https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=Zhang+Yuxuan 2026-04-04T20:06:12Z User contributions MediaWiki 1.35.14 https://bou.de/u/index.php?title=China_in_ten_words&diff=158873 2024-02-09T18:02:21Z

<p>Zhang Yuxuan: /* ZYX */</p> <hr /> <div>The first chapter of &quot;China in ten words&quot;<br /> <br /> <br /> =WXT=<br /> <br /> 人民<br /> <br /> 我在写下这个词汇的时候，总觉得自己写错了，或者说写得不像是「人民」。我闭上眼睛休息一会儿，睁开眼睛后觉得它有点像了；我再次闭上眼睛，当我再次睁开眼睛时，终于确定自己没有写错。这个词汇就是这样，让我有时候陌生，有时候熟悉。我不知道在今天的汉语里，还有哪个词汇像「人民」这样处境奇怪，它无处不在，同时又被人视而不见。今天的中国，好像只有官员们还在张口闭口说着「人民」，人民却很少提及这个词汇，或者说正在遗忘它。多亏了官员们的唾沫，这个词汇才显示了自己仍然存在。<br /> <br /> The people<br /> <br /> Whenever I write this word, I feel like I am writing it wrong or that it does not quite capture the essence of “the people”. I close my eyes for a moment to rest, and when I open them again, I think that it does kind of capture the essence. I close my eyes once more, and when I open them, I can finally be sure that I wrote it correctly. This word is just like that; sometimes it is unfamiliar, sometimes — familiar. I do not know if there are any other words in contemporary Chinese that are in such a strange situation, just like “the people”; a word that is everywhere, yet at the same time is ignored. In today's China, it seems that only the officials keep talking about “the people”, whereas the people themselves rarely mention this word or are forgetting it. It is thanks to the officials, that this word still exists.<br /> <br /> =WMF=<br /> <br /> 在过去，这个词汇曾经是那么的显赫。我们的国 家叫「中华人民共和国」；毛主席说「为人民服务」； 当时最重要的报纸叫《人民日报》；我们这些单个的 人民天天说：「一九四九年以后，人民当家作主了。」 在我童年的岁月里，「人民」是和「毛主席」一 样了不起的词汇，我刚刚认字的时候，最先学会的就 是这两个词汇，然后才学会写下自己的名字和父母的 名字。年幼的我曾经认为：「人民就是毛主席，毛主 席就是人民。」<br /> <br /> There is a reflection on the significance of the term &quot;people&quot; in the past, particularly during the time of Chairman Mao's leadership in China. It highlights the prevalence of the term in various aspects of society, such as the country's name, slogans, and daily conversations. The narrator reminisces about how &quot;people&quot; was one of the first words they learned as a child, emphasizing its importance alongside Chairman Mao. The passage suggests a strong association between the concept of &quot;the people&quot; and Chairman Mao during that period.<br /> <br /> =AHY=<br /> <br /> 当时正在经历文化大革命，我得意洋洋地到处宣 布自己的发明，我看到很多疑惑的表情，他们似乎觉 得我的发明有待商榷，可是没有一个人明确表示反对。 那时候人人谨小慎微，只要说错一句话，就有可能成 为反革命分子，从而家破人亡。我的父母听到我的发 明时也是这样的表情，他们小心翼翼地看着我，拐弯 抹角地表示：这句话好像没有说错，可是最好不要再 说了。 这是我童年里最重要的发明，我舍不得不去说， 我继续将它挂在嘴边。有一天我突然为自己的发明找 到了证据，那时候流行这样一句话：「毛主席在我们 心中。」我发挥了这句话，我说：「每个人民心中都 有毛主席，毛主席心中有什么？有我们全部的人民。」 所以「人民就是毛主席，毛主席就是人民」。<br /> <br /> The fragment highlights the severe consequences of uttering even a single inappropriate word, which could label someone as a counter-revolutionary, potentially leading to the destruction of their entire family. When the boy enthusiastically shared his slogan regarding Chairman Mao with his parents, they reassured him that there was nothing inherently wrong with it, yet cautioned him against repeating it.<br /> <br /> =YSY=<br /> <br /> 我看到疑惑的表情在我们的小镇上逐渐消失，有 人开始点头表示同意，有人开始也这么说了。先是我 的小伙伴们这么说，接着大人们也这么说。 当很多人都在说：人民就是毛主席，毛主席就是 人民。我的危机感出来了，革命的年代里是没有专利 的，我发现自己作为发明者的身分正在迅速失去。我 到处申明：「这句话是我第一个说出来的。」 可是没有人对此有兴趣，最后连我身旁的小伙伴 们也不承认这句话是我的发明，面对我的据理力争， 或者可怜巴巴的哀求，他们个个摇着头说：「大家都 这么说。」<br /> <br /> Gradually, people started using the narrator's saying regarding Mao. He discovered that others don't know or don't care that he was the first person to say it, even though he tried to explain it to them. They just replied that everybody uses that saying.<br /> <br /> =LML=<br /> <br /> 我开始伤心，甚至后悔莫及，后悔将这个发明公 诸于世，我觉得应该将这个“发明永远藏在自己心里， 不让任何人知道，独自享用一辈子。则这些年来，西 方惊讶中国的巨大变化。历史在中国就像川剧中的变 脸，短短三十年，一个政治至上的中国，摇身一变成 为了一个金钱至尊的中国。 当历史转折的时候，总会出现某个标志性的事件， 一九八九年的天安门事件就是如此。北京的大学生走 出校门，汇集到了天安门广场，要求民主自由，同时 反对官倒。由于政府拒绝与学生对话的强硬立场，学 生开始绝食，市民们走上街头声援绝食学生。<br /> <br /> <br /> =ZYX=<br /> <br /> 当时市 民对「民主自由」其实兴趣不大，吸引他们大规模加 入到这个运动中的是「反对官倒」的口号。那时候邓 小平倡导的改革开放进入了第十一个年头，虽然改革 带来了物价上涨，可是经济稳定增长，生活水平日益 提高，农民是改革开放的受益者；九 0 年代工厂的大 规模破产倒闭还没有来临，很多人还没有成为受害者。 当时的社会矛盾并不突出，不像今天的社会到处燃烧 着怒火，当时的社会仅仅是洋溢着怨气，对一些高官 的子女们利用国家的资源发财致富不满，这样的不满 情绪在反对官倒的口号里聚集了起来。现在看来，当 时少数人「官倒」的腐败和今天大规模的五花八门的 腐败比较起来实在不算什么。<br /> <br /> At that time, Beijing residents were more concerned about &quot;dishonest manipulation of officials&quot; rather than &quot;democratic freedoms&quot;. It was the eleventh year of reform and openness proclaimed by Deng Xiaoping. Prices were rising, but at the same time the economy was strengthening and living standards also were rising. Peasants benefited from the reforms, and mass bankruptcy of enterprises did not happen until the 1990s. The current blatant social contradictions were only just emerging. People were outraged by the behavior of some children of officials who were getting rich by using state resources. Compared to today's corruption, the &quot;speculation of party workers&quot; does not look so serious.<br /> <br /> =KMJ=<br /> <br /> 从一九九 0 年代以来，中国腐败增长的速度和经 济的增长一样惊人。 这场席卷中国的如火如荼的群众运动，在六月四 日凌晨的枪声里很快安静下来了。同年的十月，我再 次去北京大学的时候，已经是截然不同的一番景象了， 天黑之后未名湖畔出现了一对一对恋爱的身影，学生 宿舍里传出来搓麻将的声音和背诵英文单词的声音。 仅仅过去了一个夏天，一切都改变了，仿佛春天的时 候什么都没有发生。如此巨大的反差似乎说明了这样 一个事实：天安门事件标志着中国人政治热情的一次 集中爆发，或者说标志着从文革以来积累起来的政治 热情终于一次性地释放干净了。接下来挣钱的热情替 代了政治的热情，当万众一心挣钱的时候，一九九 0 年代的经济繁荣自然来到了。<br /> <br /> <br /> =AX=<br /> <br /> 然后，崭新的词汇铺天盖地而来了。比如经常上 网的网民、炒股的股民、购买基金的基民、追星的粉 丝、下岗工人、农民工等等，正在支解瓜分「人民」 这个业已褪色的词汇。在文革时期，「人民」的定义 十分简单，就是「工农兵学商」，这里的「商」不是 指商人，是指从事商业工作的人群，比如商店的售货 员。我想，一九八九年的天安门事件，就是让「人民」 内容脱胎换骨的分水岭，或者说让「人民」进行了资 产重组，原有的内容被剥离，新的内容被置换了进去。 从文革开始到今天的四十多年，「人民」这个词 汇在中国的现实里好像是空的。用现在中国流行的经 济术语来说，「人民」只是一个壳资源，不同的时代 以不同的内容用它借壳上市。<br /> <br /> <br /> =PMJ=<br /> <br /> 一九八九年春天的北京，是一个无政府主义者的 天堂。警察突然消失了，大学生和市民自发地承担起 了警察的责任，我想，这样的北京也许再也不会出现。 共同的目标和共同的愿望，让一个没有警察的城市秩 序井然。只要走上街头，你就会感到亲切友好的气息 扑面而来，不用买票就可以乘坐地铁和公交车，所有 的人都在互相微笑，人和人之间没有了陌生感。我们 常见的街头争吵没有了；平日里斤斤计较的小商贩们， 免费向游行的人群供应食物和水；退休的老人从他们 微薄的银行存款里取出现金，捐给广场上绝食的学生； 还有小偷们，他们以偷盗协会的名义发出公告：为了 声援绝食学生，停止一切偷盗行为……当时的北京，可 以说是一座「四海之内皆兄弟」的城市。<br /> <br /> <br /> =AKR=<br /> <br /> 生活在中国的城市里，会有一个强烈的感受：就 是人多。可是经历了天安门广场的百万群众大游行之 后，你才会真正感受到：中国是世界上人口最多的国 家。天安门广场每天都是人山人海的壮观景象。一些 从外地赶来的大学生，站在广场的一隅，或者站在街 头日复一日地演讲，嗓子哑了，甚至说不出声音了， 仍然顽强地说着。围观的人是男女老少，不论是饱经 风霜的老者，还是怀抱婴儿的母亲，面对年轻学生稚 气的脸，甚至是稚气的话，都是满脸尊重的表情，频 频点头和热情鼓掌。 也有让我感到滑稽的时候。有一天下午，我来到 建国门中国社会科学院的一间昏暗的大屋子里，参加 首都知识界联合会的一个聚会，在等待赵紫阳的智囊 团成员之一的严家其时，我看到几个人在指责一家报 纸的副总编辑，这家报纸刚刚发表了一份首都知识界 联合会的声明，这几个人的不满是因为他们在声明中 的署名位置太靠后了，在他们前面的署名里有几个人 没有他们的名气大。<br /> <br /> <br /> =JL=<br /> <br /> 他们责问，为什么把没有什么名 气的人放在他们前面？那位倒霉的副总编辑一再解释 不是他们的责任，甚至道歉的话也说了，可是这几个 人还是不依不挠。直到严家其的出现，这出闹剧才算 结束。 这是我第一次见到严家其，以后没再见到过他。 我清晰地记得那天下午的情景，这位当时能够经常见 到赵紫阳的著名学者，心事重重地走进了这间昏暗的 大屋子，人们安静下来，严家其带来了一个坏消息， 他声音低沉地说：「紫阳住院了。」 在当时的政治环境里，政治人物只要是以身体有 病的理由住到医院，就意味着失去了权力，或者意味 着躲避了起来。严家其带来了赵紫阳住院的消息，那 间大屋子里的知识分子们立刻明白发生了什么，有人 开始悄悄地溜走，然后这些知识分子就像是落叶在秋 风中散落那样离去了。<br /> <br /> <br /> =AD=<br /> <br /> 天安门事件之后，赵紫阳销声匿迹，直到二 00 五年逝世，新华社才为这位重要的政治人物发布一条 简短的新闻：「赵紫阳同志长期患呼吸系统和心血管 系统的多种疾病，多次住院治疗，近日病情恶化，经 抢救无效，于一月十七日在北京逝世，终年八十五岁。」 在中国，就是一位退休的部长去世，官方的报导 也比这条新闻丰富得多。这条新闻里没有介绍这位党 和国家前领导人的生平，也没有提及遗体告别的日期。 可是生活在北京南站的一个上访者的群体，却知道赵 紫阳遗体告别的日期。我不知道这个中国社会里最为 弱势的「人民」是透过什么渠道获得的，他们自发地 组织起来，去向赵紫阳的遗体告别，警察理所当然地 将他们拒之门外，因为他们没有遗体告别的准入证， 他们就在外面拉开横幅，缅怀和悼念赵紫阳。<br /> <br /> <br /> =SSM=<br /> <br /> 这些生活在社会底层的上访者，是中国社会腐败 的牺牲品。他们遭受了各种冤屈和欺压，他们曾经满 怀希望诉诸法律，希望中国的法官们能够还给他们公 正，可是中国司法的腐败让这些人对法律完全绝望了。 他们来到北京上访，期望更高级别的官员可以为他们 伸张正义。这些人被称为是中国的「司法难民」。 中国有一个建立在法律之外的信访制度，让蒙受 不同冤屈的人有一个残存的希望，让腐败和司法不公 的受害者幻想还有清官的存在。这是中国历史上源远 流长的人治传统的影响，人们对清官的期盼超过对法 律的信任。这些上访者倾家荡产地东奔西走，梦想着 有一天会出现某个清官为自己伸张正义。二 00 四年的 时候，中国官方公布的上访案件已经高达一千万起。 这些上访者的艰难生活是常人难以想象的，他们忍饥 挨饿露宿街头，像乞丐一样被警察到处驱赶，还被少 数生活优越的知识分子称之为精神病人。<br /> Petitioners living at the bottom of Chinese society are in a tragic situation. They become victims of societal corruption. At first they were looking for a legal runaway and hoped for justice from Chinese judges, but the corruption within the people in court left them hopeless. Turning to petitioning in Beijing, they seek intervention from higher-ranking officials in the hope of obtaining justice, earning them the label of &quot;judicial refugees.&quot; These petitioners, facing poverty, search of a day when an official will protect their cause. As of 2004, official statistics revealed over ten million petitioning cases in China, illustrating that the poor endure hunger, homelessness, and bad treatment form the police ,while being stigmatized by intellectuals as mentally ill.<br /> <br /> =YL=<br /> <br /> 就是这样的一个弱势的「人民」，二 00 五年一月 的时候来向赵紫阳的遗体告别了。他们认为赵紫阳是 「中国最冤的人」，比他们还冤。他们虽然饱受冤屈， 可是还有上访的机会，他们说冤枉的赵紫阳都「无处 上访」。 五月底我回到浙江，处理完家事，六月三日下午 坐上火车返回北京。我躺在硬卧车厢的上铺，听着车 轮在铁轨上发出的隆隆响声，车厢里亮起了灯光，我 知道黑夜来临了。那时候我觉得这场漫长的学生运动 就像马拉松，我不知道什么时候才会结束。可是清晨 我醒来的时候，火车接近了北京，我听到车厢里的广 播响起，播音员激昂的声音让我明白部队已经进入天 安门广场了。<br /> <br /> It was exactly these vulnerable &quot;people&quot;who in January 2005 bid farewell to Zhao Ziyang. They thought he was &quot;the most wronged person in China&quot;, even more than them. Even though they were wronged, there had always been always a chance to petition, while Zhao Ziyang had &quot;nowhere to go with his petition&quot;. I came back to my hometown Zhejiang in late May and after dealing with some family affairs, on June 3rd I got on a train to return to Beijing. I laid on a bunk in a &quot;hard sleeper car&quot;, listening to the rumbling of the wheels on the tracks, I only noticed that it was already night when the lights in the car turned on. Right then I thought that this student movement is similar to a marathon, it will last a long while and noone knows when it will end. But when I woke up in the morning, the train was was approaching Beijing, the speakers were turned on, and the voice of the speaker made me realize that the army has entered Tiananmen Square.<br /> <br /> =WYX=<br /> <br /> 六月四日的枪声之后，无论是北京的还是外地来 的大学生开始撤离。我清晰地记得那天早晨走出北京 站时人山人海的情景，当人们大规模撤离北京时，我 却不合时宜地返回了北京。我背着旅行袋茫然地走出 火车站前的广场，与蜂拥而来的人群不断相撞，我意 识到自己也会马上离开这里。 我是六月七日离开的，当时因为上海的一列火车 被烧毁，京沪铁路的交通暂时中断，我计划坐火车绕 道去武汉，再从武汉坐船回到浙江老家。我们几个人 坐在一辆雇来的平板车上，沿着长安街前往北京站。 几天前还是沸腾的北京，几天后已是满目冷清的景象， 街上几乎没有行人，一些烧毁的汽车还在冒着残存的 黑烟，经过建国门立交桥时，一辆坦克驻扎在桥上， 炮筒威风凛凛地对着弱不禁风的我们。到了北京站， 在拥挤的售票窗口互相推搡，费尽力气终于买到了站 票，那时已经没有座位票了，进站时受到执勤军人的 严格检查，确定我的脸不像通缉令上所有的人像后， 才放我进去。<br /> <br /> <br /> =TXL=<br /> <br /> 我从来没有坐过如此拥挤的火车，车厢里全是逃 离北京的大学生，人和人挤在一起几乎都没有了缝隙。 麻烦的是，火车驶出北京一个小时后，我必须去一趟 厕所，我使劲往车厢厕所的方向挤过去，挤到一半的 路途时，我知道挤过去也没有用了，我听到有人吼叫 着使劲拍打厕所的门，可是厕所里也挤满了人，里面 人的喊叫着说门无法打开。我只好将尿憋了三个小时， 到了石家庄我立刻下车，出站后先去了一趟厕所，然 后找到一个公用电话，给当时石家庄的一家文学杂志 的主编打了一个请求援助的电话，这位主编在电话里 听完我的讲述之后说：「现在这么乱，你哪里都别去 了，住下来给我们写小说吧。」我在石家庄住了一个 多月，心猿意马地写着小说。最初的时候，电视上每 天都在播出抓到了通缉令上的大学生，而且是以滚动 的形式反复播出。这样密集的滚动播出，以后只有在 奥运会期间中国运动员拿到金牌时才会出现在电视 上。我身处他乡，在陌生的旅馆房间里，看着电视上 被捕大学生茫然的表情，听着播音员激昂的声音，我 感受到了什么是恐怖。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Crit_lit_20230131&diff=158818 2024-02-07T00:05:04Z

<p>Zhang Yuxuan: /* List of final exam papers (please also add your English name) */</p> <hr /> <div>Back to course homepage: [[Critical_Review_of_Chinese_Literature#Final_Exam_Paper]]<br /> <br /> =List of final exam papers (please also add your English name)=<br /> * WXT： 将曹雪芹《红楼梦》中的人名翻译成英文时使用的策略 （Translation strategies used in translating personal names in Cao Xueqin's “The Dream of the Red Chamber” into English）OK<br /> * JL： 语言如何塑造我们的世界观:《马桥词典》书的分析（How language shapes our worldview - analysis of the book 《Dictionary of Maqiao》）OK<br /> * YL： 墨香铜臭网络小说《魔道祖师》的取名策略及其对人物解读的影响。(The strategy of creating names in web novel &quot;The Grandmaster of Demonic Cultivation&quot; by Mo Xiang Tong Xiu and how it affects our interpretation of the characters) OK<br /> * KMJ: 廖亦武的《吆屍人》内下层社会的形象如何。The image of the underclass portrayed in Liao Yiwu's book &quot;The corpse walker&quot;. OK<br /> * AHY: 萧红小说《呼兰河传》中的中国乡村神灵与信仰。（Chinese gods and beliefs in the countryside in Xiao Hong's novel &quot;Tales of Hulan River&quot;) OK<br /> * LML: 孙悟空 - 人物研究 (Sun Wukong - Character Analysis) OK<br /> * SSM: 意识流技巧在王蒙的著作 OK<br /> * PMJ: 中国女作家：冰心《两个家庭》(Women writers in Chinese literature: Bing Xin “Two Families”) OK<br /> * 安凱容: Challenges in rendering Chinese literary works into English: Example of San Guo Yan Yi<br /> * 爱答: The portrayal of xenocide concept in two different approaches: The Three-Body Problem by Liu Cixin and Ender's Game by Orson S. Card (philosophical comparison) OK<br /> * 杨思艺: Techniques used in translation of wuxia novels based on Jin Yong's The Legend of the Condor Heroes. OK<br /> * ZYX: 张炜小说《古船》中的人物及其意识形态分析 (Analysis of the characters and their ideologies in Zhang Wei's novel &quot;The Ancient Ship&quot;) OK<br /> * WMF: 莫言《酒国》与米哈伊尔·布尔加科夫《大师与玛格丽特》的比较 (Comparison of Mo Yan's &quot;Republic of wine&quot; and Mikhail Bulgakov's &quot;Master and Margarita&quot;) OK<br /> * AX: 曹禺 《雷雨》: 社会分析与儒家价值体系的崩溃 (Analysis of society and the collapse of Confucian values system in Cao Yu's &quot;Thunderstorm&quot;)<br /> <br /> =Tips=<br /> #Since you are Master students, I think you should try to write your thoughts on books already analyzed using academic paper format, as if you want to submit your paper to an academic journal. This would also be a good training. You can e.g. compare two works of literature we worked with in class and compare them, or you can pick a theory or research approach you find fitting and analyse just one of the works. You can also look at translation strategies and compare different translations of the same work.<br /> # You can choose any work of Chinese literature (or if you want to do a comparison: two works of literature, of which at least one needs to be a work of Chinese literature). <br /> # You may apply a theory, e.g. a translation theory and then compare different translations, what theory or strategy the translator has applied and how far the translations correspond to this theory/strategy and maybe which translation is better and how far this has to do with the strategy applied. You can also apply totally different theories, e.g. from psychology etc.<br /> # You need to write in English and give a Chinese translation. <br /> # Length: 1,000 characters in Chinese, the corresponding length in English. <br /> # Due date: Jan 31, 2024. However, I recommend to finish the paper earlier, e.g. until Jan 10, 2024. <br /> # Final corrections: Please correct your fellow student's paper - the one beneath your own paper - until Jan 15, 2024, so that the original student still has time to work your recommendations into the paper.<br /> # Do not copy and paste from existing literature. Do not use ChatGPT or other AI because I need to grade you and if you use it, I do not know exactly, which part of the paper is written by you and which part by AI. <br /> # For all quotations, please indicate exact page numbers (except from internet online publications).<br /> =First student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第一个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> =Second student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第二个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> ==...==</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Chinese_Culture&diff=158803 2024-02-05T01:26:27Z

