，西桥社区里，社区群干与街道相关部门、物业公司、志愿者、网格党支部成员、社区卫生服务中心等通力协作，各方力量拧成一股绳，确保服务不断档。
给董守芝底气和信心的，还有来自家人的关爱。董守芝的老伴身体不好，但总是力所能及地帮她做点事。只要她一到家，老伴总会叮咛她加强营养、注意休息，又给她冲热水袋，暖手暖脚。
“自己年龄大了，又患有高血压，儿子儿媳不想让我太操劳。他们很担心我，一再叮嘱我要照顾好自己。”董守芝说，每天看看3个月大的孙子的照片，是一种特别的慰藉。
没有一个冬天不可逾越，没有一个春天不会到来。
说起疫情结束后社区的优先事项，董守芝不假思索：“安排好值班，让同志们都休息一下，让他们养好元气再来投入工作。“
2月22日清晨6点，年过六旬的董守芝已出门，步子又快又急。
一个多月来，身为武汉市江汉区唐家墩街西桥社区书记的她，没睡过一个安稳觉。
疫情中，中老年人是高危人群，但董守芝像年轻人一样，楼道消杀、入户排查、上门送菜，样样抢着干。
“从1993年开始，我就在这个社区工作了，对每家每户、一草一木都很有感情，这个时候，绝不能退缩。”董守芝说。
西桥社区地处老城区，城中村密集。除11个老旧小区、3 个自助物业小区外，还有422栋平房，65岁以上居民占八成，不少居民不会上网“团购”。实行封闭式管理后，这些居民的生活所需全靠社区配送。
24名社区干部，加上50多名市、区下沉干部和党员志愿者，承担着16000多人的柴米油盐和日常管控，任务繁重。
2月21日，她联系到一批蔬菜送到小区。
运菜车刚停稳，她就带领大家，一口气将满满4卡车蔬菜运进社区，3小时没歇气。送菜司机钦佩地竖起大拇指：“西桥的女将，真厉害！”
“小周，你把这些药先拿去，给你妈妈用，社区里的药回
来后，再给你们送些去。” 2月22日下午2点，董守芝拿着倍他乐克、波立维、可定等降压药，打电话给无线电厂小区居民周汉胜。
董守芝说，周汉胜的母亲患有高血压，家中储备的降压药吃完了。防疫管控措施升级后，这类药只能由社区统一到定点医疗机构领取。
“上午，赶去取药的社区干部打电话回来说，前面还有80 多个社区在排队，不知道要等多久才能领到。”深知此类药物不能停，她便从自己每天服用的降压药里，匀了一些出来，给周汉胜家“救急”。
在董守芝看来，为群众办事，不仅要办成，更要办好，“这个时候，我们社区干部再难也要顶上去！”
新冠肺炎疫情发生以来，武汉社区干部一直奋战在防控一线，倾情服务站好岗，用“身心投入”的方式，书写着社区抗疫的“答卷”。
这是一场没有硝烟的战争，也是一个争分夺秒的“考场”，需要筑牢基层堡垒，守好社区这个“第一防线”。

20221231 LangCult 9

2022-12-28T12:42:41Z

Zhang Sishi: /* Answers */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

===Terms and Expressions===

===Questions===

===Answers===
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==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:41:59Z

Zhang Sishi: /* Questions */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

===Terms and Expressions===

===Questions===

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:41:26Z

Zhang Sishi: /* Terms and Expressions */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

===Terms and Expressions===

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:40:48Z

Zhang Sishi: /* References */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:38:40Z

Zhang Sishi: /* Conclusion */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:37:12Z

Zhang Sishi: /* Introduction */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:34:59Z

Zhang Sishi: /* Introduction */

Quicklinks: [[Chinese Language and Culture Fall 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] Back to Tipps and Overview of the final exam papers: [[20221231_LangCult#This_is_the_final_exam_paper_website_overview|20221231_LangCult]]

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years.
The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.
First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.
The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.
Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.
From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.
The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.
Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.
At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:32:17Z

Zhang Sishi: /* The Imagery in Chinese Classical Poetry */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese chime==
<center>张思诗 Zhang Sishi, 202270081678</center>
===Abstract===
An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.
===Key Words===
chime; bronze; pitch
===题目===
中国编钟
===摘要===
中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。
===关键词===
编钟；青铜；音调
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:19:20Z

Zhang Sishi: /* Chinese Zodiac */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:17:09Z

Zhang Sishi: /* = = Conclusion = = */

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese Zodiac==
<center>张思诗Zhang Sishi, 202270081678</center>
Abstract[edit]
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
Key Words[edit]
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
题目[edit]
中国古典诗歌意象简析
摘要[edit]
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
关键词[edit]
中国古典诗歌；意象理论的三次提升；意象的三种分类
Introduction[edit]
I. Origin and Development of Imagery in Chinese Classical Poems
Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.
The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.
II. Interpretation of Typical Imageries
1. Botanical Imagery
1) Willow Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.
2) Wutong trees Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.
3) Chrysanthemum Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems. By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.
2. Animal Imagery
1) Cuckoo
Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.
2) Crane For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.
3) Swallow Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.
3. Inanimate Imagery
1) Moon The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.
2) River In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.
3) East wind and west wind Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.
Conclusion[edit]
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
References[edit]
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.
▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.
▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.
▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University Press.
▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.
▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.
Terms and Expressions[edit]
Commentaries on the Book of Changes 《易传》
Elucidation of the Images《明象》
Carving a Dragon with a Literary Mind 《文心雕龙》
Words don’t exhaust meaning. 言不尽意。
A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。
Botanical imagery 植物意象
Animal imagery 动物意象
Inanimate imagery 无生命意象
sentiment attached to parting 离愁别绪
Chinese parasol （诗歌中）梧桐
grief and homesickness 羁旅怀乡之情
life-worrying consciousness 忧生意识
Questions[edit]
1.What marks the second theoretical promotion of imagery?
A. the first combination of “Yi” and “Xiang” by Wang Chong
B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).
C. Zhuangzi’s “words don’t exhaust meaning”
D. Liu Xie’s statement about the aesthetic connotation of the imagery
2. What does the imagery of a full moon usually symbolize?
A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism
3.What’s the cultural icon of Taoism that is connected with immorality?
A. horse B. tiger C. crane D. goose
4. Which of the following imageries has nothing to do with departure?
A. willow B. river C. cuckoo D. east wind
Answers[edit]
1.b 2.b 3.c 4.d

.

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False

20221231 LangCult 9

2022-12-28T12:16:19Z

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==202270081677 张祺葳 Zhang Qiwei 英语笔译(English translation)==
==Modern Applications of Traditional Chinese Color==
<center>名字中英，学号</center>
===Abstract===
Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

==202270081678 张思诗 Zhang Sishi 英语笔译(English translation)==
==Chinese Zodiac==
<center>张思诗Zhang Sishi, 202270081678</center>
Abstract[edit]
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
Key Words[edit]
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
题目[edit]
中国古典诗歌意象简析
摘要[edit]
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
关键词[edit]
中国古典诗歌；意象理论的三次提升；意象的三种分类
Introduction[edit]
I. Origin and Development of Imagery in Chinese Classical Poems
Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.
The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.
II. Interpretation of Typical Imageries
1. Botanical Imagery
1) Willow Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.
2) Wutong trees Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.
3) Chrysanthemum Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems. By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.
2. Animal Imagery
1) Cuckoo
Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.
2) Crane For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.
3) Swallow Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.
3. Inanimate Imagery
1) Moon The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.
2) River In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.
3) East wind and west wind Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.
Conclusion[edit]
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
References[edit]
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.
▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.
▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.
▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University Press.
▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.
▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.
Terms and Expressions[edit]
Commentaries on the Book of Changes 《易传》
Elucidation of the Images《明象》
Carving a Dragon with a Literary Mind 《文心雕龙》
Words don’t exhaust meaning. 言不尽意。
A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。
Botanical imagery 植物意象
Animal imagery 动物意象
Inanimate imagery 无生命意象
sentiment attached to parting 离愁别绪
Chinese parasol （诗歌中）梧桐
grief and homesickness 羁旅怀乡之情
life-worrying consciousness 忧生意识
Questions[edit]
1.What marks the second theoretical promotion of imagery?
A. the first combination of “Yi” and “Xiang” by Wang Chong
B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).
C. Zhuangzi’s “words don’t exhaust meaning”
D. Liu Xie’s statement about the aesthetic connotation of the imagery
2. What does the imagery of a full moon usually symbolize?
A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism
3.What’s the cultural icon of Taoism that is connected with immorality?
A. horse B. tiger C. crane D. goose
4. Which of the following imageries has nothing to do with departure?
A. willow B. river C. cuckoo D. east wind
Answers[edit]
1.b 2.b 3.c 4.d

.