<p>Zhang Yuxuan: /* 第十周 Session 10 Jan 25 13:15-14:45 Part 1 - 基督教和佛教之间的差别 The Differences between Christianity and Buddhism */</p> <hr /> <div>'''Kultura chińska'''<br /> <br /> THU 11:30-13:00 sal. 401 Chinese Culture Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan. Shortlink: http://bit.ly/Culture_2023_10 (long link: https://bou.de/u/index.php?title=Chinese_Culture)<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[20240131_cult_finals|final paper]] page.&lt;/span&gt;<br /> <br /> =Session 1=<br /> ==Organizational Things==<br /> ===课程安排 Schedule===<br /> *1 Oct 5, 2023 11:30-13:00 401<br /> *2 Oct 12 11:30-13:00<br /> *3 Oct 26 11:30-13:00<br /> *4 Nov 30 11:30-13:00<br /> *5 Dec 7 11:30-13:00 <br /> *6 Dec 14 11:30-13:00 <br /> *7 Dec 21 11:30-13:00 <br /> *8 Jan 11 11:30-13:00 <br /> *9 Jan 25 11:30-13:00<br /> *10 Jan 25 13:15-14:45<br /> *11 Jan 26? <br /> *12 Feb 1 11:30-13:00<br /> *13 Feb 1 13:15-14:45 <br /> *14 Feb 2? <br /> *15 Feb 8 Final Paper (homework)<br /> <br /> ===Student roll===<br /> #WMF 大學老師和教育 翻譯 電腦游戲本地化<br /> #TXL 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #WYX 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #JL 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #KMJ 在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #LML 對中國文化感興趣，外語，翻譯<br /> #ZYX 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #YSY 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #AHY 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #YL 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #AKR 華沙大學、中醫：氣功的發展<br /> #PMJ 翻譯 粵語、中國方言和文字<br /> #AX 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #WXT 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #AD 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目<br /> <br /> ===Topics===<br /> Please write your names behind the topics you will present with ppt.<br /> <br /> *1 Oct 5, 2023 11:30-13:00 401<br /> Introduction<br /> *2 Oct 12 11:30-13:00<br /> Survey on 5,000 year of Chinese culture narrative and introduction into intercultural communication<br /> *3 Oct 26 11:30-13:00<br /> #地理性质是文化发展的基础 Geographic Nature as a Basis for Cultural Development (2)<br /> #古代和当代的接触方式 Ancient and Contemporary Ways of Contacting (2)<br /> *4 Nov 30 11:30-13:00<br /> #中国的婚姻习俗 Chinese Marriage Customs (3) JL<br /> #湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (3) AX<br /> *5 Dec 7 11:30-13:00 <br /> #土家族的哭嫁 Crying Marriage of Tujia (4) <br /> #中国古代的四大才子 The Four Most Handsome men in Ancient China (4) LML<br /> *6 Dec 14 11:30-13:00 <br /> #建筑：紫禁城 The Forbidden City (6) PMJ<br /> #建筑:中国四大名桥 Architecture: Four Famous Bridges (6)<br /> *7 Dec 21 11:30-13:00 <br /> #熊猫 The Panda (5) AHY<br /> #建筑学 Architecture (5) <br /> *8 Jan 11 11:30-13:00 <br /> #建筑：四大亭子 Four Great Pavilions (7) WYX<br /> #中国产出日式文化出品 (China produces Japanese-style products) (7)<br /> *9 Jan 25 11:30-13:00<br /> #中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals (8) YL<br /> #中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People) (8) KMJ<br /> *10 Jan 25 13:15-14:45<br /> #基督教和佛教之间的差别 (The Differences between Christianity and Buddhism) (9) ZYX<br /> #中国摇滚乐的形成 （Development of Chinese Rock Music) (9) WXT<br /> *11 Feb 1 11:30-13:00<br /> #中国饮食文化——中国菜的命名艺术 (Culinary Culture of China: The Art of Naming Chinese Dishes) (10) WMF<br /> #中国佛教 (Chinese Buddhism) (10) SSM<br /> *12 Feb 1 13:15-14:45 <br /> #缠足 (Foot-binding) (11) Yang Siyi 杨思艺<br /> #鬼怪和辟邪 (Monsters and Exorcism) (11) TXL<br /> *13 Feb 2 11:30-13:00 Culture<br /> #中医植物 (Herbs in Traditional Chinese Medicine) (12) AKR<br /> *14 Feb 2 13:15-14:45 Culture<br /> #广东的文化饮食习惯：广东人为何爱吃野味？ (The tradition of eating of wild animals in Guangdong) (12) 爱答<br /> *15 Feb 2 15:00-16:30 Culture, Bring lots of food! (Chinese Spring Festival Event starts at 17:00 in the Upper Hall)<br /> *Feb 8 Extended deadline to submit Final Paper (homework)<br /> <br /> =Topics/Sessions=<br /> '''中国文化————研究生课（研一）''' Kultura chińska | Chinese Culture for first year Master Students<br /> <br /> 直接到期末考试论文网页的链接 Quick Link to Final Exam Papers: [[20240131_cult_finals]]<br /> <br /> 10月6日——1月31日 (30 x 45 分钟) Thursdays 9:45 (30 x 45 min.), 教室 Classroom 4## <br /> <br /> =第一周 Session 1 - 組織方面的事情 Organizational Things=<br /> <br /> 本课程由吴漠汀线下授课。课堂语言为中文，但也会提供一些英语/法语/德语/日语/波兰语的解释。一部分的资料是简体字的，一部分繁体字。你们注意到繁体字的时候，请打招呼。看繁体字慢慢的也要看习惯。<br /> <br /> This class is taught by Martin Woesler in presence. The class language is Chinese, however, some explanations in English/French/German/Japanese/Polish will be given. Some part of the teaching material is in simplified characters, another part in traditional character. If you find traditional characters, please tell the teacher. You should get used to reading traditional characters too.<br /> <br /> 1. 请阅读使用条款：通过注册本维基，您同意将您的数据（姓名、学号、学习方向、电子邮件、设备技术数据、IP地址等）和您在课堂上的贡献（作业、翻译、演讲、讲义、期末考试试卷等）储存起来，用于评分和学术用途（教学和研究用的匿名）。你明确同意你的贡献可以由老师以他的名义使用，例如用于出版，用于改进教材等。<br /> <br /> 1. Please read the terms of Use: By registering for this Wiki, you give your consent that your data (name, study no., study direction, email, technical data of your device, ip address etc.) and your contributions to class (homework, translations, presentations, handouts, final exam papers etc.) is stored for grading, and academic use (teaching and ANONYMIZED for research). You explicitely agree that your contributions can be used by the teacher under his name, e.g. for publication, for improvement of teaching material etc. <br /> <br /> 2. 我们需要一些志愿者。我们的助教是...她给老师发一份学生名册，并将所有作业和测验的成绩以及她从老师那里收到的成绩输入名册，由老师保管。我们还需要1名wiki管理员和5名调查助理，他们要知道如何使用http://wjx.top。如果我们有超过100名学生，我们需要2名教学助理。所有这些人的 &quot;课堂表现 &quot;成绩都会得到加分。注册后（见下面第3点），请在这里直接在角色后面写上你的名字（例如：&quot;教学助理--雷锋&quot;）。要改变维基上的任何内容，请见下面第3点。<br /> <br /> *教学助理 - AKR [[Teaching assistant]]<br /> *维基管理员 - LML [[Wiki admin]]<br /> *问卷调查助理1 - [[Survey Assistant]]<br /> <br /> 2. We need volunteers! Our teaching assistant 助教 is #. She should send a student roll to the teacher and enter all grades from homework and quizzes and those she receives from the teacher into the roll to be kept with the teacher. We still need 1 [[wiki admin]] and 5 survey assistants, who know how to use http://wjx.top. If we have more than 100 students, we need 2 teaching assistants. All of them will get extra points for their &quot;performance in class&quot; grade. After registration (see point 3 beneath), please write your names here directly behind the role (e.g. &quot;teaching assistant - Lei Feng&quot;). To change anything on the wiki, please see point 3 beneath.<br /> *Teaching Assistant - ____ [[Teaching assistant]]<br /> *Wiki Admin - ____ [[Wiki admin]]<br /> *Survey Assistant - ____ [[Survey Assistant]] <br /> <br /> 3. 请在本维基上注册。从任何地方你都可以按照这个链接注册：https://bit.ly/WIKIREG。如果您已经在这里，请点击右上角的 &quot;注册（register）&quot;，然后点击 &quot;申请一个（request one）&quot;。然后请在两个名字（用户名和真名）中使用你的拼音真名（姓和名之间留有空白）进行注册，所以要有两次 &quot;雷锋 &quot;和 &quot;雷锋&quot;。请勾选您同意条款和条件的选项。然后输入密码 &quot;wikicaptcha &quot;并点击 &quot;提交&quot;。你会收到一封带有链接的确认邮件。你可以点击该链接，确认你的身份并创建一个密码。然后你需要等待1-2天，直到老师授予你权限。你将会收到另一封邮件，当它发挥作用的时候。有了这个维基的访问权，你就可以直接编辑一切，包括这个页面。如果你想学习如何在Wiki上进行编辑，请阅读这里： [[uvu:Community_Portal]] 。在编辑之后，你会被要求输入密码以保存修改，这次的密码是 &quot;wikicaptcha&quot;。<br /> <br /> 3. Please register on this Wiki. From any place you can register following this link: https://bit.ly/WIKIREG. If you are already here, click on &quot;register&quot; on the top right corner, and then on &quot;request one&quot;. Then please register with your real name in Pinyin (with blank space between the family name and the given name) for the two names (username and real name), so two times &quot;Lei Feng&quot; and &quot;Lei Feng&quot;. Please check the box that you agree to the Terms and Conditions. Then type in the password &quot;wikicaptcha&quot; and click on &quot;submit&quot;. You will receive a confirmation email with a link. You can click on the link, confirm your identity and create a password. Then you need to wait 1-2 days until the teacher grants you access. You will receive another email when it will work. With the access to this wiki, you can directly edit everything, including this page. If you want to learn how to edit on Wiki, please read here: [[uvu:Community_Portal]] After editing, you will be asked for a password to save changes, this time the password is &quot;wikicaptcha&quot;.<br /> <br /> 4. 请在本班的微信群里注册。该微信群将由助教创建。请务必在群里显示你的名字和以下内容： &quot;雷锋20级笔译&quot;。<br /> <br /> 4. Please register on the WeChat Group of this class. The WeChat Group will be created by the Teaching Assistant. Please make sure to display your name in the group with the following details: &quot;Lei Feng 雷锋 20级 笔译&quot;.<br /> <br /> 5. 为了便于交流，请将老师good_old_cathay添加到你的微信联系人中。<br /> <br /> 5. For communication please add the teacher good_old_cathay to your WeChat contacts.<br /> <br /> 6. 请为第二节课准备第一篇课文（课本第12-15页）。<br /> <br /> 6. Please prepare the first text for the Session 2 (text book pages 12-15).<br /> <br /> 7. 请在第二节课前做小测验。<br /> <br /> 7. Please take the quiz before Session 2.<br /> <br /> 8. 请选一个这个学期要用ppt介绍的一个题目，写在下面学生名单的名字后面。<br /> <br /> 8. Please choose a topic to present with ppt and write the topic behind your name in the student roll beneath.<br /> <br /> Here a summary of the most important points in Chinese: <br /> @所有人 <br /> 请各位同学将群聊备注改为姓名拼音 姓名 班级的格式，如 Li Xin 李欣 21级 英语笔译。请各位同学浏览此网站了解本学期的课程要求：https://bou.de/u/wiki/Chinese_Culture_2023 （短一点的是http://bit.ly/ChinCult2023，然后按我们课的链接）. 我们的课程还需要六位同学分别做网站管理员（1位）和调查助手（5位），期末可以得到一定加分，请有意向的同学在今天晚上六点前私聊我。请大家尽快完成以下课程前准备：<br /> <br /> *https://bit.ly/WIKIREG 请在此维基网站上注册，用户名和真实姓名都请填写自己姓名的拼音，像&quot;Li Xin&quot;和&quot;Li Xin&quot;，密码填wikicaptcha，收到邮件确认身份后等待老师通过<br /> <br /> 注：在中国大陆内有的链接可能要用vpn才能进<br /> <br /> ==学生名单 Student Roll== <br /> 请选一个这个学期要用ppt介绍的一个题目。<br /> <br /> #AHY, 题目 ppt topic: 熊猫, final exam topic: 中国文化中植物、蔬菜和水果的象征意义<br /> #YXY, 题目 ppt topic: 缠足, final exam topic: 中国流行歌曲<br /> #WXT, 题目 ppt topic: 中国摇滚乐的形成, final exam topic: 中国金属音乐：历史、发展与评论接受<br /> #PMJ, 题目 ppt topic: 紫禁城, final exam topic: 中国的美容标准<br /> #YL, 题目 ppt topic: 动物象征, final exam topic: 中国 “四像” 动物<br /> #LML, 题目 ppt topic:中国古代的四大才子, final exam topic: 中国民工<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> <br /> ==供下载教师第一周的演示文稿 Teacher presentation of week 1 for download==<br /> <br /> [[Media: 01_Chin_Cult_Intro_2023.pptx]]<br /> <br /> ==课堂上的职责 Duties in Class==<br /> <br /> 1. 请在上课前做好准备。这意味着请阅读书中的章节，在网上搜索更多关于该主题的信息，并提前学习每节课与该主题有关的词汇。这对你自己和其他人都更有好处。同时，课堂上的讨论也可以在一个更复杂的水平上进行。请为每节课保留至少两个小时的准备时间。您已经通过微信群收到了教科书pdf： 《Woesler, Martin. (2023). 中国文化》，波鸿：欧洲大学出版社，1000页。<br /> <br /> 1. Please come to class prepared. This means please read the book chapter, search for more information about the topic online and learn the vocabulary related to the topic for each session in advance. It is much more benefetial for yourself and for the others. Also the discussions in class then can be conducted on a much more sophisticated level. Please reserve at least two hours of preparation for each session. You have received the textbook pdf via the WeChat group: Woesler, Martin. (2023). Chinese Culture, Bochum: European University Press, 1000 pages.<br /> <br /> 2.请每周认真做作业，并在开课前3天在微信群里提交作业，开课前1天提交同学的作业批改。<br /> <br /> 2. Please do your homework seriously every week and submit it in wiki 3 days before the class starts and the corrections of your fellow student's homework 1 day before the class starts. <br /> <br /> 3. 请积极参与到课堂中。这意味着每节课： 请至少提出一个问题或至少参与一次讨论。<br /> <br /> 3. Please participate actively in class. This means for each session: Please ask at least one question or participate with at least one contribution in the discussion.<br /> <br /> 4. 这个学期：每周可以准备15分钟的ppt和10分钟的问卷调查（用mentimeter）和讨论或者表演了。所有的文本已经在网页上。当然可以用更多的资料。最好presention是中文的，ppt写着中英文对照。<br /> <br /> 上一个学期的要求：请在第二节课前选择你将在课堂上做的演讲的主题（如果我们的学生比课程多，那么就建立两个小组，一个做演讲，一个对同一主题写讲义）。请记得提前一周在本网站上传并链接你的演讲和讲义，以便你的同学能够准备。请从下面的列表中挑选，在任何一个主题后面加上你的名字。<br /> <br /> 4. Please select the topic for the presentation you will do in class already until session 2 (if we have more students than sessions, then build groups of two - one doing presentation, one a written handout on the same topic). Please remember to upload and link your presentation and your handout here on this website a week ahead to enable your fellow students to prepare it. Please pick from the following list by adding your name behind any of the topics.<br /> <br /> 5. 请在第三节前选择你的期末考试论文[[20240131_cult_finals]]（1000个中文单词）的题目。<br /> <br /> 5. Please select a topic of your final exam paper[[20240131_cult_finals]] (1,000 Chinese words) until session 3.<br /> <br /> 6. 请在这里参加欧盟调查：http://bit.ly/EU-SURVEY<br /> <br /> 6. Please take the EU survey here: http://bit.ly/EU-SURVEY.<br /> <br /> 7. 请在这里参加100个问题的调查：http://bit.ly/100_questions<br /> <br /> 7. Please take the 100 Questions Questionnaire here: http://bit.ly/100_questions<br /> <br /> ==关于使用课堂内外时间达成共识 Joint agreement on use of time inside and outside the classroom==<br /> 由于在课堂上聚在一起，然后共同开始阅读初级或二级文献是没有意义的，所以请在课前阅读文本，这样我们可以节省宝贵的课堂时间，对文本进行充分的讨论。<br /> <br /> Since it does not make sense to come together in the classroom and then jointly start reading the primary or secondary literature, please read the texts before class so that we can save the precious classroom time for a well informed discussion about the texts.<br /> <br /> ==关于成绩比重达成共识 Joint agreement on weight of grades==<br /> *期末考试试卷： 70%<br /> *Final Exam paper: 70 percent<br /> *课堂表现： 30%（由口头贡献/参与、每学期1次演讲或讲义、参与调查和测验、家庭作业组成）--如果你承担了问卷调查助手等额外的职责，这个成绩会得到加分。<br /> *Performance in class: 30 percent (consisting out of oral contributions/participation, 1 presentation or handout per term, participation in surveys and quizzes, homework) - this grade gets extra points if you take over additional duties like survey assistants.<br /> <br /> 注意：成绩可能需要几个月的时间才能输入成绩系统，因为有时有超过100名学生，老师希望尊重每个学生，并仔细阅读他们的期末考试卷。<br /> <br /> Note: Grades may take months to be entered into the grade system, since sometimes there are more than 100 students and the teachers want to pay respect to each student and read their final exam paper carefully.<br /> <br /> [[File:Example.jpg|200px|thumb|left|Example for inserting pictures.]]<br /> ==为第2节课做准备的课后家庭作业 Homework of Session 1 for Session 2==<br /> <br /> 1. 请在第二节课前做小测验。<br /> <br /> 2. 请选择一个你愿意做5分钟ppt演讲的主题。你可以在这周课的描述下面的相应部分（不是上面）将你的名字写在题目后面，以保留你的题目。请注意：如果该话题没有课件，我们还需要2名学生来做这个话题，1名学生准备课件，另1名学生写 &quot;术语&quot;、&quot;参考文献&quot;、&quot;问题 &quot;和&quot;答案&quot;（请提交给老师和学生助理）。请确保至少提前1周将课文和附录发布在这一周课的描述下方。请务必至少提前1周将问题发给调查的学生，让他们进行问答，并至少提前1周将问题答案发给助教，以便她进行评分。<br /> <br /> 3. 请准备好下节课的所有课文，并在下节课开始前对这些课文进行测验。<br /> <br /> 4. 如果你还没有这样做，请在你的维基主页上添加你的个人信息。你可以在浏览器中直接输入：https://bou.de/u/wiki/User:Wang_Jianguo - 当然，王建国只是一个样本名称，你必须用你自己的用户名代替，并将空格换成下划线。<br /> <br /> Wiki管理员的特别任务： 请在新的网页上设置所有的作业文本（我已经把第24章复制到我们的作业页上，你需要把大约3行文本平均分给每个学生），并在下面的所有会话中链接它们。也请为上传ppt设置假的链接。<br /> <br /> 问卷调查助理学生的特殊家庭作业： 请在wjx.org上为所有题目设置测验，学生需要注明他们的姓名和学生编号。请将测验的链接粘贴在这里，放在相应的会议和主题下面。请告诉助教测验的正确答案，以便助教将测验的成绩转入学生角色成绩表。<br /> <br /> 助教的特殊任务：请把每个学生的成绩写进学生卷的成绩表。一个做了作业（不含拼音）的学生可以得到100分，一个为他的同学做了作业批改的学生又可以得到100分。一个学生做了一个ppt，写了一篇课文或课文的附录，又可以得到100分。<br /> <br /> 总结：我现在已经把学生们选择的题目制作成一个排名表，并公布在我们的课程网站上。每个人现在都应该执行作业。这包括助教、Wiki管理员和问卷调查学生的特殊工作。<br /> <br /> 特别是维基管理员需要把需要翻译的文字分成小部分给每个学生，并标明学生的名字，这样他们就能更容易找到。每个学生都可以选择一个主题来做演讲，并在主题后面写上名字。<br /> <br /> 另外，每个学生都需要阅读下周一的课本课文以做好准备，调查的学生需要为课本课文设置测验，学生需要在每周上课前进行测验。这是一个很大的工作，但它会变得更好，当你们所有人都习惯了它。另外，很多功课，特别是为功课建立网页等，包括演示文稿，在课本上创建缺失的文本等，现在已经可以开始了，所以大家现在已经可以完成整个学期的大部分功课。<br /> <br /> 如果想开始写期末考试论文，也可以早一点开始，如果愿意的话。事情做得越早越好，而且在学期中还有更多的机会来改进事情。<br /> <br /> 1. Please take the quiz before Session 2.<br /> <br /> 2. Please select a topic you want to give a 5-minute ppt presentation on. You can reserve your topic by writing your name behind the topic in the respective section of the Sessions beneath (not above). Please note: If there is no textbook text for the topic, we need 2 more students for this topic, 1 to prepare a textbook text and the 2nd student to write the &quot;terms&quot;, &quot;references&quot;, &quot;questions&quot; and (please submit to teacher and student assistant): &quot;answers&quot;. Please make sure to post the text and appendix at least 1 week ahead of time under the session beneath. Please make sure to send the quiz questions at least 1 week ahead of time to the survey students that they can make a quiz and send the quiz answers at least 1 week ahead of time to the teaching assistant, so that she can grade the quizzes.<br /> <br /> 3. Please prepare all texts for the next session and take the quiz on these texts before the next session starts.<br /> <br /> 4. If you have not yet done so, please add the biographical info on yourself on your wiki homepage. You can find your wiki homepage by typing directly into you browser: https://bou.de/u/wiki/User:Wang_Jianguo - of course Wang Jianguo is just a sample name, you would have to replace it with your own username and exchange the space by an understroke.<br /> <br /> Special homework for [[Wiki admin]]: Please set up all homework texts (I have copied chapter 24 to our homework page and you need to split about 3 lines text in average to each student) on new webpages and link them in all sessions beneath. Please also set up dummy links for [[ppt upload]].<br /> <br /> Special homework for [[Survey Assistant]] Students: Please set up quizzes for all topics on wjx.org, students need to indicate their name and student id. Please paste the link to the quiz here under the respective session and topic beneath. Please tell the teaching assistant the correct answers to the quizzes, so that the teaching assistant can transfer the grades from the quizzes into the student role grade table. Please use <br /> <br /> Special homework for [[Teaching assistant]]: Please write a grade for each student into the student roll grade list. A student who has done the homework (without Pinyin) gets 100 percent for this, a student who has done the correction of a homework of his fellow student gets another 100 percent. A student who has presented a ppt, written a textbook text or a textbook text appendix gets another 100 percent.<br /> <br /> General remarks: I have now created a ranking list of the topics the students selected and published on our course website. Everybody should perform the homework now. This includes special work for the teaching assistant, the wiki admin and the survey students. <br /> <br /> Escpecially the [[Wiki admin]] needs to split the text which needs to be translated into small parts for each student and indicate the students' names so that they can find it easier. Every student can already pick a topic to do a presentation on and write the name behind the topic. <br /> <br /> Also, every student needs to read the textbook texts for coming Monday to be prepared, the survey students need to set up quizzes for the textbook texts and the students need to take the quizzes before class starts on Monday. It is a lot of work, but it will get better, when all of you get used to it. Also, much of the homework, especially setting up webpages for homework etc., including the presentations, creating missing texts in the textbook etc. can be started already now, so that one can do most of the homework for the whole semester already now. <br /> <br /> If people want to start writing their final exam papers, they can also start maybe in March, if they like. The earlier things are done the better and the more chances there are to still improve things during the semester.<br /> <br /> ==作业 Homework: 选主题、参加测试/问卷调查 Choose a topic for presentation, take part in quizzes==<br /> *在wiki上注册 https://bit.ly/WIKIREG<br /> *选“助教”、wiki admin、quiz assistants<br /> *请参加“测试100”。https://bit.ly/100_questions, http://bit.ly/EU-SURVEY<br /> *选主题，看第二周那边，加你的名字（选下个礼拜的主题的同学麻烦准备ppt，课网页上上传）<br /> *准备下个星期的课文（主题1）<br /> *回答关于主题的问题<br /> <br /> ==主题 Topics (still to be updated)==<br /> #地理性质是文化发展的基础 Geographic Nature as a Basis for Cultural Development (3)<br /> #古代和当代的接触方式 Ancient and Contemporary Ways of Contacting (3)<br /> #中国的婚姻习俗 Chinese Marriage Customs (3)<br /> #湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (4)<br /> #土家族的哭嫁 Crying Marriage of Tujia (4)<br /> #中国古代的四大才子 The Four Most Handsome men in Ancient China (4)<br /> #熊猫 The Panda (-)<br /> #建筑学 Architecture (5) <br /> #建筑：紫禁城 The Forbidden City (5)<br /> #建筑：中国四大名桥 Four Famous Bridges (6)<br /> #建筑：四大亭子 Four Great Pavilions (6)<br /> #建筑:中国四大名桥 Architecture: Four Famous Bridges (7)<br /> #中国产出日式文化出品 (China produces Japanese-style products) (7)<br /> #中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals (8)<br /> #中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People) (8) KMJ<br /> #中国摇滚乐的形成 （Development of Chinese Rock Music) (9)<br /> #基督教和佛教之间的差别 (The Differences between Christianity and Buddhism) (9) ZYX<br /> #中国饮食文化——中国菜的命名艺术 (Culinary Culture of China: The Art of Naming Chinese Dishes) (10)<br /> #中国佛教 (Chinese Buddhism) (10)<br /> #缠足 (Foot-binding) (11)<br /> #鬼怪和辟邪 (Monsters and Exorcism) (11)<br /> #中医植物 (Herbs in Traditional Chinese Medicine) (12)<br /> #广东的文化饮食习惯：广东人为何爱吃野味？ (The tradition of eating of wild animals in Guangdong) (12)<br /> <br /> Further ideas:<br /> <br /> 艺术、戏剧（新旧）、话剧（新旧）、美学、高雅文化的概念、绘画（新旧）、书法（新旧）、传统诗歌、传统音乐剧及其在先锋派戏剧中的借鉴、中国古代园林艺术中的空间、线条和戏剧性以及现代城市景观的塑造、时间和空间、中国传统文化中的风格化、惯例化和象征主义、中国古代和当今日常生活的美学化和庆典<br /> <br /> art, theater (old and new), drama (old and new), aesthetics, concept of high culture, painting (old and new), calligraphy (old and new), traditional poetry, traditional musical theater and its reference in avant-garde drama, Space, line and theatricality in ancient Chinese garden art and modern shaping of the urban landscape, time and space, Stylization, conventionality and symbolism in traditional Chinese culture, Aesthetization and celebration of everyday life in ancient China and today<br /> <br /> ==教材 Text book==<br /> 教材书英文版本我发给大家。中文我们只有一些章回，到时候提供。<br /> <br /> =第二周 Session 2 Oct 12 11:30-13:00 Narrative of 5,000 years of unbroken Chinese history and models of intercultural communication=<br /> =第三周 Session 3 Oct 26 11:30-13:00 Part 1: Geographic Nature as a Basis for Cultural Development 地理性质是文化发展的基础=<br /> ==供下载教师第二周的演示文稿 Teacher presentation of week 3 for download==<br /> <br /> [[Media: 02_Chin_Cult_Intro_Geo.pptx]]<br /> <br /> Textbook text:<br /> <br /> Geographic Nature as a Basis for Cultural Development<br /> <br /> 1. 地理性质是文化发展的基础<br /> <br /> China is the largest of all the Asian countries and has the largest population of any country in the world, in the future India will overtake China. She covers an area of 9,560,900 km2 (3,691,000 square miles), which is approximately one-fifteenth of the land area of the world. According to the latest population census, China’s total population by 2005 had reached 1. 35 billion. In both area and population, Europe (excluding Russia) is only half the size of China. <br /> <br /> 中国是所有亚洲国家中最大的国家，是世界上人口最多的国家，将来印度会超过中国。它的面积为9,560,900平方公里（3,691,000平方英里），约为世界陆地面积的十五分之一。根据最新的人口普查，到2005年，中国的总人口已达到13.5亿。无论是面积还是人口，欧洲（不包括俄罗斯）只有中国的一半大。<br /> <br /> Lying in the northern half of the eastern hemisphere, China is situated in East Asia on the west coast of the Pacific Ocean. She stretches for about 5,000 km from east to west and about 5,500 km from north to south. China has a land boundary exceeding 20,000 km in length, and borders 14 countries: Korea in the east; Vietnam, Laos and Burma in the south; India, Bhutan and Nepal in the southwest; Pakistan and Afghanistan in the west; Russia, Kazakstan, Kirghizia and Tajikstan in the northwest; and Mongolia in the north. China faces Japan across the Yellow Sea, and in the southeast she looks toward the Philippines beyond the South China Sea. <br /> <br /> 中国位于东半球的北半部，在东亚的太平洋西海岸。她从东到西绵延约5,000公里，从北到南约5,500公里。中国的陆地边界长度超过20,000公里，与14个国家接壤： 东部是朝鲜；南部是越南、老挝和缅甸；西南部是印度、不丹和尼泊尔；西部是巴基斯坦和阿富汗；西北部是俄罗斯、哈萨克、吉尔吉斯和塔吉克斯坦；北部是蒙古。中国与日本隔着黄海相望，在东南方向，她看向南海外的菲律宾。<br /> <br /> China has one of the longest coastlines in the world along its mainland, running 18, 000 km from the mouth of the Yalu River on the Chinese-Korean border in the north to the mouth of the Beilung River on the Chinese-Vietnamese border in the south. The eastern part of the Chinese mainland is flanked from the north to the south by the Bohai Sea, the Yellow Sea, the East China Sea and the South China Sea, all of which merge with the Pacific Ocean. Over a vast sea area are scattered more than 5, 000 islands. Taiwan is the largest island, followed by Hainan and Chongming. <br /> <br /> 中国大陆拥有世界上最长的海岸线之一，北起中韩边境的鸭绿江口，南至中越边境的北隆河口，全长18000公里。中国大陆东部从北到南依次是渤海、黄海、东海和南海，它们都与太平洋汇合。在广阔的海域中，散布着5000多个岛屿。台湾是最大的岛屿，其次是海南和崇明。<br /> <br /> Because of its location in the southeast of the Eurasian Continent and on the west coast of the Pacific Ocean, China is well known for its monsoon climate caused by the difference in the heat reserves between the world’s largest continent and the world’s biggest ocean. The polar continental air mass, cold and dry, originating in Siberia, dominates a large part of China during the winter, while the tropical Pacific air mass, hot and humid, exerts its influence during the summer. Most regions in China have a distinct continental climate, a climate of large daily range and annual range of temperature. <br /> <br /> 由于位于欧亚大陆的东南部和太平洋的西海岸，中国以其季风气候而闻名，这是由世界上最大的大陆和世界上最大的海洋之间的热储量差异造成的。源自西伯利亚的极地大陆气团，寒冷而干燥，在冬季主导着中国的大部分地区，而热带太平洋气团，炎热而潮湿，在夏季发挥其影响。中国大部分地区都有明显的大陆性气候，这种气候的日温差和年温差都很大。<br /> <br /> The rainfall distribution in China generally decreases from the southeast to the northwest. The annual precipitation of certain places along the southeast coast amounts to over 80 inches. The Yangtze Valley receives about 40 inches. Further north, less than 20 inches are received annually. A grand project of moving water sources from the south to the north (Nanshuibeidiao - “Diversion of Water from the South to the North”) is conceived and planned. <br /> <br /> 中国的降水分布一般由东南向西北递减。东南沿海某些地方的年降水量达80英寸以上。长江流域的降水量约为40英寸。再往北，每年的降水量不到20英寸。一个将水源从南方转移到北方的宏伟工程（南水北調）正在构思和规划中。<br /> <br /> The relief of China is high in the west and low in the east, consequently, the direction of flow of the major rivers is generally eastward. The land surface may be divided from west to east into three steps: plateau, mountain and plain. Basically, China is a mountainous country. Hills, mountains and plateaus cover two-thirds of the country’s total area and are inhabited by one-third of the population. <br /> <br /> 中国的地势西高东低，因此，主要河流的流向一般为东向。陆地表面从西到东可分为三步：高原、山地和平原。基本上，中国是一个多山的国家。山地、山区和高原占全国总面积的三分之二，居住着三分之一的人口。<br /> <br /> Types of natural vegetation and their floristic composition are quite diverse. The total number of seed plants in China is about 30, 000 species, representing 2, 700 genera; more than 200 of these genera are restricted to China. There are about 2, 500 species of forest trees. Many of them are trees of economic importance such as tung oil trees, camphor trees and lacquer trees. Profusion of vegetation and a variety of relief have fostered the development of a great diversity of animal life. The notable animals are the great paddlefish of the Yangtze, the Siberian tiger in the northeast, the giant salamander in the west, the giant panda and the sub-nosed monkey in the southwest. <br /> <br /> 自然植被的类型和它们的植物学组成是相当多样化的。中国的种子植物总数约为30,000种，代表2,700个属；其中有200多个属仅限于中国。有大约2,500种林木。其中许多是具有经济意义的树木，如桐油树、樟树和漆树。丰富的植被和多种多样的地形促进了动物生命的多样性发展。著名的动物有长江的白白鲟，东北的西伯利亚虎，西部的大鲵，西南的大熊猫和亚鼻猴。<br /> <br /> In the light of The Constitution of the People’s Republic of China, China is a socialist state under the people’s democratic dictatorship led by the working class and based on the alliances of workers and peasants. The organs through which the people exercise the state power are the National People’s Congress and the local congresses at different levels. The State Council is the executive body of the highest organ of state administration. <br /> <br /> 根据《中华人民共和国宪法》，中国是一个由工人阶级领导的、以工农联盟为基础的人民民主专政的社会主义国家。人民行使国家权力的机关是全国人民代表大会和地方各级代表大会。国务院是国家最高行政机关的执行机构。<br /> <br /> Peking, the political, cultural and economic center, is the capital of the country. The anthem is “The March of the Volunteers”. The national badge is centered by Tian’anmen Rostrum in the shine of five stars, encircled by grains and a gear, which fully expresses the constitutional category of what the People’s Republic of China is.<br /> <br /> 北京是政治、文化和经济中心，是国家的首都。国歌是《义勇军进行曲》。国徽以天安门城楼为中心，五星闪耀，周围是五谷和齿轮，充分表达了中华人民共和国的宪法范畴。 <br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> hemisphere n. 半球 the Yalu River 鸭绿江<br /> <br /> the Beilung River 北仑河 monsoon n. 季风<br /> <br /> air mass 气团 relief n. 地势<br /> <br /> seed plant 种子植物 genus/genera n. （生物）属<br /> <br /> tung oil 桐油 camphor tree 樟树<br /> <br /> lacquer tree 漆树 great paddlefish 大白鲟<br /> <br /> giant salamander 大鲵（娃娃鱼） Tian’anmen Rostrum 天安门层楼<br /> <br /> <br /> <br /> Questions<br /> <br /> 1. How large is China? <br /> <br /> 2. What are the countries that China borders? <br /> <br /> 3. What do you know about China’s coastline? <br /> <br /> 4. What’s China’s climate like? <br /> <br /> 5. What’s China’s general land surface like? <br /> <br /> 6. What do you know about China’s vegetation and animal life? <br /> <br /> <br /> <br /> 问题<br /> <br /> 1. 中国有多大？<br /> <br /> 2. 中国与哪些国家接壤？<br /> <br /> 3. 你对中国的海岸线了解多少？<br /> <br /> 4. 中国的气候是怎样的？<br /> <br /> 5. 中国的总体地表是什么样的？<br /> <br /> 6. 你对中国的植被和动物有什么了解？<br /> <br /> =第三周 Session 3 Oct 26 11:30-13:00 Part 2: Contacting=<br /> <br /> [[Media:03_Chin_Cult_Marriage.pptx]]<br /> <br /> ==Ancient and Contemporary Ways of Contacting 古代和当代的接触方式==<br /> 1. Pigeon post飞鸽传书<br /> <br /> Pigeon post is a method of communication among ancient people, where letters are tied to the feet of pigeons and delivered to the person who wants to deliver them. In movies, we see people in western countries using crows to deliver letters, but in China, crows are seen as an inauspicious symbol, so people used to use pigeons to deliver letters. Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field, and are particularly home-loving, so they are used to improve the speed of delivering mail. <br /> <br /> 飞鸽传书是古人的一种通信方式，即把信绑在鸽子的脚上，送到要送信的人手中。在电影中，我们看到西方国家的人用乌鸦来送信，但在中国，乌鸦被视为不吉利的象征，所以人们习惯用鸽子来送信。鸽子能飞，而且飞得更快，能辨别方向，对地球磁场有很好的感觉，而且特别爱家，所以用鸽子来提高送信的速度。<br /> <br /> In order to get the ideal pigeon, besides careful selection of good breed and scientific feeding management, the most important thing is training. All three complement each other and are indispensable. The basic principle of training is based on the biological characteristics and physiological features of pigeons and the principle of &quot;conditioned reflex&quot;. <br /> <br /> 要想获得理想的鸽子，除了精心选择优良品种和科学的饲养管理外，最重要的是训练。这三者相辅相成，缺一不可。训练的基本原则是根据鸽子的生物学特性和生理学特点以及 &quot;条件反射 &quot;的原理。<br /> <br /> The fundamental purpose of training is to cultivate, exercise and improve the quality of pigeons, to bring into play their inherent biological characteristics and specialties, so that they have the basic elements and conditions to complete various communication and competition tasks. The basic content of training includes: basic training, flight training, competition training, adaptation training and application training. In principle, the training should start from young pigeons, from simple to complicated, from near to far, from day to night, from basic training to professional training, in short, from easy to difficult. (Baidu Encyclopedia 百度百科：Pigeon Post, 飞鸽传书）<br /> <br /> 训练的根本目的是培养、锻炼和提高鸽子的素质，发挥其固有的生物特性和特长，使其具备完成各种交流和比赛任务的基本要素和条件。训练的基本内容包括：基础训练、飞行训练、竞赛训练、适应训练和应用训练。训练原则上应从幼鸽开始，从简单到复杂，从近到远，从白天到黑夜，从基础训练到专业训练，总之，由易到难。(百度百科：Pigeon Post, 飞鸽传书)<br /> <br /> Historically, Genghis Khan used pigeon posts to keep in touch with distant parts of his empire, and even in ancient Greece, carrier pigeons were used to announce major events, such as the Olympic Games! In the 12th century, a fairly extensive network of homing pigeons was established between Syria and Baghdad. One of the last active carrier pigeon posts was in India, but the carrier pigeons were officially retired in 2008. During the war years, carrier pigeons also played a role that could not be ignored. They were able to cross enemy lines more easily than men on horseback. This earned them the name &quot;war pigeon&quot;. People continued to use carrier pigeons to deliver letters even up to the time of World War II. (scienceabc 19 Oct2019, wiki)<br /> <br /> 历史上，成吉思汗曾用飞鸽传书与他的帝国的遥远地区保持联系，甚至在古希腊，信鸽被用来宣布重大事件，如奥林匹克运动会! 在12世纪，叙利亚和巴格达之间建立了一个相当广泛的信鸽网络。最后一个活跃的信鸽站之一是在印度，但信鸽在2008年正式退役了。在战争年代，信鸽也发挥了不可忽视的作用。它们能够比骑马的人更容易穿越敌人的防线。这为它们赢得了 &quot;战鸽 &quot;的称号。人们继续使用信鸽送信，甚至到了第二次世界大战期间。(scienceabc 19 Oct2019, wiki)<br /> <br /> 2. Paper Letters<br /> <br /> 2. 纸质信件<br /> <br /> The letter is a kind of application document that transmits information and exchanges thoughts and feelings to a specific object. “Letter&quot; in the ancient text with the meaning of audio, news, in addition, &quot;Letter&quot; also has a trustworthy meaning of the words transmitted by the trustee, whether it is a message sent to a person, or through the letter carrier by letter to the specific object of language and writing to convey information and exchange of ideas and feelings of the letter, there must be three elements: one is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver. <br /> <br /> 信是一种向特定对象传递信息、交流思想感情的应用文件。&quot;信&quot;在古文字中具有音讯、消息的含义，此外，&quot;信 &quot;还具有受托人传递话语的含义，无论是向人传递信息，还是通过信的载体向特定对象以语言文字传递信息和交流思想感情的信件，都必须具备三个要素：一是有表达自己思想感情的能力；二是有适当的书写工具；三是有人传递。<br /> <br /> Written letters to relatives and friends, not only can convey their thoughts and feelings, but also can give the recipient of the letter a feeling of intimacy; technology continues to progress, and the emergence of the telephone, telegraph, postal tape, video tape, e-mail and other means of exchange of information, it can be expected e-mail will be used by more and more people, which has actually been proven. <br /> <br /> 给亲戚朋友写信，不仅可以传达自己的思想感情，而且可以给收信人以亲切感；科技不断进步，出现了电话、电报、邮带、录像带、电子邮件等信息交流手段，可以预见电子邮件会被越来越多的人使用，这一点已被实际证明。<br /> <br /> With the development of society, the relationship between people and society is also being reconstructed. In addition to the traditional use of correspondence, i. e. , official letters and private letters, a new development is the use of personal letters to government agencies, enterprises and institutions, famous scholars, and other individuals for personal needs, and the use of this type of correspondence is gradually increasing and noteworthy. We call them personal correspondence. (Baidu Encyclopedia 百度百科：Written Letters, 手写信件）<br /> <br /> 随着社会的发展，人与社会的关系也在重构。除了传统的书信使用方式，即公函和私函外，还有一个新的发展，就是因个人需要而给政府机关、企事业单位、著名学者和其他个人写信，这种书信的使用逐渐增多，值得注意的是。我们称其为个人书信。(Baidu Encyclopedia 百度百科：Written Letters, 手写信件)<br /> <br /> 3. E-mails<br /> <br /> 3. 电子邮件<br /> <br /> E-mail is a way of communication that provides information exchange by electronic means and is the most widely used service of the Internet. Through the network's e-mail system, users can contact network users in any corner of the world at a very low price (no matter where they send it, they only have to pay for the network fee) and in a very fast way (it can be sent to any specified destination in the world within a few seconds). <br /> <br /> 电子邮件是一种通过电子手段提供信息交流的通信方式，是互联网上使用最广泛的服务。通过网络的电子邮件系统，用户可以以非常低廉的价格（无论发送到哪里，只需支付网络费用）和非常快速的方式（可以在几秒钟内发送到世界上任何指定的目的地）与世界任何角落的网络用户联系。<br /> <br /> E-mail can be in many forms such as text, images, sound, etc. At the same time, users can get a large number of free news and feature emails and easily achieve information search. The existence of e-mail greatly facilitates communication and exchange between people and promotes the development of society. <br /> <br /> 电子邮件可以有多种形式，如文字、图像、声音等。同时，用户可以获得大量的免费新闻和专题邮件，轻松实现信息搜索。电子邮件的存在大大方便了人们之间的沟通和交流，促进了社会的发展。<br /> <br /> However, there are many drawbacks in using e-mail. For example, there is a risk of information being stolen and there is a lot of spam on the network. To address these two problems, the following solutions are available. Firstly, from the perspective of network security of the website itself, using hardware firewall devices is definitely the best solution. Second, a full-time network administrator should be assigned to regularly maintain the website. Thirdly, when applying for mailbox, choose a more protective username, such as a combination of English and numbers, which can be less harassed by spam. Fourth, avoid disclosing your email address. Fifth, use good mail management and screening function. outlook express, foxmail and qqmail all have good mail management function, users can screen mails by setting rules of mail domain, mail subject, source, length and so on. <br /> <br /> 但是，使用电子邮件也有很多缺点。例如，信息有被窃取的风险，网络上有大量的垃圾邮件。为了解决这两个问题，可以采取以下解决办法。首先，从网站本身的网络安全角度来看，使用硬件防火墙设备无疑是最好的解决方案。第二，应配备专职网络管理员，定期维护网站。第三，在申请邮箱时，选择一个保护性较强的用户名，如英文和数字的组合，这样可以减少垃圾邮件的骚扰。第四，避免泄露自己的邮箱地址。第五，使用良好的邮件管理和筛选功能。Outlook Express、foxmail和qqmail都有良好的邮件管理功能，用户可以通过设置邮件域名、邮件主题、来源、长度等规则来筛选邮件。<br /> <br /> The format of an e-mail address consists of three parts. The first part &quot;USER&quot; represents the account number of user mailbox, which must be unique for the same mail receiving server; the second part &quot;@&quot; is the separator; the third part is the domain name of mail receiving server of user mailbox, to mark its location. <br /> <br /> 电子邮件地址的格式由三部分组成。