= = = Conclusion = = =
Bla, bla, bla
===References===
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. Medicine and Ethics in Times of Corona Muenster: LIT

==202270081679 张婷 Zhang Ting 英语笔译(English translation)==
==Live streaming culture in contemporary China==
<center>张婷Zhang Ting, 202270081679</center>
===Abstract===
With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

==202270081680 张文琦 Zhang Wenqi 英语笔译(English translation)==
==The Imagery in Chinese Classical Poetry==
<center>张文琦 Zhang Wenqi, 202270081680</center>
===Abstract===
The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.
===Key Words===
Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery
===题目===
中国古典诗歌意象简析
===摘要===
意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。
===关键词===
中国古典诗歌；意象理论的三次提升；意象的三种分类
===Introduction===
I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow
Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees
Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum
Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems.
By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane
For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow
Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon
The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River
In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind
Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

===Conclusion===
There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.
===References===
▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University
Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

===Terms and Expressions===
Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

===Questions===
1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

===Answers===
1.b
2.b
3.c
4.d

==202270081701 章颖雯 Zhang Yingwen 英语口译(English interpretation)==
==Traditional Chinese Culture: Tiger-faced shoes==
<center>章颖雯Zhang Yingwen, 202270081701</center>
=== Abstract===
Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.
===Key words===
Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage
===题目===
中国传统文化：虎头鞋
===摘要===
在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。
===关键词===
虎头鞋；中国传统文化；非遗
===Introduction===
The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread.
At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.
===Origin===
The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.
In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid.
While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.
===Design===
In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth.
As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)
===Implied meaning and value===
In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.
When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on.
Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.
Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely.
Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.
===Conclusion===
As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.
===References===
Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144.
Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

===Trems and Expressions===
dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

===Questions===
1.What color of cloth does the Han people often use to make tiger-head shoes?

2.What does tiger-faced shoes like in Henan province?

3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

===Answers===
1.Yellow cloth
2.Tiger head shoes in Henan have rough shape and strong local flavor
3.True
4.the sovereign power of the ruling class

==202270081681 张玉燕 Zhang Yuyan 英语笔译(English translation)==
==Chinese Horseface Skirt==
<center>Zhang Yuyan张玉燕,202270081681</center>
===Abstract===
Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.
===Key Words===
horseface skirt; history; structure; patterns; colors

===中国马面裙===
===摘要===
马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。
===关键词===
马面裙、历史发展、结构特征、图案纹样、色彩搭配

===Introduction===
When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in ''Ming Palace'' (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

===Conclusion===
The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.
That’s all! Thank you for your careful reading!

===References===
▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

===Terms and Expressions===
English Chinese
1. horseface skirt/ mamianqun 马面裙
2. ''Ming Palace'' 《明宫史》
3. shape and structure 形制
4. yuehua skirt 月华裙
5. fengwei skirt 凤尾裙
6. skirt door 裙门
7. skirt flank 裙胁
8. waistband 裙头
9. skirt couplet 裙联
10. beltloops 袢带
11. separate embroidery patterns 独立的刺绣图案
12. large embroidery patterns 大面积刺绣图案

===Questions===
1.The word “Ma Mian” first appeared in______.
A.Bible
B.Ming Palace
C.Journey to the West
D.The Seventh Day

2.Spin skirt is designed for_____.
A.women’s donkey riding
B.men’s donkey riding
C.children’s donkey riding
D.women's horse riding

3.____represents wealth and nobility.
A.The undefiled lotus
B.The golden chrysanthemum
C.Lily
D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design.
A.Parada
B.Dior
C.Chanel
D.Gucci