第一部分 &quot;USER &quot;代表用户邮箱的帐号，在同一邮件接收服务器上必须是唯一的；第二部分&quot;@&quot;是分隔符；第三部分是用户邮箱的邮件接收服务器的域名，用来标记其位置。<br /> <br /> According to Internet Week, the world's first email was a short message sent by computer scientist Professor Leonard K. to his colleagues (in October 1969, I believe), which consisted of only two letters: &quot;LO&quot;. Professor Leonard K. explained, &quot;Back then I was trying to communicate with a computer at the University of California and another computer at the Stanford Research Center near San Francisco. What we were doing was logging in from one computer to the other. The way to log in at that time was to type L-O-G. So we typed L and asked, 'Do you get L?' The other side replied, 'Yes. ' Before we received a confirmation that the other party had received G, the system went down. So the first online message was 'LO', which means 'Hello!'&quot;<br /> <br /> 根据《互联网周刊》的报道，世界上第一封电子邮件是由计算机科学家Leonard K.教授发给他的同事的一条短消息（1969年10月，我相信），它只由两个字母组成： &quot;LO&quot;。伦纳德-K教授解释说：&quot;那时我正试图与加利福尼亚大学的一台计算机和旧金山附近的斯坦福研究中心的另一台计算机进行通信。我们所做的是在一台计算机上登录到另一台计算机上。当时登录的方法是输入L-O-G。所以我们打了L，然后问：'你收到L了吗？对方回答说：'是的。'在我们收到对方收到G的确认之前，系统就瘫痪了。所以第一条在线信息是'LO'，意思是'你好！'&quot;<br /> <br /> The first e-mail from China on September 20, 1987 was sent by Werner Zorn, the &quot;Father of the German Internet, &quot; and Wang Yunfeng at the Institute of Applied Computer Technology in Peking to the University of Karlsruhe in Germany, in English. Original text: Across the Great Wall we can reach every corner in the world. <br /> <br /> 1987年9月20日，第一封来自中国的电子邮件由 &quot;德国互联网之父 &quot;维纳·佐恩和中国兵器工业计算机应用技术研究所的王运丰教授用英文发给德国卡尔斯鲁厄大学。原文的翻译： 穿过长城，我们可以到达世界上的每一个角落。(研究所名称来源：https://www.acabridge.cn/hr/xueshu/202110/t20211025_2167755.shtml)<br /> <br /> It means “跨越长城, 走向世界。” This is the first email sent from China to the Global Science Network through the network connection between Peking and the University of Karlsruhe in Germany. (Baidu Encyclopedia 百度百科：E-mail 电子邮件）<br /> <br /> 意思是 &quot;跨越长城，走向世界。&quot; 这是中国通过北京和德国卡尔斯鲁厄大学之间的网络连接，向全球科学网发出的第一封电子邮件。(Baidu Encyclopedia 百度百科：E-mail 电子邮件)<br /> <br /> References参考文献<br /> <br /> *Baidu Encyclopedia 百度百科：Pigeon Post, 飞鸽传书 https://baike. baidu. com/item/%E9%A3%9E%E9%B8%BD%E4%BC%A0%E4%B9%A6/7009129?fr=aladdin<br /> *Baidu Encyclopedia 百度百科：Written Letters, 手写信件 https://baike. baidu. com/item/%E4%B9%A6%E4%BF%A1/1095625?fr=aladdin<br /> *Baidu Encyclopedia 百度百科：E-mail 电子邮件 https://baike. baidu. com/item/%E7%94%B5%E5%AD%90%E9%82%AE%E4%BB%B6/111106?fr=aladdin<br /> *scienceabc. How Did the Pigeon Post Work?. https://www. scienceabc. com/19 Oct2019. <br /> <br /> Terms and Expressions<br /> *条件反射conditioned reflex<br /> *成吉思汗 Genghis Khan<br /> *信鸽驿站pigeon post station<br /> *战鸽war pigeon<br /> *分隔符separator<br /> *服务器域名domain name<br /> *互联网周刊Internet Week<br /> <br /> Questions<br /> #What part of pigeon is the letter tied to when you want to send a letter? <br /> #What animals do the western countries use to send letters in spite of pigeons?<br /> #Why pigeons can be used to send letters?<br /> #What are the three elements in writing and sending letters?<br /> #When did the world's first emails appear?<br /> #How to translate China’s first e-mail “Across the Great Wall we can reach every corner in the world.”<br /> <br /> 问题<br /> #当你想寄信的时候，信是绑在鸽子的哪个部位？<br /> #尽管有鸽子，西方国家用什么动物来寄信？<br /> #为什么可以用鸽子来寄信？<br /> #写信和寄信的三个要素是什么？<br /> #世界上第一封电子邮件是什么时候出现的？<br /> #如何翻译中国的第一封电子邮件&quot;越过长城，我们可以到达世界的每一个角落。&quot;？<br /> <br /> =第四周 Session 4 Nov 30 11:30-13:00 - Chinese Marriage Customs 中国的婚姻习俗=<br /> Teacher presentations: <br /> *[[Media:04_Chinese_Marriage_part_1.pptx]]<br /> *[[Media:04_Chinese_Marriage_part_2.pptx]]<br /> ==Homework for 26.10.2023==<br /> Please read previous 2 texts (Geography + Contacting) and &quot;Marriage Customs&quot;! :3<br /> <br /> ==Part 1: Marriage Customs - presented by JL==<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life - marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. (Zhou Dandi, Yue Shufa 2012, 12)<br /> <br /> 中国是一个古老的礼仪之邦。当涉及到一个人一生中最重要的事情--婚姻时，中国人已经形成了一套独特而隆重的仪式。一般来说，中国古代的婚礼需要得到父母的同意，由父母安排。(周丹迪，岳书法 2012, 12)<br /> <br /> Six Procedures<br /> <br /> 六个步骤<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. (Gao Xiaoqian 2017, 235)<br /> <br /> 从提亲到完成结婚有六个议程，即纳采、问名、纳吉、纳征、请期和最后一步亲迎。(高晓倩 2017, 235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts. (Gao Xiaoqian 2017, 235)<br /> <br /> 纳采是所有婚姻程序的开端。它指的是一种做法，如果一个男孩打算娶一个女孩，首先他的家人必须邀请一个媒人到女孩家提亲。在征得女方家庭同意后，男方家庭应委托媒人用一些礼物正式求婚。通常，最常见的礼物是大雁，它代表忠诚。此外，鸳鸯和绵羊也是经常使用的礼物。(高筱倩 2017, 235)<br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment. (Gao Xiaoqian 2017, 235)<br /> <br /> 问名是指男孩的家人要求媒人取女孩的名字和出生日期。这个步骤有两个目的：一是防止同姓近亲结婚；二是确定准新娘和新郎的&quot;生辰八字&quot;是否合拍。(高筱倩 2017, 235)<br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage. (Gao Xiaoqian 2017, 235<br /> <br /> 纳吉发生在媒人取回女方的名字和八字之后。如果占卜到吉兆，男方家庭就会通知女方父母，决定订婚。(高筱倩 2017, 235)<br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. (Gao Xiaoqian 2017, 235)<br /> <br /> 更重要的是，纳征是男孩给女孩送订婚礼物的一个重要步骤，出于礼貌，女孩会送回部分礼物，如食物和一些衣服。（高筱倩 2017, 235）<br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. (Gao Xiaoqian 2017, 235)<br /> <br /> 请期是指男方家庭选择一个黄道吉日举行婚礼，然后派遣媒人告诉女方家庭。(高筱倩 2017, 235)<br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home. (Gao Xiaoqian 2017, 235)<br /> <br /> 亲迎是六礼中的最后一道程序，即新郎到新娘家把新娘接到自己家里。(高筱倩 2017, 235)<br /> <br /> Customs 习俗<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage. (Zhang Yueying 2013, 47-48)<br /> <br /> 除了上面提到的六个步骤外，中国传统的婚礼仪式还有许多其他习俗。一般来说，古代的婚姻是由父母和媒妁之言，许多年轻人不能掌握自己的婚姻。在结婚仪式之前，男女双方是不允许见面的，因为古代人非常保守，大多数女孩都被关在闺房里。如果他们在婚前私下见面，会被认为是女性不忠，父母也会认为这很不吉利。在这种情况下，新婚夫妇只能在结婚前见到对方。(张月莹 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017, 235)<br /> <br /> 在婚礼当天，男孩的家人会在家里举行盛大的宴会。在出发接新娘之前，新郎要先祭拜祖先，以求在接新娘的过程中安全、吉祥。(高筱倩 2017, 235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony - at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017, 235)<br /> <br /> 之后的步骤是整个仪式中最隆重的一步--在黄昏时分，新郎和新娘及其父母以及所有宾客将聚集在堂屋，见证新人的跪拜礼节，其中包括四个步骤： (高筱倩 2017, 235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night. (Gao Xiaoqian 2017, 235)<br /> <br /> 第一步是叩拜天地，表明古人对神灵和大自然为他们创造良好的生活环境的敬畏和感激。第二个叩头面向父母，表达对父母养育之恩的感激之情，真诚地希望父母能够保持健康。然后，新人要向对方磕头（夫妻对拜），这也是对夫妻双方共同生活到老的期望。最后一道程序是入洞房：新娘被送入洞房，新郎与客人喝酒，直到晚上。(高筱倩 2017, 235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming. (Gao Xiaoqian 2017, 235)<br /> <br /> 婚礼仪式结束后，新人必须在第三天一起回到女方家，这叫 &quot;回门 &quot;或 &quot;归宁&quot;。这个礼节是不可缺少的。新郎要带一些礼物以示尊重，并改变对新娘父母的称呼方式，后者也会为新人的到来准备好食物。(高筱倩 2017, 235)<br /> <br /> Development发展<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more. (Zhang Yueying 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel. (Zhou Dandi, Yue Shufa 2012, 15)<br /> <br /> 随着时间的推移，现在有很多关于婚姻的改革。成年人拥有选择配偶的自由，如果可能的话，他们可以每天见面。父母不能再掌控他们的 &quot;人生大事&quot;。(张月莹 2013, 47）此外，许多夫妇会跳过婚礼仪式中的繁琐仪式，他们中的一些人选择在教堂里与一些亲密的亲戚和朋友一起举行仪式，有些人甚至通过旅行完成仪式。(周丹迪, 岳书法 2012，15）。<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics (Zhou Dandi, Yue Shufa 2012, 15).<br /> <br /> 尽管如此，大多数年轻人仍然采用中国传统习俗的主要程序，其中的一些一直流传到今天。订婚礼物和嫁妆仍然存在，许多夫妇选择穿红色服装。新郎要到新娘家去护送她参加婚礼，等等。由此可见，中国的传统婚俗大多深深扎根于中国人的心中，显示出独特的中国特色(周丹迪, 岳书法 2012, 15)。<br /> <br /> References<br /> <br /> Gao Xiaoqian. 高筱倩. (2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235. <br /> <br /> Zhang Yueying. 张月莹. (2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48. <br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法. (2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15. <br /> <br /> Terms and Expressions<br /> <br /> Na Cai 纳彩<br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉<br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 请期<br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门<br /> <br /> Guiling 归宁<br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> Questions<br /> <br /> 1. How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2. Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3. What is the kneeling etiquettes?<br /> <br /> 4. When the couple have to return to the girl’s home?<br /> <br /> 5. What changes have been made nowadays?<br /> <br /> 6. Please list some new wedding customs. <br /> <br /> 问题<br /> <br /> 1. 从提亲到完成结婚需要多少个步骤？<br /> <br /> 2. 古代年轻人是否有权利决定自己的婚姻，为什么？<br /> <br /> 3. 跪拜的礼节是什么？<br /> <br /> 4. 新婚夫妇什么时候要回女方家？<br /> <br /> 5. 如今有什么变化？<br /> <br /> 6. 请列出一些新的婚礼习俗。<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 16-21 and 29-35 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> <br /> #审美理想和社会习俗：中国的婚姻习俗 Aesthetic ideals and social customs: Chinese Marriage Customs: https://ks.wjx.top/vm/YJzn8Fl.aspx#<br /> #审美理想和社会习俗： 湖南的伴嫁歌 Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan: https://ks.wjx.top/vm/mBp0heY.aspx <br /> <br /> 3. Choose a topic for your final exam paper (homework)<br /> <br /> ==展示 Presentation by JL==<br /> Powerpoint presentation for download:<br /> https://docs.google.com/presentation/d/1dhr2DlFtgpwN0jJ1vdPobawrpXkBcI-g/edit?usp=sharing&amp;ouid=104571425763898583902&amp;rtpof=true&amp;sd=true<br /> <br /> ==Part 2: Marriage-accompanying songs in Hunan 湖南的伴嫁歌==<br /> <br /> 湖南的伴嫁歌 Aesthetic ideals and social customs: [[Media:Marriage-Accompanying_Songs_in_Hunan.pptx]] <br /> <br /> ===中国的婚姻习俗===<br /> 审美理想和社会习俗：中国的婚姻习俗 Aesthetic ideals and social customs: [[File:Chinese_Marriage_Customs_2023.pdf]]<br /> <br /> ==Marriage-Accompanying Songs in Hunan 湖南的伴嫁歌==<br /> 1. Introduction<br /> <br /> Hunan folk songs are accumulated in the long-term social labor and life of Hunan people. Custom songs are a type of folk songs that are sung in specific custom activities and directly reflect the basic content and characteristics of the custom activities. Folklore needs folk songs to complete its content, and folklore needs folklore as a carrier to pass on. Weddings and funerals are several very important events in a person's life, and are an important part of folklore. Custom songs about weddings and funerals account for a very large proportion of the total number of folk songs in Hunan. (Wen Qiaofeng, 2018, 1）<br /> <br /> 1. 简介<br /> <br /> 湖南民歌是在湖南人长期的社会劳动和生活中积累起来的。风俗歌是在特定的风俗活动中演唱的一种民歌，它直接反映了风俗活动的基本内容和特点。民俗需要民歌来完成其内容，民俗也需要民歌作为载体来传承。婚礼和葬礼是人一生中非常重要的几件事，也是民俗的重要组成部分。有关婚丧嫁娶的习俗歌曲在湖南民歌总数中占有非常大的比例。(文巧凤，2018，1）。<br /> <br /> The folk custom of crying for marriage is popular in many areas of our country, and the custom of crying for marriage is unique in Hunan. It is called &quot;marriage accompanying&quot; in many places in Hunan, and the marriage lament is an important part of Hunan folk songs. The marriage accompanying songs of Chenzhou and Yongzhou in southern Hunan Province have long been famous for their rich and unique singing. Among them, the marriage accompanying songs of Chenzhou are the most representative. In different regions, there are many different names for this accompanying marriage activity, such as &quot;crying in the singing hall&quot;, &quot;crying in the garden&quot;, etc. The songs sung in this custom activity are called, &quot;Hallsitting Song&quot;, &quot;Gardensitting Song&quot; and so on. （Wen Qiaofeng, 2018, chapter1, 5）<br /> <br /> 哭嫁的民俗在我国许多地区流行，而哭嫁的习俗在湖南是独一无二的。在湖南很多地方被称为 &quot;伴嫁&quot;，伴嫁歌是湖南民歌的一个重要组成部分。湘南郴州、永州等地的伴嫁歌早已以其丰富而独特的唱法而闻名。其中，郴州的伴嫁歌最具代表性。在不同地区，这种陪嫁活动有许多不同的名称，如 &quot;坐歌堂&quot;、&quot;坐花园 &quot;等。在这种习俗活动中演唱的歌曲被称为 &quot;坐堂歌&quot;、&quot;花园歌 &quot;等（文巧风，2018，第1章，第5节）。<br /> <br /> 2. Legend about marriage accompanying songs in Hunan<br /> <br /> There is also a very interesting legend about its origin. According to legend, the king of the Chu Kingdom was named Chu Yidi, and he had a daughter named Chu Yu. One day when Chu yu was traveling, she met Chen Xianyun, a fugitive woman from a county in southern Hunan. After learning about her unfortunate coming marriage, she provided her with many things , gave a lot of help, and then led a group of fairies to Chen Xianyun's home on the eve of her marriage to cheer her up. The two girls sang and sang hundreds of narrative songs in succession. The fairies also sang and danced to the beat. From time to time, they sang a few words in antithesis with the princess and Chen Xianyun. The princess and the fairies didn’t return until dawn was about to show up. （Wen Qiaofeng, 2018, chapter1, 6）<br /> <br /> 2. 关于湖南伴嫁歌的传说<br /> <br /> 关于它的起源，还有一个非常有趣的传说。据传说，楚国的国王叫楚仪狄，他有一个女儿叫楚玉。有一天，当楚玉在旅行时，她遇到了来自湖南南部一个县的逃亡妇女陈先云。在得知她即将结婚的不幸消息后，她为她提供了很多东西，给予了很多帮助，然后在她结婚前夕带领一群仙女到陈仙云家为她打气。两个女孩接连唱了几百首叙事歌曲。仙女们也跟着节拍唱起了歌，跳起了舞。他们不时地与公主和陈先云对唱几句。直到天快亮时，公主和仙女们才回来（文巧风，2018，第1章，6）。<br /> <br /> 3. Significance of marriage accompanying songs<br /> <br /> 3. 伴嫁歌的意义<br /> <br /> Marriage accompanying songs is a kind of farewell activity that female companions do with the girl’s expressions of singing. The most prominent feature is around the bride’s marriage, confiding her feelings of parting, and it also expresses their resentment towards the feudal marriage system and the old ethics. Anger and resistance are dominant. According to incomplete statistics, there are still more than 1, 200 songs about marriage accompanying in southern Hunan. <br /> <br /> 伴嫁歌是女伴以姑娘的表现形式进行的一种告别活动。最突出的特点是围绕新娘的婚姻，倾诉自己的离别之情，也表达了她们对封建婚姻制度和旧有伦理的不满。愤怒和反抗是主流。据不完全统计，湘南地区仍有1200多首陪嫁歌。<br /> <br /> In 1993, Jiahe county in southern Hunan was named the &quot;Hometown of Folk Songs&quot; by the Provincial Department of Culture. After the founding of the People's Republic of China, the southern Hunan wedding lament was protected as an artistic wonder in the national characteristic culture. In 1978, the Provincial Department of Culture held a provincial folk song concert in Chenzhou, Hunan and named Chengguan Town as the &quot;Hometown of Folk Songs&quot; in the province. <br /> <br /> The Central Conservatory of Music, Shanghai Conservatory of Music and other professional colleges also use the county folk songs (namely wedding lament songs) as teaching materials. The original wedding folk songs are used in films such as &quot;Hibiscus Town&quot;, &quot;The Tortuous Mountain Path&quot;, &quot;Gongs and Drums in towns&quot;. On May 24, 2021, the marriage lament declared by Jiahe County, Chenzhou City, Hunan Province, was approved by the State Council to be included in the fifth batch of national intangible cultural heritage representative projects. (Chinese government website, 2021, 06)<br /> <br /> 1993年，湘南的嘉禾县被省文化厅命名为 &quot;民歌之乡&quot;。建国后，湘南伴嫁歌作为民族特色文化中的艺术奇葩得到保护。1978年，省文化厅在湖南郴州召开全省民歌会，命名城关镇为全省 &quot;民歌之乡&quot;。<br /> <br /> 中央音乐学院、上海音乐学院等专业院校也以本县民歌（即婚礼哀歌）为教材。电影《芙蓉镇》、《山路弯弯》、《乡镇锣鼓》等都采用了原生态的婚礼民歌。2021年5月24日，湖南省郴州市嘉禾县申报的婚嫁民歌被国务院批准列入第五批国家级非物质文化遗产代表性项目。(中国政府网, 2021, 06) <br /> <br /> 4. Types of marriage accompanying songs<br /> <br /> 4. 伴嫁歌的类型<br /> <br /> Marriage accompanying songs are not limited to the inherent types. There are long songs, marriage joking songs, and crying songs, as well as teasing bridegroom songs. But accompaniment dances are always performed during singing process . <br /> <br /> 伴嫁歌并不局限于固有的类型。有长歌，耍歌，有哭嫁歌，也有徒歌。但伴嫁舞总是在演唱过程中进行。<br /> <br /> First of all, for long songs, they mainly tell sad stories, express unwilling emotions and sad emotions. Existing long songs mostly focus on marital tragedies. Taking into account the weak rhythm and complex thinking of the songs, they are generally sung by high-level artists and singers. <br /> <br /> 首先，对于长歌来说，它们主要是讲述悲伤的故事，表达不情愿的情绪和悲伤的情感。现有的长歌多以婚姻悲剧为主题。考虑到歌曲的节奏感较弱，思维复杂，一般由高水平的艺术家和歌唱家演唱。<br /> <br /> Secondly, in terms of marriage jokes, this type of songs have a large number, distinctive features, and flexible structure. It is a kind of songs that women prefer. The song has a simple sentence pattern, mostly four sentences, and the artistic expression is rich and diverse. This kind of joking songs can be expressed with the help of multi-section style expressions and single style expressions, which are rich in content and involve not only interesting children's songs but also sad songs. Regarding the crying marriage song, it focuses on expressing emotions in the form of crying. The theme of the song focuses on nostalgia and complaining. Both the crying and the song are played casually, and the artistic characteristics are different from other types of songs. <br /> <br /> 其次，在耍歌方面，这类歌曲数量较多，特点鲜明，结构灵活。这是一种女性比较喜欢的歌曲。歌曲句式简单，多为四句话，艺术表现力丰富多样。这类戏曲歌曲可以借助多段式表达，也可以借助单段式表达，内容丰富，不仅涉及有趣的儿歌，也涉及悲歌。关于哭嫁歌，它主要是以哭的形式来表达情感。这类歌的主题集中在怀旧和抱怨上。哭嫁歌的演奏方式都很随意，艺术特点与其他类型的歌曲不同。<br /> <br /> Thirdly, as far as the teasing bridegroom songs are concerned, this type of song is an important manifestation of folklore and occupies a certain position in the wedding song. It mainly tells the plot of the groom being teased. The structure and sentence pattern are relatively simple. Finally, as for the accompaniment dance, the dance is closely related to marriage joking songs and is a free dance that is not restricted by props. Any daily necessities can be used as dance props, which is the main embodiment of humorous thoughts. (Liao Xinglin, 2020, 08)<br /> <br /> 第三，就徒歌而言，这类歌曲是民俗的重要表现形式，在婚礼歌曲中占有一定地位。它主要讲述的是新郎被戏弄的情节。其结构和句式都比较简单。最后，在伴嫁舞方面，该舞蹈与婚俗戏曲密切相关，是一种不受道具限制的自由舞蹈。任何生活用品都可以作为舞蹈道具，这也是幽默思想的主要体现。(廖星麟, 2020, 08)<br /> <br /> 5. Process of marriage accompanying<br /> <br /> 5. 陪嫁的过程<br /> <br /> Traditional marrying accompanying is divided into two steps. Two nights before the wedding, the bride and her female friends sits in the singing hall to accompany the marriage, mainly singing &quot;marriage joking songs&quot;. This is called &quot;short marriage accompanying &quot;. It starts after dinner and ends in the middle of the night. Sitting in the singing hall on the eve of marriage is called &quot;long marriage accompanying &quot;. It also starts after dinner, but it doesn't stop all night, and it will continue to sing until dawn the next day. <br /> <br /> 传统的陪嫁分为两个步骤。