===Answers===
Correct answers are:
1.B
2.A
3.D
4.B

==202270081682 周晓兰 Zhou Xiaolan 英语笔译(English translation)==
==The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games==
<center>周晓兰 Zhou Xiaolan,202270081682.</center>
===Abstract===
‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.
===Key Words===
China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games
===题目===
“国潮”之崛起：以2022北京冬奥会为例
===摘要===
“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。
===关键词===
国潮，中国传统文化，北京冬奥会
===Introduction===
China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.
===The 24 Solar Terms in the Opening Ceremony===
The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.
===Mascot===
Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.
===Sports Clothing===
During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present rich culture and traditional elements of China through the intuitive of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).
===Conclusion===
Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.
===References===
Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.
===Terms and Expressions===
China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆
===Questions===
1.What else could China Chic be called?
A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)
A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?
A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)
A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?
A.Eileen Gu. B. Ma Long. C. Zhang Jike.
===Answers===
Correct answers are:
1.C
2.ABC
3.B
4.ABC
5.A

==202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)==
==A Brief History of Petting in China==
<center>周子豪Zhou Zihao, 202270081702</center>
==Abstract==
Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

==202270081713 庄昊康 Zhuang Haokang 朝鲜语笔译(Korean translation)==
==Opera:Lv opera(of Shandong Province)==
<center>庄昊康Zhuang Haokang, 202270081713</center>
===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

CORRECTIONS ARE MARKED IN BRACKETS.

===Abstract===
Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

===Key Words===
Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

===Introduction===
Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

===Conclusion===
The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

===References===
He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

===Terms and Expressions===
1. shuoshu 说书
2. Qilu people 齐鲁人民
3. Huimin County 《惠民县志》
4. Huji village 胡集村
5. Book Fair 书会
6. qinshu 琴书
7. Guangrao 广饶
8. Boxing 博兴
9. board cadence 板腔
10. Siping cavity 四平腔
11. two boards 两板腔
12. lying fish 卧鱼

===Questions===
1.Lv Opera originated in______.
A.Yangtze River Delta
B.Yellow River Delta
C.Pearl River Delta
D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______.
A.lyrical and lingering
B.high and aggressive
C.soft and distant
D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera?
A.traditional plays
B.modern plays
C.new historical plays
D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province?
A.the east
B.the north
C.the west
D.the south

===Answers===
Correct answers are:
1.B
2.A
3.D
4.C

==202111080018 Wellsand, Benjamin Chinese Culture and A Child’s Education 英语笔译(English translation)==

==Chinese Culture and A Child’s Education==

<center> Wellsand, Benjamin, 202111080018 </center>

===Abstract===

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

===Key Words===

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

===Introduction===

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

===Conclusion===

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

===References===

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[https://www.aljazeera.com/economy/2022/11/1/chinas-property-slump-continues-in-october-as-prices-fall]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [https://www.bloomberg.com/news/articles/2022-10-09/china-survey-shows-45-2-of-households-find-the-job-market-tough?leadSource=uverify%20wall].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [https://time.com/5523805/china-aging-population-working-age/].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [https://www.scmp.com/news/china/society/article/2176377/chinese-parents-spend-us43500-year-after-school-classes-their].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [https://www.npr.org/2021/09/06/1024804523/forget-tiger-moms-now-chinas-chicken-blood-parents-are-pushing-kids-to-succeed].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [https://www.wtwco.com/en-US/Insights/2021/12/china-beijing-and-shanghai-extend-maternity-leave-by-30-days-parental-leave-entitlement-introduced].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [https://global.chinadaily.com.cn/a/202206/15/WS62a91b55a310fd2b29e62bc3.html].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [https://www.china-briefing.com/news/china-bans-for-profit-tutoring-in-core-education-releases-guidelines-online-businesses/].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [https://www.globaltimes.cn/content/1159016.shtml].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [https://www.scmp.com/news/china/politics/article/3189118/china-tries-lift-birth-rate-new-measures-make-it-easier-work].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [https://www.reuters.com/world/china/china-discourage-abortions-boost-low-birth-rate-2022-08-16/].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。为什么近 20% 的年轻求职者找不到工作]. Grid. [https://www.grid.news/story/global/2022/07/18/china-has-an-unemployment-problem-why-nearly-20-percent-of-young-job-seekers-cant-land-a-job/].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [https://www.statista.com/statistics/251102/sex-ratio-in-china/].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？辍学率不够]. Sixth Tone. [https://www.sixthtone.com/news/1003440/the-problem-with-chinese-universities%3F-not-enough-dropouts].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [https://www.scmp.com/news/people-culture/social-welfare/article/3139863/china-creates-thousands-free-childcare-centres].

===Terms and Expressions===

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

===Questions===

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

===Answers===

1. A

2. C

3. C

4. C

5. C

6. False