婚礼前两晚，新娘和她的女性朋友坐在歌厅里陪嫁，主要是唱 &quot;婚姻戏曲&quot;。这被称为 &quot;短陪&quot;。从晚饭后开始，到半夜结束。结婚前夕坐在歌厅里，称为 &quot;长陪&quot;。也是晚饭后开始，但整夜不停歇，要一直唱到第二天天亮。<br /> <br /> Girls singing marriage joking songs in the middle of the night, singing a long song in the second half of the night, and performing the accompaniment dances at dawn the next day, then the bride will come out to cry for marriage. <br /> <br /> 姑娘们半夜唱婚姻戏曲，下半夜唱长歌，第二天黎明时分表演伴嫁舞，然后新娘子就会出来哭嫁。<br /> <br /> The word for crying for marriage is to see people crying, improvised, mainly to express the feelings of farewell. The content of the accompaniment songs is very rich, there are those who spread history and production knowledge, some who sing about women's labor life, customs, and astronomy and geography, some who laugh and play, there are guessing songs, love songs, and everything. <br /> <br /> 哭嫁一词是见人就哭，即兴发挥，主要是为了表达离别之情。伴唱的内容非常丰富，有传播历史和生产知识的，有唱妇女劳动生活、风俗习惯、天文地理的，有嬉笑打闹的，有猜拳的，有情歌的，什么都有。<br /> <br /> But the most sung songs are the songs that tell parting and reflect the pain of women. When dancing, everything you encounter can be used as a dance tool, which is very lively and free, and has a strong breath of life. The bride cried and sang farewell to relatives and friends at home and then boarded the sedan chair. The sisters were sent to the pavilion on the way and then returned. The whole marriage process was completed. The bride’s brothers, uncles and cousins (all men) will send the family and guests to the husband’s house. (kekeshici, 2019, 05)<br /> <br /> 但唱得最多的是讲述离别和反映妇女痛苦的歌曲。跳舞时，遇到的一切都可以作为舞蹈工具，非常活泼自由，具有强烈的生命气息。新娘哭着和家里的亲戚朋友唱着歌告别，然后上了轿子。姐妹们在路上被送到亭子里，然后返回。整个结婚过程就这样完成了。新娘的兄弟、叔伯和堂兄弟（都是男性）将家人和客人送到夫家。 (可可诗词网, 2019, 05)<br /> <br /> References<br /> <br /> *廖星麟. 嘉禾伴嫁歌的音乐特征与演唱特征研究[J]. 戏剧之家, 2020(08):56-57. <br /> *文巧风. 论湖南风俗民歌[D]. 湖南师范大学, 2018. <br /> *可可诗词网, 湘南嘉禾伴嫁歌, https://www. kekeshici. com, 2019<br /> *李琴, 李跃忠. 嘉禾“伴嫁歌”研究综述[J]. 文教资料, 2019(31):87-89. <br /> *中国政府网, 国务院关于公布第五批国家级非物质文化遗产代表性项目名录的通知, http://www. gov. cn/zhengce/content/2021-06/10/content_5616457, 2021, 05<br /> <br /> Terms and expressions<br /> *marriage accompanying songs 伴嫁歌<br /> *marriage accompanying 伴嫁<br /> *crying in the singing hall 坐歌堂<br /> *crying in the garden 坐花园<br /> *Zuotang Song 坐堂歌<br /> *Wedding lament songs/crying songs 哭嫁歌<br /> *long songs 长歌<br /> *marriage joking songs耍歌<br /> *teasing bridegroom songs 徒歌<br /> *accompaniment dances 伴嫁舞<br /> *Hibiscus Town 《芙蓉镇》<br /> *The Tortuous Mountain Path 《山路弯弯》<br /> *Gongs and Drums in towns 《乡镇锣鼓》<br /> <br /> Questions<br /> #What kind of songs do the marriage accompanying songs in southern Hunan belong to?<br /> #Who sings the marriage accompanying song?<br /> #List at least 3 themes that marriage accompanying songs would cover. <br /> #What types of marriage accompanying songs are there?<br /> #During the singing activity process, would singers sing for the whole night in the &quot;short marriage accompanying&quot;？<br /> <br /> 问题<br /> #湘南地区的婚姻伴奏歌曲属于什么类型的歌曲？<br /> #谁在唱婚姻伴奏歌曲？<br /> #至少列出3个婚姻伴奏歌曲会涉及的主题。<br /> #有哪些类型的婚姻伴奏歌曲？<br /> #在歌唱活动过程中，歌手们会不会在 &quot;短暂的婚姻伴奏 &quot;中唱上一整晚？<br /> <br /> ==Second Section: Student presentations of the two topics==<br /> ===中国的婚姻习俗 Chinese Marriage Customs (3) JL===<br /> Powerpoint for download:<br /> ===湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (3) AX===<br /> Powerpoint for download:<br /> [[File:marriage- accompanying songs in Hunan]]<br /> <br /> [[https://docs.google.com/presentation/d/13u86oFVffR0xf37bi_EXrdCo7rmwi-Z7/edit?usp=sharing&amp;ouid=111274360681988563100&amp;rtpof=true&amp;sd=true]]<br /> <br /> ==Grades for the quizzes==<br /> *WMF 5<br /> *TXL 5<br /> *WYX 5<br /> *JL 5<br /> *KMJ 5<br /> *ZYX 5<br /> *YSY 5<br /> *AHY 5<br /> *YL 5<br /> *PMJ 5<br /> *AX 5<br /> *WXT 5<br /> *AD 5<br /> *SSM 5<br /> *ABE 5<br /> <br /> =第五周 Session 5 Dec 7 11:30-13:00 Part 1: Marriage II, Crying Marriage of Tujia 土家族的哭嫁=<br /> <br /> Teacher presentation [[Media:04_Chin_Cult_Contacting_Tujia.pptx]]<br /> <br /> ==Crying Marriage of Tujia 土家族的哭嫁==<br /> Introduction<br /> <br /> Many ethnic groups in our country have the custom of crying marriage, such as the Yao people and the Miao people in western Hunan, the Yi people in Liangshan, Sichuan, and the Tujia people in western Hubei and western Hunan. When women get married, they all have the ceremony of crying marriage. Among them, Tujia women's crying marriage has the greatest influence, and their crying words are the most abundant and well preserved. In 2005, Tujia wedding laments in Hubei province was identified as one of the first key folk culture protection objects in China (Yin Danping 2009, 126).<br /> <br /> 简介<br /> <br /> 我国许多民族都有哭嫁的习俗，如湘西的瑶族、苗族，四川凉山的彝族，湖北西部和湖南西部的土家族。妇女结婚时，都有哭嫁的仪式。其中，土家族妇女的哭嫁影响最大，其哭词也最丰富，保存最完整。2005年，湖北的土家族哭嫁词被确定为中国首批重点民俗文化保护对象之一（尹旦萍，2009，126）。<br /> <br /> Many Tujia girls learn to cry to marry or learn to participate in crying marriage at an early age, learning how to make crying marriage songful and affecting. It is customary for Tujia girls to cry every night in the first month or half a month before they get married. And they cry for 3-7 consecutive nights before the eve of going out for marriage. When the bride cries for marriage, all the sisters in the village cry for each other. The climax of crying marriage is during the very night before getting married and the next day on the sedan chair (Peng Wulin 2012, 149).<br /> <br /> 很多土家族姑娘在很小的时候就学会了哭嫁，或者学会了参与哭嫁，学会了如何让哭嫁变得有歌声，有影响。土家族女孩在结婚前的第一个月或半个月里，习惯于每晚都要哭。而在出嫁前夕，她们会连续哭上3-7个晚上。新娘哭嫁时，村里所有的姐妹都会为对方哭泣。哭嫁的高潮是在出嫁前的那一夜和第二天的上轿。（彭武麟 2012, 149）。<br /> <br /> First the bride cries with her mother, then with her sister-in-law. After that, the neighbors and other single women come to cry with her, all of them sitting on the bed. While the bride and one of the companions cry aloud, the others weep by the side. The bride cry for her parents and siblings as well as for the relatives and friends, mainly telling her life experience and her sorrow at leaving her loved ones while also expressing her gratitude towards her parents for bringing her up. The women also scold the matchmaker, and encourage the bride. (The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/)<br /> <br /> 首先，新娘和她的母亲一起哭，然后和她的嫂子一起哭。之后，邻居和其他单身女性也来陪她哭，大家都坐在床上。当新娘和其中一个同伴大声哭泣时，其他人则在旁边哭泣。新娘为她的父母和兄弟姐妹以及亲戚朋友哭泣，主要讲述她的生活经历和离开亲人的悲伤，同时也表达了她对父母养育她的感激之情。女方还骂媒人，并鼓励新娘。(The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/)<br /> <br /> Origins of crying marriage哭嫁的由来<br /> <br /> First explanation is, according to a legend, a Tujia girl was sent into a Han family as a daughter-in-law in ancient times. She was crying and her families also were crying and comforting her. <br /> <br /> Second, a Tujia girl quarreled with her brothers and sisters about the distribution of the family property and began to cry on the eve of her marriage. (Chen Tingliang &amp; Peng Nanjun 2005, 171)<br /> <br /> Third, as a special form of farewell, the crying marriage of Tujia girls replaces speech with wedding laments, which have national characteristics and are not sad and mournful. (Chen Tingliang &amp; Peng Nanjun 2005, 172)<br /> <br /> 第一种说明是，根据一个古时代的传说，一位土家族的姑娘被嫁去汉族的家庭作媳妇。她一直在哭，她的家人边哭边安慰她。<br /> <br /> 第二，一位土家族姑娘，在她婚礼的前夜。和她的兄弟姐妹们关于自己家族财产分配而吵起来（陈廷亮&amp;彭南均，2005，171）。<br /> <br /> 第三，一个别的分别仪式，土家姑娘的哭嫁代替了婚礼哀伤致辞，这些是具有民族特色，同时也不是悲伤和遗憾的（陈廷亮&amp;彭南均，2005，172）。<br /> <br /> Reasons for crying marriage<br /> <br /> For themselves<br /> <br /> As individuals in the society, Tujia women's status is relatively low. The arranged marriage made by their parents undoubtedly deepens their dilemma of having no autonomy. In the grand premise, when she sits in the hall, she mainly weeps about her sad fate. The other singers are women, some of them are coming out, and some of them are young girls who are about to meet the same fate. Therefore, They could not help sympathizing with each other when they sigh with sadness for their fates. (Yu Yongyu 2002, 193）<br /> <br /> 哭婚的原因<br /> <br /> 为了自己<br /> <br /> 作为社会中的个体，土家族妇女的地位是比较低的。父母的包办婚姻，无疑加深了她们没有自主权的窘境。在大前提下，当她坐在堂时，她主要是为自己的悲惨命运哭泣。其他歌手都是女性，有的即将出阁，有的则是即将遭遇同样命运的少女。因此，当她们为自己的命运悲叹时，不禁互相同情。(余咏宇 2002, 193)<br /> <br /> For the society<br /> <br /> In addition to the function of satisfying the singer's self-expression and adjusting psychological activities, wedding laments can further consolidate the relationship between the singer and the ethnic group. It also can further consolidate the social status of the individual. Various social functions include: To consolidate ethics: if a Tujia daughter does not cry when she gets married, it shows that she has no filial piety or attachment to her parents. (Yu Yongyu 2002, 198） To evaluate talent: crying to marry is also a measure of a woman's ability. To strengthen collective consciousness: during the marriage ceremony, women walk together spontaneously, complain bitterly about their divorce, and express dissatisfaction with the system of arranged marriage. Women's everyday feelings of unhappy life, expressed through crying, arouse the collective resistance consciousness and give a certain social significance to the collective behavior of crying marriage. (Yu Yongyu 2002, 199）<br /> <br /> 对社会而言<br /> <br /> 除了满足歌者的自我表达和调整心理活动的功能外，婚礼哀乐可以进一步巩固歌者与民族之间的关系。它还可以进一步巩固个人的社会地位。各种社会功能包括： 巩固伦理：如果土家族女儿出嫁时不哭，说明她对父母没有孝心和依恋。(于永玉 2002, 198) 评价才能：哭嫁也是衡量一个女人能力的标准。强化集体意识：在结婚仪式上，妇女自发地走在一起，痛苦地抱怨自己的离婚，并对包办婚姻制度表示不满。妇女通过哭诉表达对生活不幸福的日常感受，唤起了集体的反抗意识，使哭嫁的集体行为具有了一定的社会意义。(余咏宇 2002，199）。<br /> <br /> For religion<br /> <br /> Tujia people see crying marriage as an effective tool to deceive evil spirits and protect the peace of the family house, also as a sign of respect for the ancestors. In the legends of Tujia, there are many evil spirits in the mountains, and they always come to disturb every happy event. In order to ensure safety, the bride pretends to be sad so that the evil spirits will not be aware of the happy event and the happy event will go on smoothly. (Yu Yongyu 2002, 201）<br /> <br /> 对于宗教<br /> <br /> 土家族人将哭嫁视为欺骗邪灵、保护家宅平安的有效手段，也是对祖先的尊重。在土家族的传说中，山里有很多邪灵，每逢喜事，他们总是来捣乱。为了确保安全，新娘要装作很伤心的样子，这样邪灵就不会知道喜事，喜事也就顺利进行了。(余咏宇 2002, 201)<br /> <br /> Relations between Wedding laments and Tujia's music culture<br /> <br /> First, the content of wedding laments mostly expresses brides’ feelings of being parted from their relatives and their worries about the future prospects. Even though bride and groom meet before marriage, they don’t know each other very well. The whole marriage system still has the mark of blind marriage left over from the Qing Dynasty. Therefore, there are some reasons for brides to get married in tears. Second, wedding laments always are improvised with concise music structure and vivid lyrics. Wedding laments contain three elements: crying, song and language, which rise and fall with the change of mood. Its creation and expression are natural, sincere and appealing. Tujia people are used to express their ideas by singing impromptu songs, so wedding laments are in the same line with the characteristics of Tujia folk songs and music culture. Third, wedding laments are actually linked to ceremonies. In the process of ceremonies, the bride will cry and sing according to the content of ceremonies and the identity of the participants, and so does the duet. The combination of the ceremony and wedding laments is flexible and structured. For example, in the same ceremony, the general idea of the lyrics is the same, but the details of the lyrics are arranged by the singer at will, which is mainly controlled by the crying singer without fixed length and time limit. Similar musical phenomena also appear in other Tujia ritual songs. (Yu Yongyu 2002, 225）<br /> <br /> 婚礼哀歌与土家族音乐文化的关系<br /> <br /> 首先，婚礼哀歌的内容大多表达了新娘与亲人分离的心情和对未来前景的担忧。尽管新郎和新娘在婚前相识，但他们并不了解对方。整个婚姻制度仍有清朝遗留下来的盲婚哑嫁的痕迹。因此，新娘哭着结婚是有一定原因的。其次，婚礼哀乐总是即兴创作，音乐结构简明，歌词生动。婚礼哀歌包含三个要素：哭、歌和语言，随着情绪的变化而起伏。它的创作和表达是自然的、真诚的、吸引人的。土家族人习惯于用即兴演唱的方式来表达自己的想法，因此，婚礼赞歌与土家族民歌和音乐文化的特点一脉相承。第三，婚礼赞歌实际上与仪式有关。在仪式过程中，新娘会根据仪式的内容和参与者的身份进行哭唱，对唱也是如此。仪式和婚礼哀乐的结合是灵活而有条理的。例如，在同一仪式中，歌词的大意是一样的，但歌词的细节却由演唱者随意安排，主要由哭唱者控制，没有固定的长度和时间限制。类似的音乐现象也出现在其他土家族祭祀歌曲中。(余咏宇 2002，225）。<br /> <br /> Terms and Expressions<br /> *Yao 瑶族<br /> *Miao 苗族<br /> *Yi 彝族<br /> *Tujia 土家族<br /> *crying marriage 哭嫁<br /> *wedding laments 哭嫁歌<br /> *sedan chair 轿子<br /> *Han 汉族<br /> *For themselves 对己（心理功能）<br /> *For the society 对人（社会功能）<br /> *For religion 对灵（宗教功能）<br /> <br /> References<br /> <br /> ［1］余咏宇 Yu Yongyu 2002 土家族哭嫁歌之音乐特征与社会涵义 [Musical Characteristics and Social Meaning of the Tujia Wedding Laments]<br /> <br /> ［2］陈廷亮、彭南均 Chen Tingliang &amp; Peng Nanjun 2005 土家族婚俗与婚礼歌 [Tujia Wedding Custom and Wedding Songs]<br /> <br /> ［3］彭武麟 Peng Wulin 2012 中国土家族 [Chinese Tujia]<br /> <br /> ［4］尹旦萍 Yin Danping 2009 当代土家族女性婚姻变迁 [Contemporary Tujia women marriage changes]<br /> <br /> ［5］The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/<br /> <br /> Questions<br /> #Which ethnic groups in our country have the custom of crying marriage?<br /> #When was Tujia wedding laments in Hubei province identified as one of the first key folk culture protection objects in China?<br /> #What are origins of crying marriage?<br /> #Why did crying marriage emerged?<br /> <br /> 问题<br /> #我国哪些民族有哭嫁的习俗？<br /> #湖北省的土家族婚礼哭嫁是什么时候被确定为中国首批重点民俗文化保护对象的？<br /> #哭嫁的起源是什么？<br /> #为什么会出现哭嫁？<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 22-29 and 36-42 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> <br /> 审美理想和社会习俗：习惯，接触方式。古代和当代的接触方式 Aesthetic ideals and social customs: Habits, Ways of Contacting https://ks.wjx.top/vm/Pmk7uOt.aspx<br /> <br /> 审美理想和社会习俗：土家族的哭嫁 Aesthetic ideals and social customs: Crying Marriage of Tujia https://ks.wjx.top/vm/mp6jP3P.aspx<br /> <br /> ==展示 Presentations==<br /> <br /> ===古代和当代的接触方式===<br /> <br /> 审美理想和社会习俗：习惯，接触方式。古代和当代的接触方式 Aesthetic ideals and social customs: Habits, Ways of Contacting [[File:Ways_of_contacting.pdf|Aesthetic ideals and social customs: Habits, Ways of Contacting]]<br /> <br /> ===土家族的哭嫁===<br /> <br /> 审美理想和社会习俗：土家族的哭嫁 Aesthetic ideals and social customs: Crying Marriage of Tujia : [[Media:Tujia.pptx|Aesthetic ideals and social customs: Crying Marriage of Tujia]]<br /> <br /> =第五周 Session 5 Dec 7 11:30-13:00 - Part 2: Most handsome men=<br /> LML!!! :3<br /> <br /> 老师的展示 Teacher's presentation<br /> [[Media:05_Chin_Cult_Handsome_Panda.pptx]]<br /> <br /> ==The Four Most Handsome men in Ancient China 中国古代的四大才子==<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time. Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent. <br /> <br /> 据说古代有“四大美女”，与此相对应，值得一提的是，当时有“四大才子”。尽管我们认为这四个男人很有魅力，但这指的不仅仅是他们的外表。他们有一个共同的特点：证明了在他们的外表令人惊叹的同时，他们在文学方面也很出色。也就是说，正如中国的一句话所说，他们既有美貌又有才华。<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie. (Wang Zhenbo 2008, 59-60）<br /> <br /> 这四个人是潘安、兰陵王、嵇康和卫玠。(王真波 2008，59-60）。<br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An [Pan Yue], which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less. &quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> “掷果盈车”的典故源于潘安，这就像现在的影迷看偶像一样。对潘安[潘岳]的外貌有一个评论： &quot;不增不减。&quot;史书上还用三个词来形容潘安：&quot;好看、有气质、有风度&quot;[从英文翻译，不是原文]。虽然这些都没有详细描述潘安的外貌，如眉眼、嘴唇等，但从这些侧面的描述中，我们可以知道潘安的外貌远远高于普通人，甚至他的风格也引得别人的模仿。<br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> 同时，潘安被誉为 &quot;河阳一县之花&quot;[从英文翻译，不是原文]，他也是为数不多的被比作花朵的男人，被赞美为优秀的外表。外表的美丽在这个世界上只能是不能长久的。潘安的才华和气质以及对妻子的奉献精神也常常被人讴歌。潘岳从小就表现出不凡的才华，被乡亲们称为神童。早年，他受到官员的赏识，被推荐为秀才。<br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> 后任河阳（今河南孟县）[从英文翻译，不是原文]县令，勤于政事，倡导百姓多种果木。县内树木葱茏，桃李遍地，被称为 &quot;花县&quot;[从英文翻译，不是原文]。在他执政期间，政绩斐然。此外，潘安在文学史上也有特殊地位。<br /> <br /> He was good at composing verse and odes and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed. (Liu Xixue 2003, 63-64）<br /> <br /> 他善于作诗作赋，善于选词造句，充分体现了太康文学注重形式美的特点。他擅长作《慈禧抒怀》和《谏逐客书》[从英文翻译，不是原文]，目前的作品如《寡妇赋》、《悼亡诗》[从英文翻译，不是原文]等名篇，都以叙事和移情见长。潘安可以说是内外兼修，有福同享。(刘西学2003，63-64）。<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> 高长恭（541-573），人称兰陵王，神武帝高欢之孙，高成帝文襄之第四子。关于兰陵王有一个流传已久的传说。人们认为兰陵王是一个勇敢的、有超强能力的将军。然而，由于他看起来非常甜俊，似乎很难吓到敌人，所以他在战斗时经常戴着半面面具，这听起来很像童话。<br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> 尽管如此，兰陵王的美貌是毋庸置疑的，是超凡脱俗的。《北齐书》中描述，他长相和蔼，精神强健，声音和外表都很美。兰陵王大半生都在处理军事事务，并取得了巨大的成就。这在给他带来荣耀的同时，也带来了厄运。中国有句古话，大量成就带来的下等人的光芒会盖过上等人[从英文翻译，不是原文]。<br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King. (Wang Zhenbo 2008, 59-60）<br /> <br /> 虽然兰陵王并没有篡夺王位的想法，但在位者却因为他的存在本身而感到威胁。最后，一杯毒酒结束了兰陵王的生命。(王真波 2008，59-60）。<br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. <br /> <br /> 宋玉（约公元前322年-公元前298年），据传是屈原的学生，出生在战国时期的宋朝首都（今河南商丘）。宋玉是战国晚期楚国的一位词人，擅长词曲，甚至被誉为屈原之后的大诗人。后人常称其为 &quot;屈宋&quot;。坊间流传着他有很多词，《汉书》记载了约16部作品，但其中很多作品今天已经失传。<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. <br /> <br /> 他的作品包括《九辨》、《风赋》等。他是第一个写秋悲的人，也是第一个写女人的人。他对女性本性的描述对后世曹植等人产生了很大的影响。宋玉的《神女赋》中的神女体现了先秦女性美的精髓，详细叙述了巫山神女的美貌，以至于后人千百年来对其垂涎欲滴。<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times. (Wang Zhenbo 2008, 59-60）<br /> <br /> 有16部作品流传下来，其中《九辨》被认为是真正由他创作的。在中国文学史上，它相当于屈原的《离骚》或《哀<br /> 乐》[从英文翻译，不是原文]。这两位诗人在他们的时代都可以称为慈禧抒情诗[从英文翻译，不是原文]中的两颗璀璨的明珠。(王真波 2008，59-60）。<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly. ”<br /> <br /> 卫玠（286-312年6月20日），晋代玄学家、官员。卫玠是魏晋时期著名的清谈名士和玄学家。他被任命为太子政<br /> 治事务的助手。永嘉四年（公元310年），卫玠去世，年仅27岁。古书和古人都对卫玠的外貌作了评价。王吉认为：&quot;有玉在侧，吾觉无名&quot;；&quot;与九同游，犹如明珠在侧，熠熠生辉。&quot;[从英文翻译，不是原文]<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior. . . &quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> 司马光撰写的《资治通鉴》作为统治者的镜子，详细介绍了： &quot;卫玠有得天独厚的外表，说话和分享时有自己的理解力；常常认为人们如果低人一等，就可以被原谅了。。。 &quot;卫玠不仅有令人赞叹的外表，而且还能从他的角度辨别出形而上学。卫玠的观点总是让有关方面感到惊艳。<br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents. (Wang Zhenbo 2008, 59-60）<br /> <br /> 据说，即使是王家的三个儿子，也不如卫家的长子，而王家的三个儿子都是当时有名的学者，而卫玠在家庭背景、外表和才能方面与三人相比，可以说是无可比拟的。(王真波 2008, 59-60）。<br /> <br /> Terms and Expressions<br /> *Pan An 潘安<br /> *King Lanling 兰陵王<br /> *Ji Kang 嵇康<br /> *Wei Jie 卫玠<br /> *throwing fruit to fill a carriage 掷果盈车<br /> *scholar 秀才<br /> *expatiation 铺陈<br /> *Book of Northern Qi Dynasty 《北齐书》<br /> *the Warring States Period 战国时期<br /> *Book of Han 《汉书》<br /> *Nine Discriminations 《九辨》<br /> *The Fu poetry of Wind 《风赋》<br /> *The Fu poetry of Goddess 《神女赋》<br /> *the goddess of Wushan Mountain 巫山神女<br /> *metaphysician 玄学家<br /> *a noted talker 清谈名士<br /> *History Retold as a Mirror for rulers 《资治通鉴》<br /> *Widow's Fu 《寡妇赋》<br /> *Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体<br /> <br /> Questions<br /> #Who are the four most handsome men at ancient time in China?<br /> #Who is Gao Changgong?<br /> #How did Lanlin King die?<br /> #What works did Song Yu compose?<br /> #Who are the two shining pearls in Ci lyric according to the passage?<br /> #What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> 问题<br /> #中国古代最英俊的四个男人是谁？<br /> #高长恭是谁？<br /> #兰陵王是怎么死的？<br /> #宋玉创作了哪些作品？<br /> #根据这段话，《慈禧》词中的两颗闪亮的珍珠是谁？<br /> #作为统治者的镜子，《史记》对卫玠有什么评价？<br /> <br /> References<br /> <br /> 刘细学. 古代四大美男[J]. 文史天地, 2003(06):63-64. <br /> <br /> 王真波. 四大美男都是怎么死的[J]. 青年文学家, 2008(11):59-60.<br /> <br /> =第6周 Session 6 Dec 14 11:30-13:00 - Part 1: The Panda 熊猫=<br /> <br /> AHY [[File:Haoyang_powerpoint.pptx]]<br /> <br /> <br /> 1. The origin of giant pandas<br /> <br /> The ancestor of the giant panda is Ailuaractos. The scientific name of the giant panda is actually &quot;cat bear&quot;, which means &quot;a bear like a cat&quot;. The main branch of it continued to evolve in central and southern China. One species of Ailuaractos appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda. (Sun Chengqian, 2006, 163)<br /> <br /> 1. 大熊猫的祖先<br /> <br /> 大熊猫的祖先是Ailuaractos。大熊猫的学名实际上是 &quot;猫熊&quot;，意思是 &quot;像猫一样的熊&quot;。它主要分支在中国中部和南部继续进化。Ailuaractos的一个物种出现在大约300万年前的更新世早期，它的体型比现在的熊猫小。(孙承骞, 2006, 163)<br /> <br /> In the process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500, 000-700, 000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Biological fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengqian, 2006, 163)<br /> <br /> 在这个过程中，大熊猫适应了亚热带竹林的生活，体型逐渐增大，并依靠竹子为生。在更新世中后期，大约500，000-700，000年前，是大熊猫的鼎盛时期。秦岭大熊猫已被确定为大熊猫的一个亚种。生物化石显示，大熊猫的祖先出现在200万至300万年前的早期。 (孙承骞, 2006, 163)<br /> <br /> The habitat of giant pandas once covered most of eastern and southern China, reaching Peking in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as &quot;living fossils&quot;. China calls them &quot;national treasures. &quot;(Sun Chengqian, 2006, 165)<br /> <br /> 大熊猫的栖息地曾经覆盖了中国东部和南部的大部分地区，北至北京，南至缅甸南部和越南北部。大熊猫化石通常在海拔500至700米的温带或亚热带森林中发现。大熊猫存活到现在，保持着原有的古老特征。因此，它们具有很大的科学价值，被称为 &quot;活化石&quot;。中国称它们为 &quot;国宝&quot;。&quot;（孙承骞，2006，165）。<br /> <br /> 2. Appearance features of giant pandas<br /> <br /> Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. The weight is 80-120kg, and its maximum weight can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengqian, 2006, 165)<br /> <br /> 2. 大熊猫的外形特征<br /> <br /> 大熊猫像熊一样胖，丰满，头圆，尾短，头长1200-1800mm，尾长100-120mm。体重为80-120公斤，最大体重可达到180公斤。饲养的大熊猫要重一些，雄性一般比雌性略大。其头部和身体的毛色黑白分明。 (孙成建，2006，165)<br /> <br /> However, it is not pure black, or pure white. It is black with brown through and white with yellow. The pandas in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengqian, 2006, 165)<br /> <br /> 然而，它不是纯黑色，也不是纯白色。它是黑中透棕，白中透黄。秦岭的大熊猫体型比较大，体毛粗糙，腹毛略带褐色。黑白相间的外观有利于隐藏在茂密的林木和白雪覆盖的地面，不容易被天敌发现。相对锋利的爪子、发达而有力的前后肢帮助大熊猫迅速爬上高大的树木。(孙承骞, 2006, 165)<br /> <br /> The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short and shallow. (Sun Chengqian, 2006, 165)<br /> <br /> 大熊猫的皮肤很厚，最厚处可以达到10毫米。身体不同部位的皮肤厚度是不同的。身体的背面比腹面厚，身体的外部比身体的内部要厚。皮肤的平均厚度约为5毫米，它是白色的，有弹性和韧性。大熊猫的视觉极其不发达。这是因为大熊猫长期生活在茂密的竹林中。光线很暗，障碍物很多，使它们的眼睛很短很浅。(孙承骞, 2006, 165)<br /> <br /> In addition, because its pupils are split like cats, they can still do activities when night comes. Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. The climate is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu. (Sun Chengqian, 2006, 165)<br /> <br /> 此外，由于它的瞳孔像猫一样是分裂的，所以当夜晚来临的时候，它们仍然可以进行活动。大熊猫生活在中国长江上游的高山和深谷中，这里是东南季风的迎风面。气候温暖湿润，其湿度常在80%以上。大熊猫喜欢潮湿的环境。大熊猫生活的6个狭长区域，包括岷山、邛崃、凉山、大相岭、小相岭和秦岭，横跨四川、陕西和甘肃3省的45个县（市）。(孙承骞, 2006, 165)<br /> <br /> The land area of their habitats is more than 20, 000 square kilometers, and the population of there is about 1, 600, of which more than 80% are distributed in Sichuan. (Sun Chengqian, 2006, 165)<br /> <br /> 其栖息地的土地面积超过20,000平方公里，人口约1,600，其中80%以上分布在四川。(孙承骞, 2006, 165)<br /> <br /> 3. The diet features of giant pandas<br /> <br /> The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as the &quot;bamboo bear&quot; by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi, 1981, 17)<br /> <br /> 3. 大熊猫的饮食特点<br /> <br /> 大熊猫的食谱非常特别，几乎包括在高山地区可以找到的所有种类的竹子。大熊猫偶尔也吃肉（通常是动物的尸体，有时是根茎类动物的尸体）。大熊猫独特的饮食特点使它被当地人称为 &quot;竹熊&quot;。大熊猫已逐渐进化为食草动物。由于竹子的营养不多，只能提供大熊猫生存所需的基本营养，大熊猫在野外环境中除了睡觉或一些短途活动外，每天进食时间长达14小时。一只大熊猫每天要吃12至38公斤的竹子，这接近其体重的40%。(胡锦矗, 1981, 17)<br /> <br /> They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can choose other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation. (Hu Jinzhi, 1981, 20)<br /> <br /> 它们喜欢吃竹子中营养最丰富、含纤维素最少的部分，即嫩茎、毛刺和竹笋。在大熊猫栖息地，通常至少有两种竹子。当一种竹子开花和死亡时（竹子每30至120年定期开花和死亡），大熊猫可以选择其他竹子。然而，栖息地的持续破碎化增加了只有一种竹子的可能性。当这种竹子变得与众不同时，这个地区的大熊猫将面临饥饿的威胁。(胡锦矗，1981，20)<br /> <br /> Terms and expressions<br /> *Ailuaractos lufengensis 始熊猫<br /> *Pleistocene 更新世<br /> *rhizomys 竹鼠<br /> *cellulose 纤维素<br /> *burgeons 嫩枝<br /> <br /> Questions<br /> #What's the ancestor of giant pandas?<br /> #What are the features of giant pandas' skin?<br /> #Do giant pandas like hot environment?<br /> #What part of bamboo do giant panda eat?<br /> <br /> 问题<br /> #大熊猫的祖先是什么动物？<br /> #大熊猫的皮肤有什么特点？<br /> #大熊猫喜欢高温环境吗？<br /> #大熊猫吃竹子的哪一部分？<br /> <br /> References<br /> <br /> [1]Yan Weiran, Tang Maolin, Chen Zeyuan, Chen Peng, Zhao Qijun, Que Pinjia, Wu Kongju, Hou Rong, Zhang Zhihe. Automatically predicting giant panda mating success based on acoustic features[J]. Global Ecology and Conservation, 2020, 24. <br /> <br /> [2]丛丽, 吴必虎. 基于网络文本分析的野生动物旅游体验研究——以成都大熊猫繁育研究基地为例[J]. 北京大学学报(自然科学版), 2014, 50(06):1087-1094. <br /> <br /> [3]雍严格, 王宽武, 汪铁军. 佛坪大熊猫的移动习性[J]. 兽类学报, 1994(01):9-14. <br /> <br /> [4]胡锦矗. 大熊猫的食性研究[J]. 南充师院学报(自然科学版), 1981(03):17-22. <br /> <br /> [5]孙承骞, 张哲邻, 金学林. 秦岭大熊猫局域种群的划分及数量分布[J]. 陕西师范大学学报(自然科学版), 2006(S1):163-167.<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 42-52 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes https://ks.wjx.top/vm/YyByKqx.aspx https://ks.wjx.top/vm/QjARged.aspx#<br /> <br /> 3. 记得参加100个问题的调查和欧盟调查 remember to complete the EU survey and the 100 questions questionnaire<br /> <br /> http://bit.ly/EU-SURVEY<br /> <br /> http://bit.ly/100_questions<br /> <br /> ==展示 Presentations==<br /> <br /> 中国古代的四大才子<br /> <br /> 审美理想和社会习俗：中国古代的四大才子 Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China [[ Media:Four_Most_Handsome_Men_In_Ancient_China.pptx|The Four Most Handsome Men in Ancient China]]<br /> <br /> ===熊猫===<br /> <br /> 审美理想和社会习俗： 熊猫 Animals: Panda [[ Media:Animal_Panda.pptx|Panda]]<br /> <br /> =第6周 Session 6 Dec 14 11:30-13:00 - Part 2: Architecture 建筑学=<br /> <br /> ==Architecture 建筑==<br /> China has a long history and a rich cultural heritage. Here history has left behind many old and outstanding architectural relics, which are the result of several thousand years of development and form a system unique among the architectural styles of the world. Wooden frames appeared in Chinese architecture as long as 2, 000 years ago. From relics in Han Dynasty tombs and watch-towers built above the ground, early forms of wood structures can be seen. <br /> <br /> 中国有着悠久的历史和丰富的文化遗产。这里的历史留下了许多古老而优秀的建筑遗迹，它们是几千年发展的结果，在世界建筑风格中形成了独特的体系。早在两千年前，中国建筑中就出现了木构架。从汉代墓葬和建在地面上的瞭望塔的遗迹中，可以看到木结构的早期形式。<br /> <br /> Most of the wood-structured buildings fall into 3 categories: the beams-in-tiers structural system, the column and tier-beam structural system, and the log cabin-type system. Among the three, the first was the most commonly used in old Chinese architecture, in large structures like palaces and temples as well as in folk residences in North China. This frame is formed of wood or stone columns standing on the building’s foundation, with beams placed across them in the depth-wise direction. Short vertical posts are then placed on the beams, with additional beams placed across these. The wooden frame is formed of such layers, one upon the other, until they reach the ridge of the roof. These parallel units are connected by square longitudinal beams and round longitudinal posts at the ends of the cross-wise beams and across the spine posts called purlins. Rafters are laid lengthwise across the purlins. <br /> <br /> 大多数木结构建筑分为三类：梁柱式结构体系、柱子和层架式结构体系以及木屋式体系。在这三类中，第一类是中国古建筑中最常用的，用于宫殿和寺庙等大型建筑以及华北地区的民间住宅。这种框架由站在建筑基础上的木柱或石柱组成，横梁沿纵深方向放置。然后在梁上放置短的垂直柱子，并在这些柱子上放置额外的梁。木制框架是由这样的层数组成的，一个接一个，直到它们到达屋顶的脊部。这些平行的单元由方形纵梁和圆形纵柱连接，纵梁的两端和横跨的脊柱称为檩条。椽子是纵向铺设在檩条上的。<br /> <br /> Extremely important in traditional architecture is the dou-gong (corbel brackets). Dou-gong refers to the use in the frame of several layers of short bow-shaped wood arms called gong at the top of the columns where they meet the crossbeams. Between two layers of gong is placed a block of wood called a dou. The unit formed of several layers of dou and gong is called a dou-gong. These are used under the eaves to set the eaves out from the roof in an overhang, support the ends of the beams and reduce their span. <br /> <br /> 传统建筑中极为重要的是斗拱（corbel brackets）。斗拱是指在柱子顶部与横梁相接的地方，在框架中使用几层短的弓形木臂，称为锣。在两层铜锣之间放置一个称为斗的木块。由几层斗和锣组成的单元被称为斗拱。这些都是在屋檐下使用的，使屋檐从屋顶上悬空出来，支撑着梁的两端，减少其跨度。<br /> <br /> The most widespread and numerous residential structures are the “courtyard style” residences in the north. The name derives from the fact that four buildings, set on the foresides of a square area and with connecting halls between them, are made to form a courtyard. Generally the building on the north that faces south was called the “master building”, because it had the best position - warmest in winter and coolest in summer - and was usually used by the head of the household or members of the older generation. The houses on the east and the west were called “side buildings”. The southern building was sometimes called the “building at the other end”, and was used for children and the servants. This arrangement was appropriate to the old Confucian ethics in that it separated old and young, master and servant, and so emphasized the hierarchical relationship of superior and inferior. <br /> <br /> 最广泛和最多的住宅结构是北方的 &quot;四合院式 &quot;住宅。这个名字源于这样一个事实，即四座建筑设置在一个正方形区域的前侧，它们之间有连接的大厅，形成一个院落。一般来说，北面朝南的建筑被称为 &quot;主楼&quot;，因为它有最好的位置--冬暖夏凉--通常由户主或老一辈成员使用。东边和西边的房子被称为 &quot;侧楼&quot;。南边的建筑有时被称为 &quot;另一端的建筑&quot;，供孩子和仆人使用。这种安排适合于古老的儒家伦理，因为它将老人和年轻人、主人和仆人分开，因此强调了上下级的等级关系。<br /> <br /> The size of these houses varied according to the owner’s economic status. Groups of buildings were added in the north-south or east-west directions to form additional courtyards, but the important rooms were arranged along an axis with basic symmetry along it, according to the set arrangement for such a group of buildings. Likewise, large structures, such as palaces and temples, are built of single units grouped together about a courtyard. Generally speaking, Chinese architecture begins with four columns that form a bay; groups of bays form the different types of single buildings; and single buildings form different sizes of architectural complexes around courtyards. In fact, a city itself is just a collection of many complexes of buildings with different functions grouped together. The most representative examples of traditional Chinese architectural skills and attainments are each dynasty’s palaces and halls. Of them, the Ming and Qing palace complex in Peking - the Forbidden City, is the only one remaining and the largest in the whole country. <br /> <br /> 这些房屋的大小因主人的经济地位而异。在南北或东西方向上增加了建筑群，以形成额外的庭院，但重要的房间是沿着一条轴线排列的，沿轴线基本对称，按照这样的建筑群的既定安排。同样，大型建筑，如宫殿和寺庙，也是由单个单元围绕一个院子组合而成的。一般来说，中国建筑从四根柱子开始，形成一个海湾；海湾群形成不同类型的单体建筑；而单体建筑围绕庭院形成不同规模的建筑群。事实上，一个城市本身就是由许多具有不同功能的建筑群组合而成的。中国传统建筑技巧和造诣的最有代表性的例子是每个朝代的宫殿和厅堂。其中，位于北京的明清宫殿群--紫禁城，是全国仅存的、最大的宫殿群。<br /> <br /> Buddhism was one of China’s most important religions in the past. Thus, the construction of temples was an important architectural activity in all dynasties, and temples occupied an important position in Chinese architecture. Buddhist temples acquired a general arrangement specific to their needs. Inside the front gate of a temple are a “hall of celestial guardians”, a “hall of Buddha”, and in the rear is a tower where scriptures were stored. To the left and the right are a meditation hall, a visitors’ hall, monks’ living quarters and so on. Some most important Buddhist halls are of the multi-level tower or pavilion style with high ceilings and spacious interiors, such as the Mahayana Pavilion at Chengde’s Yongning Temple and the Guanyin Pavilion of Jixian’s Dule Temple. Buddhist pagoda, which had its origin in India as a tomb in which the bones of Sakyamuni’s were buried, is also an indispensable part of religious architecture. Through the long history, it evolved and developed together with China’s traditional towers, gradually giving form to a type of pagoda unique to China. The representative pagodas include Peking’s Miaoying Temple Pagoda, which was built in the 13th century during the Yuan Dynasty; Xi’an’s Xuanzhang Pagoda and the pagoda at Xiangji Temple, which was built in the 7th century. <br /> <br /> 佛教在过去是中国最重要的宗教之一。因此，在各个朝代，修建寺庙是一项重要的建筑活动，寺庙在中国建筑中占有重要地位。佛教寺庙根据其需要获得了一种特定的总体安排。寺庙前门内有&quot;天王殿&quot;、&quot;佛殿&quot;，后门是存放经书的塔。左右两边是禅房、客堂、僧人的生活区等。一些最重要的佛教殿堂是多层塔式或亭式，天花板很高，室内很宽敞，如承德永宁寺的大乘阁和蓟县独乐寺[从英文翻译，不是原文]的观音阁。佛教塔，起源于印度，是埋葬释迦牟尼遗骨的坟墓，也是宗教建筑中不可缺少的一部分。在漫长的历史长河中，它与中国的传统塔楼一起演变和发展，逐渐形成了中国特有的塔楼类型。具有代表性的佛塔包括北京的妙应寺塔，它建于13世纪的元朝；西安的玄奘塔和建于7世纪的香积寺塔。<br /> <br /> The unique way in which art is used in old Chinese architecture can be seen in the addition of decorations to the various components of a building, from the entire exterior of a building to a single beam end or tile. The roofs of Chinese buildings appear rather large because of their wooden structure. The early Chinese architects also used unique qualities of the wood structure to create a curved roof, with the eaves turned up slightly at the four corners, and with various interesting animals on top of the ridge; they also created the hipped roof, the hipped and gabled roof, the single- eaved roof and the multi-eaved roof and other styles, giving the roof a special artistic character. A simple method was used to make the beams inside the roof moon-shaped and the ends of the beams into “locust heads”, “sesame leaves” and other interesting shapes. In order to protect the wood, the exposed parts of the wood structure were painted. This proved to be another opportunity to exhibit the decorative abilities and brought about Chinese architecture’s unique “color painting” decoration. <br /> <br /> 艺术在中国古建筑中的独特使用方式，可以从建筑的各个组成部分的装饰品的添加中看出，从整个建筑的外部到一个梁端或瓦片。中国建筑的屋顶因其木质结构而显得相当大。早期的中国建筑师还利用木质结构的独特品质，创造了弧形屋顶，四角的屋檐微微上翻，屋脊顶上有各种有趣的动物；他们还创造了庑殿式屋顶、庑殿式和坡屋顶、单檐屋顶和多檐屋顶等样式，使屋顶具有特殊的艺术特征。他们用简单的方法将屋顶内的横梁做成月牙形，将横梁的两端做成 &quot;槐树头&quot;、&quot;芝麻叶&quot;等有趣的形状。为了保护木材，木结构暴露的部分被涂上了油漆。这被证明是展示装饰能力的另一个机会，带来了中国建筑独特的&quot;彩绘&quot;装饰。<br /> <br /> The decoration of old Chinese buildings was bold and skillful in the use of color, and thick, bright colors became a characteristic of traditional Chinese architecture. Strong contrasts, such as those between red and green, yellow and blue, and black and white, can be used without clashing. Rather, they give the whole building a look of brilliance. Besides being daring in the use of heavy colors, the early carpenters were also skillful with the paintbrush. <br /> <br /> 中国古建筑的装饰在色彩的使用上是大胆而巧妙的，厚重、明亮的色彩成为中国传统建筑的特点。强烈的对比，如红与绿、黄与蓝、黑与白之间的对比，可以不发生冲突。相反，它们使整个建筑看起来很有光彩。除了敢于使用重色，早期的木匠们还善于使用画笔。<br /> <br /> Traditional architecture is a precious part of the cultural heritage of the Chinese people. Today, as we climb to the top of the Great Wall, stand before the Forbidden City, or stroll through the old gardens, we can’t help admiring the wisdom of our ancestors, and the great amount of labor that went into the creation of these buildings. <br /> <br /> 传统建筑是中国人民文化遗产的一个宝贵部分。今天，当我们爬上长城的顶端，站在紫禁城前，或漫步在古老的花园中，我们不禁要赞叹我们祖先的智慧，以及为创造这些建筑所付出的大量劳动。<br /> <br /> Terms and Expressions<br /> *Relic n. 遗址, 遗物 <br /> *Beams-in-tiers 抬梁式<br /> *Column and tier-beam 穿斗式 <br /> *Log cabin-type 井干式<br /> *Column n. 柱子, 檐柱 <br /> *Beam n. 大梁<br /> *Depthwise adj. 纵向的, 进深的 <br /> *Vertical post 童柱<br /> *Ditional beam 额枋, 看枋 <br /> *Longitudinal adj. 纵向的<br /> *Crosswise adj. 横向的, 开间的 <br /> *Spine n. 脊椎, 脊骨<br /> *Purlin n. 檩条 <br /> *Rafter n. 椽<br /> *Corbel bracket 斗拱 <br /> *Master building 正房<br /> *Courtyard style residences 四合院 <br /> *Side building 厢房<br /> *Axis n. 中轴线 <br /> *Front gate 山门<br /> *Hall of Celestial Guardians 天王殿 <br /> *Hall of the Buddha 大雄宝殿<br /> *Meditation hall 禅房 <br /> *Visitor’s Hall 客堂<br /> *Chengde’s Yongning Temple 承德永宁寺 <br /> *Jixian’s Dule Temple 吉县独乐寺<br /> *Pagoda n. 佛塔, 舍利塔 <br /> *The Miaoying Temple 妙应寺<br /> *The Xiangji Temple 香积寺 <br /> *Tile n. 瓦, 瓷砖<br /> *Eave n. 屋檐 <br /> *Ridge n. 屋脊<br /> *Hipped roof 庑殿顶 <br /> *Hipped and gabled roof 歇山顶<br /> *Single-eaved roof 单檐顶 <br /> *Multi-eaved roof 重檐顶<br /> *Color painting 彩绘 <br /> <br /> Questions<br /> #How long is the history of wooden structures in China?<br /> #What are the 3 categories of traditional Chinese wood buildings? <br /> #Which category is the most popular? How is it formed? <br /> #What is dou-gong? What’s its function? <br /> #What is the most widespread residential structure in North China? How is it related to Confucianism? <br /> #What is the general layout of Chinese architectural complex like?<br /> #Is the palace complex in Peking the only one remaining in the whole country? <br /> #Is the construction of buddhist temples important in Chinese architecture? What is the general layout of a buddhist temple like? <br /> #What are buddhist pavilion and pagodas? Could you name some important buddhist pagodas in China?<br /> #What styles do traditional Chinese buildings’s roofs have? <br /> #How are traditional Chinese buildings decorated? <br /> #How are colors used in the decoration of old buildings? <br /> #Have you ever been amazed at an old Chinese building? <br /> <br /> 问题<br /> #木结构建筑在中国的历史有多长？<br /> #中国传统木结构建筑有哪三类？<br /> #哪一类是最受欢迎的？它是如何形成的？<br /> #什么是斗拱？它有什么功能？<br /> #在中国北方最普遍的住宅结构是什么？它与儒家思想有什么关系？<br /> #中国建筑群的总体布局是怎样的？<br /> #北京的宫殿群是全国仅存的宫殿群吗？<br /> #佛教寺庙的建设在中国建筑中是否重要？佛教寺庙的一般布局是怎样的？<br /> #什么是佛教的亭子和佛塔？你能说出中国一些重要的佛教佛塔吗？<br /> #中国传统建筑的屋顶有哪些风格？<br /> #中国的传统建筑是如何装饰的？<br /> #古建筑的装饰中是如何使用色彩的？<br /> #你是否曾对中国的古建筑感到惊奇？<br /> <br /> =第七周 Session 7 Dec 21 11:30-13:00 - Architecture I: The Forbidden City 建筑：紫禁城=<br /> A Panorama view of the Forbidden City 紫禁城全景图<br /> <br /> I. Introduction<br /> <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Peking, China, and with a total area of 720, 000 square meters (180 acres). It lies in the center of Peking's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government. (Barmé, Geremie R 2018, 26)<br /> <br /> I. 简介<br /> <br /> 紫禁城（中文：紫禁城；拼音：Zǐjìnchéng）是位于中国北京东城区的一个宫殿群，总面积为720000平方米（180亩）。它位于北京中轴线的中心位置。今天，紫禁城内有故宫博物院，从明朝（自永乐皇帝起）到清朝末年，从1420年至1924年期间，它是明清两代的皇宫和皇帝的住所。紫禁城是中国皇帝及其家属的住所，也是当时政府的礼仪和政治中心。(Barmé, Geremie R 2018, 26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world. (UNESCO, 2007)<br /> <br /> 故宫是国家AAAAA级旅游景区，1961年被列为第一批国家重点保护文物。更重要的是，它在1987年被宣布为世界文化遗产，并被联合国教科文组织列为世界上最大的古代木结构建筑群保存地。(UNESCO, 2007)<br /> <br /> II. The Name of the Forbidden City<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> II. 紫禁城的名称<br /> <br /> 常用的英文名称 &quot;Forbidden City &quot;是中文名称 &quot;紫禁城 &quot;的译音（中文：紫禁城；拼音：Zǐjìnchéng；英文：Purple Forbidden City）。紫金城这个名字第一次正式出现在嘉靖时期。在中国古代，强调 &quot;天人合一&quot;的规划理念。天上的星星被用来与首都规划相对应，以突出政权的合法性和皇权的至高无上。(李燮平1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> &quot; 紫&quot;，即 &quot;紫微&quot;，指的是北极星，在中国古代被称为紫微星。天上的皇帝住在紫微宫，而人类的皇帝则自称是受命于天的 &quot;天子&quot;。他的住所应该是紫微宫的象征，与天帝相对应。&quot;金 &quot;的意思是，这座富丽堂皇的宫殿象征着最高的权力和皇室的地位。在这种情况下，这座宫殿是禁地，没有皇帝的允许，任何人都不能进出宫殿。城是指城市。(李燮平1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan). <br /> <br /> 今天，该遗址在中文中最常被称为 &quot;故宫&quot;，意思是 &quot;故人的宫殿&quot;。设在这些建筑中的博物馆被称为 &quot;故宫博物院&quot;（中文：故宫博物院；拼音：Gùgōng Bówùyùan）。<br /> <br /> III. The History of the Forbidden City<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanking to Peking, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984, 18)<br /> <br /> III. 紫禁城的历史<br /> <br /> 洪武的儿子朱棣成为永乐皇帝后，将首都从南京迁至北京，并于1406年开始建造后来的紫禁城。建筑工程持续了14年，花费了100多万工人。从1420年到1644年，紫禁城是明朝的所在地。(Yu Zhuoyun 1984, 18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944, 3. 14)<br /> <br /> 1644年4月，它被李自成领导的叛军占领。他在撤退到陕西的过程中放火烧毁了紫禁城的部分建筑。到了10月，满族人在中国北方取得了霸主地位，并在紫禁城举行仪式，宣布顺治皇帝为清朝的全中国统治者。(郭沫若 1944, 3. 14)<br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984, 30)<br /> <br /> 康熙二十二年（1683年），开始重建紫禁城其余被毁建筑，1695年基本完工。在成为24位皇帝--明朝的14位和清朝的10位--的家之后，紫禁城于1912年随着中国最后一位皇帝溥仪的退位而不再是中国的政治中心。(Yu Zhuoyun 1984, 30)<br /> <br /> The layout of the Forbidden City紫禁城俯视图<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city. ( Xie Mengyin &amp; Qu Wanlin 2006, 11. 7)<br /> <br /> 1933年，日本对中国的入侵迫使紫禁城内的国宝撤离。部分藏品在二战结束后被归还，但另一部分在1948年根据蒋介石的命令被撤到了台湾。1949年中华人民共和国成立后，由于国家被革命的热情所笼罩，紫禁城受到了一些破坏。然而，在文化大革命期间，周恩来总理派了一个军营来保卫这座城市，从而防止了进一步的破坏。(谢荫明&amp;瞿宛林，2006，11.7)<br /> <br /> IV. The Structure of the Forbidden City<br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north. (Xie Li 2005, (03)100-102)<br /> <br /> IV. 紫禁城的结构<br /> <br /> 首先，紫禁城是一个长方形，在布局上是对称的。它的宫殿沿着一条南北轴线排列，三座大殿、后三座宫殿和御花园都位于这条轴线上。这条中轴线不仅贯穿了紫禁城甚至整个城市，而且南至永定门，北至鼓楼和钟楼。(谢丽 2005, (03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west. (Xie Li 2005, (03)100-102)<br /> <br /> 其次，紫禁城分为两部分，即外院和内院。外廷是皇帝处理政治事务的地方。主要有三个殿堂：太和殿、中和殿、保和殿。内廷或后宫包括北部各部分，是皇帝及其家人的住所，用于处理日常国家事务。内廷以乾清宫、交泰宫和坤宁宫为中心，东面有六座宫殿，西面有六座宫殿。(谢丽 2005, (03)100-102)<br /> <br /> VI The Collections of the Forbidden City<br /> <br /> 六、紫禁城的藏品<br /> <br /> 韩熙载夜宴图<br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War. (Li Wei &amp; Wang Shuo 2005, 6-22)<br /> <br /> 随后，故宫博物院于1925年在紫禁城内成立，其大量的艺术品和文物收藏都是建立在明清两代的御用收藏之上。该博物馆以前的部分藏品现在在台北的国立故宫博物院。两家博物馆都是同一机构的后代，但在中国内战后分裂。(Li Wei &amp; Wang Shuo 2005, 6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1, 863, 404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> 故宫博物院的藏品以清宫藏品为基础，包括绘画、陶瓷、印章、石碑、雕塑、铭文器、青铜器、珐琅器等。根据最新的审计，它有1863404件艺术品。它们按 &quot;古&quot;、&quot;新&quot;、&quot;蜀 &quot;进行编号。除古籍和文献外，其他藏品均以 &quot;古 &quot;和 &quot;新 &quot;标示。普通文物的编号以 &quot;子 &quot;字开头，陶瓷标本以 &quot;标 &quot;字开头。总目录分为25类，每类的编号由小到大排序。(网站：《故宫博物院藏品》)<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women. (Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1, 000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> 很多藏品曾经流失，后来又被带回了故宫博物院，比如《韩熙载夜宴图》。还有一些精美的藏品，陶彩绘女舞俑、十二生肖镜、画珐琅西洋人物鼻烟壶等。(网站：故宫博物院藏品）此外，故宫博物院是世界上收藏18和19世纪机械钟表最多的博物馆之一，有1,000多件。(孟福霞 2012, (21) 73-74)<br /> <br /> Painted Pottery Figurine of a Female Dance<br /> <br /> 陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems<br /> <br /> 十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women<br /> <br /> 画珐琅西洋人物鼻烟壶<br /> <br /> Terms and Expressions<br /> *palace complex 宫殿群<br /> *central axis 中心轴<br /> *the Palace Museum故宫博物院<br /> *the Yong Le Emperor 永乐皇帝<br /> *key cultural relics under national protection 国家重点文物保护单位<br /> *world cultural heritage 世界文化遗产<br /> *harmony between man and nature 天人合一<br /> *the imperial garden 御花园<br /> *the Hall of Supreme Harmony 太和殿<br /> *the Hall of Central Harmony 中和殿<br /> *the Hall of Preserving Harmony 保和殿<br /> *Palace of Heavenly Purity (乾清宮)<br /> *Hall of Union 交泰宫<br /> *Palace of Earthly Tranquility 坤宁宫<br /> *Han Banquet map 韩熙载夜宴图<br /> *Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> *Mirror with the Twelve Astrological Emblems十二生肖镜<br /> *Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> Questions<br /> #What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> #When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world. <br /> #How many emperors have been lived in the Forbidden City?<br /> #How long did it take to build the Forbidden City?<br /> #Why some parts of national treasures are in the National Palace Museum in Taipei now. <br /> #What two parts can the Forbidden City be divided into?<br /> #When was the Palace Museum established?<br /> <br /> 问题<br /> #中文名字 &quot;紫金城 &quot;中的 &quot;紫 &quot;是什么意思？<br /> #紫禁城是什么时候被联合国教科文组织列为世界上最大的古代木结构建筑群的？<br /> #有多少位皇帝曾在紫禁城居住过？<br /> #建造紫禁城需要多长时间？<br /> #为什么国宝的某些部分现在在台北的故宫博物院？<br /> #紫禁城可以分为哪两部分？<br /> #故宫博物院是什么时候建立的？<br /> <br /> References<br /> *Barmé, Geremie R(2008). The Forbidden City. Harvard University Press. 26. <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Peking and Shenyang&quot;. <br /> *Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31. <br /> *Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press, p18. <br /> *Guo Moruo 郭沫若. (1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3. 19. <br /> *Xie Li 谢丽. (2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Peking]. 紫禁城 Forbidden City, (03)100-102. <br /> *Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Peking - On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> *Li Wei&amp;Wang Shuo 刘薇, 王硕. 2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6. 22 http://www. huaxia. com/wh/gjzt/2005/00333230. html<br /> *The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm. org. cn /Home. html<br /> *Xie Mengyin &amp; Qu Wanlin 谢荫明, 瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ]. 人民网People’s Daily Online, 11, 7. http://history. people. com. cn/n/2014/0811/c372327-25441615. html<br /> <br /> <br /> ppt: [https://docs.google.com/presentation/d/1Wg0B8s7ZzyNQ9QzMgsI49QIzZL4Wsnv8tajGzOKarmY/edit?usp=sharing]<br /> <br /> =第七周 Session 7 Dec 21 11:30-13:00 - Architecture II: Four Famous Bridges 建筑：中国四大名桥=<br /> Introduction<br /> <br /> China is the hometown of bridges, which has been called &quot;the country of bridges&quot;. It was developed in the Sui Dynasty and flourished in the Song Dynasty. The bridges were woven into a traffic network extending in all directions, connecting the motherland in all directions. The architectural arts of ancient Chinese bridges are pioneering works in the history of bridges, which fully demonstrates the extraordinary wisdom of the ancient Chinese. &quot;Guangji Bridge in Chaozhou city, Zhaozhou Bridge in Hebei province, Luoyang Bridge in Quanzhou city and Lugou Bridge in Peking are known as the four ancient bridges in China&quot;. <br /> <br /> 简介<br /> <br /> 中国是桥梁的故乡，被称为 &quot;桥梁之国&quot;[从英文翻译，不是原文]。它发展于隋朝，兴盛于宋朝。桥梁交织成交通网络向四面八方延伸，将祖国的四面八方连接起来。中国古代桥梁的建筑艺术是桥梁史上的开山之作，充分显示了中国古人的非凡智慧。&quot;潮州市的广济桥、河北省的赵州桥、泉州市的洛阳桥和北京的卢沟桥被称为中国四大名桥&quot;。<br /> <br /> Zhaozhou Bridge<br /> <br /> Zhaozhou Bridge, also known as Anji Bridge, is the oldest long-span stone arch bridge in China. The bridge was built on the Xiaohe River, Hebei Province. From a distance, it looks like a bright moon in the clouds and a rainbow after rain hanging in the sky, beautiful and spectacular. It was built by Li Chun, a famous craftsman in the Sui Dynasty. With a length of 64. 40 meters and a span of 37. 02 meters, it is the largest span and the earliest single-span stone arch bridge with open shoulder in the world. (Shen Kun, 2016）<br /> <br /> 赵州桥<br /> <br /> 赵州桥，又称安济桥，是中国最古老的大跨度石拱桥。该桥建在河北省的小河上。从远处看，它就像云中的明月，雨后的彩虹挂在天上，美丽而壮观。它是由隋朝著名工匠李春建造的。它的长度为64. 40米，跨度37.02米，是世界上跨度最大、最早的单跨敞肩石拱桥。(沈坤，2016）。<br /> <br /> Li Chun creatively used the flat arch style, so that the stone arch height was reduced to 7. 23 meters, and the ratio of arch height to span was about 1:5. In this way, the slope of the bridge deck is gentle, which is convenient for vehicles, horses and pedestrians. Moreover, it has the advantages of saving materials, fast construction, and increasing the strength and stability of the bridge. Zhaozhou Bridge has been there 1400 years ago. It has experienced 10 times floods, 8 times wars and many earthquakes, but it has not been damaged. (Shen Kun, 2016）<br /> <br /> 李春创造性地采用了平拱的方式，使石拱的高度降低到7.23米，拱高与跨度的比例约为1：5。这样一来，桥面坡度平缓，便于车辆、马匹和行人通行。此外，它还具有节省材料、快速施工、提高桥梁强度和稳定性等优点。赵州桥在1400年前就已经存在。它经历了10次洪水，8次战争和多次地震，但它没有被破坏。(沈坤，2016）。<br /> <br /> Mao Yisheng, a famous expert in bridges, said that regardless of the internal structure of the bridge, surviving for over 1300 years explains everything. According to records, Zhaozhou Bridge has been repaired eight times since its completion. Two small arches are added at both ends of the main arch, one is to save materials, the other is to reduce the weight of the bridge body, and to increase the discharge of the river. In order to protect Zhaozhou Bridge, at the end of last century, the new bridge built 100 meters away from Zhaozhou Bridge still follows its style. (Shen Kun, 2016）<br /> <br /> 著名的桥梁专家茅以升说，不管桥的内部结构如何，存活了1300多年就说明了一切。根据记录，赵州桥自建成以来已经修缮了八次。在主拱的两端增加了两个小拱，一是为了节省材料，二是为了减轻桥身的重量，增加河水的排放。为了保护赵州桥，上世纪末，在距离赵州桥100米处修建的新桥仍沿袭了赵州桥的风格。(沈坤，2016）。<br /> <br /> In order to increase the flood discharge capacity, Li Chun also showed ingenuity by setting two small arches on each shoulder of the large arch. It can not only save stone and reduce the weight of the bridge body, but also help to discharge the flood, so as to achieve the perfect unity of architecture and art. It has become a great achievement of bridge engineering technology in China, which is more than 1200 years earlier than the similar arch bridge built in Europe in the middle of 19th century. (Shen Kun, 2016）<br /> <br /> 为了增加排洪能力，李春还发挥了聪明才智，在大拱门的两肩各设置了两个小拱门。这不仅可以节省石料，减轻桥体的重量，而且有利于泄洪，从而达到建筑与艺术的完美统一。它成为中国桥梁工程技术的一项伟大成就，比19世纪中期欧洲建造的同类拱桥早了1200多年。(沈坤，2016）。<br /> <br /> Luoyang Bridge<br /> <br /> Quanzhou is a famous city with a history of over 1700 years. As early as the Tang and Song Dynasties, Quanzhou was known as an important trading port. Merchants, scholars and missionaries from all over the world came to Quanzhou, leaving many precious historical and religious relics and classical buildings. Luoyang Bridge, also known as “Wanan bridge”, was built by the governor Cai Xiang in the Northern Song Dynasty and completed in six years. It is difficult to build a bridge at the confluence of the river and the sea, the river is wide and deep, and the project is arduous. (Wei lichun, 2007)<br /> <br /> 洛阳桥<br /> <br /> 泉州是一座拥有1700多年历史的著名城市。早在唐宋时期，泉州就作为一个重要的贸易港口而闻名。来自世界各地的商人、学者和传教士来到泉州，留下了许多珍贵的历史和宗教遗迹以及古典建筑。洛阳桥，又称 &quot;万安桥&quot;，由北宋知府蔡襄所建，历时六年建成。在河海交汇处建桥，河面宽而深，工程十分艰巨。(魏立春, 2007)<br /> <br /> The bridge is 834 meters at length and 7 meters at width. There are Zhaohui temple and Zhenshen temple in the north of the bridge, and Caixiang temple in the south of the bridge. In 1988, it was listed as one of the national key cultural protection units and one of Quanzhou’s world cultural heritage sites. (Wei lichun, 2007)<br /> <br /> 该桥长834米，宽7米。桥北有朝晖寺、振声寺，桥南有采香寺。1988年被列为全国重点文物保护单位和泉州世界文化遗产之一。(魏立春, 2007)<br /> <br /> It was very difficult to build Luoyang Bridge at first. Because the river is wide and the current is swift, sometimes there is wind tide, the water potential is dangerous. Before the construction of the bridge, people came and went by ferries, which often capsized. In order to pray for the safety of the transition, the ferry here was named Wanan Du, so the bridge was also named Wanan Bridge after its completion. Therefore, it was also named Luoyang Bridge because it was built on the Luoyang River. (Wei lichun, 2007)<br /> <br /> 起初，建造洛阳桥是非常困难的。因为河道宽阔，水流湍急，有时还出现风潮，水势险要。在建桥之前，人们来往都是乘坐渡船，经常翻船。为了祈求过渡期的安全，这里的渡船被命名为万安渡，所以桥建成后也被命名为万安桥。因此，它也被命名为洛阳桥，因为它建在洛阳河上。(魏立春, 2007)<br /> <br /> There are many innovations in the construction technology and technology of Luoyang bridge, the raft foundation style, the application and development of wedge pier and the use of oyster to cement bridge pier. After its completion, it has become an important channel of communication between Quanzhou and the mainland. Therefore, Luoyang Bridge has the reputation of “Wan An Ji Zhong”. Under the influence of the completion of Luoyang Bridge, there has been an upsurge of bridge construction in Fujian province, especially in Southern Fujian. Dozens of large and medium-sized stone girder bridges have been built. (Wei lichun, 2007)<br /> <br /> 洛阳桥的施工技术和工艺有很多创新，筏式基础的样式，楔形桥墩的应用和发展，以及使用牡蛎来加固桥墩。建成后，它已成为泉州与内地交流的重要通道。因此，洛阳桥有 &quot;万安吉中 &quot;的美誉。在洛阳桥建成后的影响下，福建省特别是闽南地区掀起了建桥热潮。几十座大、中型石梁桥已经建成。(魏立春, 2007)<br /> <br /> Lugou Bridge<br /> <br /> Lugou Bridge is the oldest stone multi-hole arch bridge in Peking, which has a history of more than 800 years. In the Jin Dynasty, Lugou river was an important transportation point from north to south. There are 11 bridge holes in the whole bridge, and the span and height of each hole are not the same. As early as the Jin Dynasty, this bridge was listed as one of the “Eight Sights of the capital”. (Shen Kun, 2016）<br /> <br /> 卢沟桥<br /> <br /> 卢沟桥是北京最古老的多孔石拱桥，距今已有800多年的历史。在晋代，卢沟河是南北交通要冲。全桥共有11个桥洞，每个桥洞的跨度和高度都不相同。早在晋代，这座桥就被列为 &quot;京城八景 &quot;之一。(沈坤，2016）。<br /> <br /> The bridge deck of Lugou Bridge is slightly curved with lower ends and uplift in the middle. The lower riverbed of the bridge is paved with pebbles and quartz sand. The whole bridge is built on it, which is very solid and stable. The two ends of the bridge are used as drum-shaped stone block. At the east end are two big stone lions and the west are two big stone elephants which are huge and charming. In addition to the stone lion and stone statue on the top of the fence, there is a 4. 65-meter-high ornamental table, which looks like seeing off pedestrians. (Shen Kun, 2016）<br /> <br /> 卢沟桥的桥面略呈弧形，两端较低，中间隆起。桥的下部河床是用鹅卵石和石英砂铺成的。整座桥建在上面，非常坚固和稳定。桥的两端用的是鼓形石块。东端有两只大石狮，西端有两只大石象，巨大而迷人。除了石狮和石像外，围墙顶上还有一个4.65米高的观赏台，看上去就像在送行人。(沈坤，2016）。<br /> <br /> As the oldest stone arch bridge in Peking and the place where the whole nation’s Anti-Japanese war broke out, Lugou bridge is not only an important cultural resource in Fengtai District, but also a memorial place for major national activities. Bearing rich historical resources, it has become important to publicize the revolutionary tradition of the Chinese nation and carry out patriotic education. Standing on the Lugou Bridge, you can see the memorial hall of the Chinese people’s Anti-Japanese War, the Yongdinghe River ferry wharf, the pinghan railway bridge site, and the Anti-Japanese War sculpture garden, which together constitute a spectacular historical and cultural map. (Shen Kun, 2016）<br /> <br /> 作为北京最古老的石拱桥和全国抗日战争的爆发地，卢沟桥不仅是丰台区的重要文化资源，也是国家重大活动的纪念地。它承载着丰富的历史资源，对宣传中华民族的革命传统、开展爱国主义教育具有重要意义。站在卢沟桥上，可以看到中国人民抗日战争纪念馆、永定河轮渡码头、平汉铁路桥遗址、抗日战争雕塑园等，共同构成了一幅壮观的历史文化地图。(沈坤，2016）。<br /> <br /> Guangji Bridge<br /> <br /> Guangji Bridge is located at the east gate of the ancient city of Chaozhou, Guangdong Province. Commonly known as Xiangzi bridge. Crossing the vast Hanjiang River, it is an important transportation hub of Fujian and Guangdong. With its unique style of “18 shuttle boats and 24 continents”, it is praised as “the earliest open-close bridge in the world” by famous bridge expert Mao Yisheng. In particular, on the stone tablet of the imperial stele Pavilion at the east end of the bridge, the inscription “Lugou Xiaoyue” written by Emperor Qianlong is the most famous. (Wei lichun, 2007)<br /> <br /> 广济桥<br /> <br /> 广济桥位于广东省潮州古城的东门。俗称湘子桥。横跨浩瀚的韩江，是福建和广东的重要交通枢纽。它以 &quot;十八梭船二十四洲 &quot;的独特风格，被著名桥梁专家茅以升赞誉为 &quot;世界上最早的开合桥&quot;。特别是在桥东头的御碑亭石碑上，乾隆皇帝写的 &quot;卢沟晓月 &quot;的碑文最为有名。(魏立春, 2007)<br /> <br /> Stone lions and stone pavilions at both ends of the bridge, together with Chinese totem pillar, constitute the bridgehead buildings with national characteristics. Marco Polo, an Italian at the end of the 13th century, praised Lugou Bridge as “a beautiful stone bridge in Hanbali”. It is the oldest existing large-scale double-arch long bridge in northern China. “Lugou Xiaoyue” is also one of the famous “Eight Sights of Yanjing”. (Wei lichun, 2007)<br /> <br /> 桥两端的石狮和石亭，与中国的图腾柱一起，构成了具有民族特色的桥头建筑。13世纪末的意大利人马可-波罗称赞卢沟桥是 &quot;汉巴里的一座美丽的石桥&quot;。它是中国北方现存最古老的大型双拱长桥。&quot;卢沟晓月 &quot;也是著名的 &quot;燕京八景 &quot;之一。(魏立春, 2007)<br /> <br /> There are many folklores about Guangji Bridge. One of the legends is “the immortal Buddha builds the bridge”. That is, after Han Yu came to Chaozhou in the Tang Dynasty, to communicate with the two sides, he asked his nephew Han Xiangzi and other eight immortals to build a bridge with Guangji monk. Due to the failure of his magic power, the middle section could not be connected. Monk Guangji and He Xiangu, one of the eight immortals, were connected with 18 shuttle boats by using lotus flowers as giant cables. Therefore, the bridges were called “Xiangzi bridge” and “Guangji Bridge” respectively. (Wei lichun, 2007)<br /> <br /> 关于广济桥有很多民间传说。其中一个传说是 &quot;仙佛造桥&quot;。即唐代韩愈到潮州后，为沟通两岸，请其侄子韩湘子等八仙与广济和尚搭桥。由于他的法力不济，中间一段无法接通。广济和尚与八仙之一的何仙姑，以莲花为巨缆，用18只梭子船连接起来。因此，这两座桥分别被称为 &quot;湘子桥 &quot;和 &quot;广济桥&quot;。(魏立春, 2007)<br /> <br /> The second legend is that Wang Yuan removed the strange stones. Wang Yuan was the magistrate of Chaozhou who presided over the large-scale bridge repair. He built “24 towers” on the bridge, which was known as “the first bridge in the south of the Yangtze River”. It was said that there were two strange stones on Hulushan mountain, which caused frequent fires and lawsuits in Chaocheng. So, he personally led people up the mountain, leading in smashing down two strange stones. Wang Yuan’s move not only dispelled people’s fear of strange stones, but also solved part of the stone for bridge repair. (Wei lichun, 2007)<br /> <br /> 第二个传说是，王源搬走了这些怪石。王元是潮州的县令，主持大规模的修桥工作。他在桥上建了 &quot;二十四塔&quot;，被称为 &quot;江南第一桥&quot;。据说，葫芦山上有两块怪石，在潮城经常引起火灾和官司。于是，他亲自带人上山，带头砸下了两块怪石。王元此举不仅打消了人们对怪石的恐惧，而且还解决了一部分修桥用的石头。(魏立春, 2007)<br /> <br /> The third legend is “Wu Fu Gong Ji Shui”. The Duke of Wu was the governor of Chaozhou in of Qing Dynasty. One year, because of the flood of Hanjiang River, Chaozhou City was in danger. He offered sacrifices to the water on the east gate and begged for the water to retreat. However, the water did not retreat. So, he indicated that he would live and die with the city. Strange to say, the flood receded at this time. Since then, people have set up his statue sacrifice in the east gate tower, and built a memorial archway in the East Bridge of Xiangzi bridge. (Wei lichun, 2007)<br /> <br /> 第三个传说是 &quot;吴福公治水&quot;。清朝时，吴国公是潮州的总督。有一年，由于韩江发大水，潮州城危在旦夕。他在东门祭祀水，求水退去。但是，水并没有退去。于是，他表示要与这座城市共存亡。说来奇怪，洪水在这个时候退去了。此后，人们在东门城楼上设立了他的塑像祭祀，并在湘子桥东桥头建了纪念牌坊。(魏立春, 2007)<br /> <br /> Many of China’s ancient and modern bridge science and technology have been in the forefront of the world’s bridge construction, and many bridge styles continue to have an impact on the world’s modern bridge construction. At the same time, it is a living treasure of cultural relics, recording a lot of precious information. (Wei lichun, 2007)<br /> <br /> 中国古代和现代的许多桥梁科学技术都走在了世界桥梁建设的前列，许多桥梁样式对世界现代桥梁建设继续产生着影响。同时，它也是一个活的文物宝库，记录了很多珍贵的信息。(魏立春, 2007)<br /> <br /> References<br /> *Shen Kun 沈坤. (2016). 中国古代四大名桥[Four famous bridges in ancient China]. 百姓生活People's life (07) 59-62. <br /> *Wei Wei 薇薇. (2016). 中国人必须知道的国学常识[The common knowledge of Chinese culture that Chinese people must know]. 雷锋 Lei Feng (Z1) 148-149. <br /> *Wei Lichun 魏丽春. (2007). 我国的四大名桥[Four famous bridges in China]. 新长征New Long March (08) 60. <br /> *Huang Jun 黄军. (1996). 我国风景名胜中的四大[Four famous scenic spots in China]. 农家之友 Friends of farmers (03) 46. <br /> <br /> Terms and expressions<br /> *石拱桥 stone arch bridge<br /> *望柱 baluster<br /> *桥基 settlement<br /> *泄洪 flood discharging<br /> *桥墩 pier<br /> *抱鼓石 drum-shaped stone block<br /> *华表 Chinese totem pillar<br /> *栏杆 balustrade<br /> *燕京八景 Eight Sights of Yanjing<br /> *启闭式桥梁 open-close bridge<br /> <br /> Questions<br /> #Which is is the oldest long-span stone arch bridge in China?<br /> #How many folklores are there about Guangji Bridge and what are they?<br /> #How long has Zhaozhou Bridge been there ?<br /> #Why did Li Chun use the flat arch style to build Zhaozhou Bridge?<br /> <br /> 问题<br /> #哪一座是中国最古老的大跨度石拱桥？<br /> #关于广济桥的民间传说有多少，它们是什么？<br /> #赵州桥的历史有多长？<br /> #李春为什么要用平拱的方式来建造赵州桥？<br /> <br /> =第八周 Session 8 Jan 11 11:30-13:00 - Architecture III: Four Great Pavilions 建筑：四大亭子=<br /> <br /> Presentation by WYX.<br /> <br /> A pavilion, a building style with great Chinese characteristics, is not only a place for passers-by to rest their feet, but also an important landscape building with garden art. At the foot of the mountains, by the lakeside and deep in the forest, we can always see pavilions that are half-hidden, and half-exposed, subtly adding colour to the landscape scenery. (Qian Long 2009, 50)<br /> <br /> 亭子，一种极具中国特色的建筑风格，不仅是路人歇脚的地方，也是具有园林艺术的重要景观建筑。在山脚下、湖边、森林深处，我们总能看到半隐半露的亭子，巧妙地给山水景色增添色彩。(钱龙 2009, 50)<br /> <br /> Where there are pavilions, there are stories, and there are four famous pavilions in China - the Old Drunkard Pavilion in Chuzhou, the Tao Ran Pavilion in Peking, the Ai Wan Pavilion in Changsha and the Hu Xin Pavilion in Hangzhou. All of them are famous for their poems and articles written by ancient writers and scholars. (Qian Long 2009, 50)<br /> <br /> 有亭子的地方就有故事，中国有四个著名的亭子--滁州的老醉亭、北平的陶然亭、长沙的爱晚亭和杭州的胡欣亭。所有这些亭子都以古代文人墨客的诗词和文章而闻名。(钱龙 2009, 50)<br /> <br /> The Old Drunkard Pavilion<br /> <br /> Zuiweng Ting, or the Old Drunkard Pavilion is located at the foot of the Langya Mountain in Chuzhou, Anhui Province. The Old Drunkard Pavilion was built in 1046 AD, the sixth year of the Northern Song Dynasty's reign of Emperor Renzong. This pavilion is the subject of a well-known work written by Ouyang Xiu, an essayist of the Song dynasty, called The Story of the Old Drunkard. (Liu Xuan 2012, 21)<br /> <br /> 老醉亭<br /> <br /> 醉翁亭位于安徽省滁州市琅琊山下。醉翁亭建于公元1046年，即北宋仁宗的第六年。这个亭子是宋代散文家欧阳修的著名作品《老酒鬼的故事》的主题。(刘璇 2012, 21)<br /> <br /> It is said that Ouyang Xiu was demoted to Chuzhou to serve as the prefect. Feeling indignant at the time, he devoted his soul into nature. He often came with friends and guests to Langya Mountain for fun, or to Langya Temple to drink wine and express their emotion. In order to give Ouyang Xiu a rest and a drink, the Langya Monastery monk Zhisian built this pavilion halfway up the mountain. The pavilion was named 'the Old Drunkard Pavilion' by Ouyang Xiu, who called himself “ the Old Drunkard”. (Liu Xuan 2012, 21)<br /> <br /> 据说，欧阳修被贬到滁州担任县令。当时他感到很愤慨，就把自己的灵魂投入到大自然中。他经常和朋友、客人一起到琅琊山游玩，或到琅琊寺饮酒，抒发情感。为了让欧阳修休息喝酒，琅琊寺僧人智贤在半山腰上建了这个亭子。欧阳修自称 &quot;老酒鬼&quot;，将此亭命名为 &quot;老酒鬼亭&quot;。(刘璇 2012, 21)<br /> <br /> The pavilion has a compact layout with small, unique pavilions that are characteristic of the gardens of the south of the Yangtze River, and although the total area of the pavilion is less than 1, 000 square metres, there are nine buildings——the Old Drunkard Pavilion, Bao Song Zhai, Feng Gong Ancestral Hall, Ancient Plum Blossom Pavilion, Shadow Fragrance Pavilion, Yi Zai Pavilion, Fear Pavilion, Ancient Plum Blossom Pavilion, and the View Terrace——of different styles, and are known as the “Nine Views of the Old Grunkard Pavilion”. (Liu Xuan 2012, 21)<br /> <br /> 亭子布局紧凑，亭子小巧别致，是江南园林的特色，虽然亭子的总面积不到1，000平方米，但有九座建筑--老醉亭、 宝松斋、冯公祠、古梅亭、影香亭、怡情亭、畏惧亭、古梅亭、观景台这九座风格各异的建筑，被称为 &quot;老醉亭九景&quot;。(Liu Xuan 2012, 21)<br /> <br /> Although the Old Drunkard pavilion has been plundered many times over the centuries, it still inviting to people. Today, the thousand-year old scenery here is even more spectacular and alluring. (Liu Xuan 2012, 21)<br /> <br /> 尽管几百年来，老醉翁亭被掠夺了多次，但它仍然吸引着人们。今天，这里的千年风景更加壮观，更加诱人。(刘璇 2012, 21)<br /> <br /> Tao Ran Pavilion<br /> <br /> The Tao Ran Pavilion in Peking was built in 1695, the 34th year of Emperor Kangxi's reign in the Qing dynasty, by Jiang Zao, who then served in the Ministry of Public Works. Jiang Zao named the pavilion after Bai Juyi's poem, &quot;Waiting for the chrysanthemum to ripen, we get drunk in blitheness&quot;. This small pavilion is quite popular among ancient writers. (Qian Long 2009, 50)<br /> <br /> 陶然亭<br /> <br /> 北京的陶然亭建于清康熙三十四年（1695年），由当时在工部局任职的江藻建造。江藻以白居易的诗句 &quot;静待菊花开，醉卧沙场 &quot;来命名该亭子。这个小亭子在古代文人中颇受欢迎。(钱龙 2009, 50)<br /> <br /> The modern Taoran Pavilion is a new modern urban garden that integrates ancient architecture and modern gardening art, highlighting the Chinese national pavilion culture as its main content. In the garden, there are verdant trees, lush flowers and grasses, jagged buildings and pavilions. On the Mid-lake Island, there are Jinqiu dun, Swallow Head Hill, and Tao Ran pavilion into a tripod. On top of Jinqiu dun there is Jinqiu pavilion, the site of which was the site of the Flower Fairy Shrine. At the southern foot of the pavilion, there is Rose Hill, which is the site of the original incense mound, the parrot mound and the tomb of the golden flower. (Chang Yi 2007, 60)<br /> <br /> 现代陶然亭是一个集古代建筑和现代园林艺术为一体的新型现代城市园林，突出了中国民族亭子文化为主要内容。园内树木葱茏，花草茂盛，楼台参差，亭台楼阁。在半湖岛上，有金秋墩、燕子头山、陶然亭成鼎足之势。金秋墩顶上有金秋亭，其遗址为花仙子祠堂。亭子的南麓有玫瑰山，是原香冢、鹦鹉冢和金花墓的遗址。(Chang Yi 2007, 60)<br /> <br /> In the quiet pine forest at the foot of the northern pavilion, there are the tombs of Gao Junyu and Shi Pingmei, which are famous. At the top of Swallow Head Hill, there is the Green View Pavilion, which is opposite the Jinqiu Pavilion, and at the southwest of the pavilion, there is the Chengguang Pavilion, which is the most suitable place to look at the lake and the mountains. (Qian Long 2009, 50)<br /> <br /> 在北亭脚下幽静的松林里，有高君宇和石评梅的墓，很有名。燕子头山顶有绿景亭，与金秋亭相对，亭西南有承光亭，是最适合看湖光山色的地方。(钱龙 2009, 50)<br /> <br /> Ai Wan Pavilion<br /> <br /> The Ai Wan Pavilion is located in the Qingfeng Gorge at the foot of Mount Yuelu in Hunan Province, and is surrounded by mountains on three sides. The pavilion was built in 1792 by Luo Dian(罗典), Dean of the Yuelu Academy, and was originally called the Red Leaf Pavilion. It was later renamed by Bi Yuan(毕沅), Governor of Hunan and Guangzhou Province, based on a poem by Du Mu(杜牧), a poet of the Tang Dynasty, which reads, &quot;The stone paths of the cold mountains are steep, and there are homes in the depths of the white clouds. Sitting on the Maple Forest in the evening, the frost leaves turn red in the February flowers&quot; (&quot;Mountain Journey&quot;). (Qian Long 2009, 50)<br /> <br /> 爱晚亭<br /> <br /> 爱晚亭位于湖南省岳麓山下的清风峡中，三面环山。该亭由岳麓书院院长罗典建于1792年，原名为红叶亭。后来由湘粤两省总督毕沅根据唐代诗人杜牧的诗句 &quot;寒山石径斜，白云深处有人家。枫林晚坐，霜叶红于二月花&quot;（《山行》）。(钱龙 2009, 50)<br /> <br /> After many major repairs in the reign of Tongzhi, Guangxu, Xuantong, and in Republic of China and after the founding of the People's Republic of China, it comes into its pattern today. The shape of the pavilion is eight columns with heavy eaves, glazed glass and blue tiles, the corner of the pavilion is flying, and it looks like flying from a distance. The inside is pillar in lacquer while the outside are four stone pillars made by granite. (Chang Yi 2007, 60)<br /> <br /> 经过同治、光绪、宣统年间，以及民国时期和建国后的多次大修，才有了今天的格局。亭子的形状是八柱重檐，琉璃青瓦，亭子的一角是飞天的，从远处看就像在飞。里面是漆器的柱子，外面是花岗岩做的四个石柱。(Chang Yi 2007, 60)<br /> <br /> Apart from painted caisson ceiling, there are gilt lettering &quot;Ai Wan Pavilion&quot; on a red background on the east and west sides of the pavilion, which was made by handwriting written by Mao Zedong, at the request of Li Da, the then president of Hunan University. The pavilion is surrounded by hills on three sides, and is open to the east, with a flat vertical and horizontal space of more than 33 metres, with purple and lush greenery and uninterrupted flowing springs. There is a pond in front of the pavilion, with rows of peach and willow trees. There are maple trees all around, with red leaves all over the mountains in late autumn. (Chang Yi 2007, 60)<br /> <br /> 除了彩绘沉箱顶，亭子的东西两侧还有红底鎏金字 &quot;爱晚亭&quot;，这是毛泽东应当时湖南大学校长李达的要求，亲手写的。亭子三面环山，东面开阔，纵横平坦，有33米多的空间，紫气东来，绿意盎然，流泉不息。亭子前面有一个池塘，有一排桃树和柳树。周围都是枫树，深秋时节红叶满山。(张怡 2007, 60)<br /> <br /> Hu Xin Pavilion<br /> <br /> Hu Xin Pavilion, or Mid-lake Pavilion is situated in the centre of the West Lake in Hangzhou, Zhejiang. Initially known as &quot;Zhenlu Pavilion&quot;, and &quot;Qingxi Pavilion&quot;, it was built in the 31st year of Jiajing in the Ming Dynasty (1552 AD) and was renamed “Hu Xin Pavilion” after the Ming Dynasty. (Qian Long 2009, 50)<br /> <br /> 湖心亭<br /> <br /> 湖心亭，或称半湖亭，位于浙江杭州西湖的中心地带。最初被称为 &quot;镇庐阁&quot;、&quot;清溪阁&quot;，建于明朝嘉靖三十一年（公元1552年），明朝以后改称 &quot;湖心亭&quot;。(钱龙 2009, 50)<br /> <br /> The pavilion is built looking like a tower and is surrounded by water on all sides. When you look around, not only does the lake ripple, but also the mountains stand like a screen enveloping it. The west side of the pavilion is the south and north peaks of the West Lake, which is very spectacular. (Qian Long 2009, 50)<br /> <br /> 亭子建成后看起来像一座塔，四面都是水。环顾四周，不仅湖水荡漾，而且群山矗立，如屏风般将其笼罩。亭子的西侧是西湖的南峰和北峰，非常壮观。(钱龙 2009, 50)<br /> <br /> It is one of the 18 scenes of West Lake in Qing Dynasty. Yongzheng wrote in his Records of the West Lake: the pavilion is in the centre of the lake; in the past there was a temple and outside it were three towers, which both were destroyed in the reign of Ming Xiaozong. County said: outside the temple were three towers, while only the north tower conserved, upon which a pavilion was built, that is the Mid-lake Pavilion; the old base of the temple was rebuilt as De Sheng Hall, a place to release. According to this, the old Hu Xin Temple was the current Release Pond, and the present Hu Xin Pavilion was the base of the north tower among the other three. (Chang Yi 2007, 60)<br /> <br /> 这是清代西湖十八景之一。雍正在《西湖记》中写道：亭在湖心，昔有寺，外有三塔，明孝宗时皆毁。县志》说：寺外有三塔，而只有北塔保存下来，在其上建有一亭，即半湖亭；寺的旧基重建为德胜堂，是放生的地方。据此，旧的湖心寺就是现在的放生池，而现在的湖心亭就是其他三座中的北塔基。(Chang Yi 2007, 60)<br /> <br /> The Qing emperor Qianlong once inscribed a plaque on the pavilion with the inscription &quot;Quietly observe the world&quot;(“静观万类”) and the couplet &quot;Waves surge and the lake is far away, the mountains prompt the water is deep&quot;(“波涌湖光远, 山催水色深”). Besides, the inscription on the pavilion's pillars by Hu Laichao(胡来朝) is worth mentioning: “The four seasons are filled with music and songs, and the poor are still grieving over the moon; the six bridges are filled with flowers and willows, and there is no room for mulberry and hemp. ” The meaning is even more profound to the visitor. (Qian Long 2009, 50)<br /> <br /> 清朝乾隆皇帝曾在亭子上题写了 &quot;静观万类 &quot;的匾额和 &quot;波涌湖光远，山催水色深 &quot;的对联。此外，值得一提的是胡来朝在亭子的柱子上的题字： &quot;四时笙歌，穷愁尚月；六桥花柳，桑麻无间。&quot; 对游客来说，其意义更加深远。(钱龙 2009, 50)<br /> <br /> Terms and Expressions<br /> *The Old Drunkard Pavilion 醉翁亭<br /> *Nine Views of the Old Drunkard Pavilion 醉翁九景<br /> *Tao Ran Pavilion 陶然亭<br /> *glazed glass and blue tiles 琉璃碧瓦<br /> *Ai Wan Pavilion 爱晚亭<br /> *Mountain Journey 《山行》<br /> *Hu Xin Pavilion/ Mid-lake Pavilion 湖心亭<br /> *County 《县志》<br /> <br /> Questions<br /> #Which pavilion is named by the poem of Du Mu？<br /> #When Did “Hu Xin Pavilion” well established its name?<br /> #Which pavilion is located in Peking?<br /> #Where can we enjoy maple trees in Autumn among the four pavilions?<br /> #What do you think is the Old Drunkard Pavilion famous for?<br /> <br /> 问题<br /> #哪个亭子是由杜牧的诗命名的？<br /> #&quot;湖心亭 &quot;是什么时候定名的？<br /> #哪个亭子位于北京？<br /> #在四个亭子中，我们在哪里可以欣赏到秋天的枫树？<br /> #你认为老醉翁亭以什么闻名<br /> <br /> References<br /> *千龙. 中国四大名亭[J]. 兵团建设, 2009(14):50. <br /> *刘璇. 醉翁亭以中国“四大”名亭之一天下第一亭大文学家欧阳修《醉翁亭记》名声享誉中华[J]. 中国地名, 2012(09):20-21. <br /> *常翼. 我国的四大名亭[J]. 新长征, 2007(06):60. <br /> *https://mp. weixin. qq. com/s/slU9b2notV9xKekROxCZuw<br /> *https://baike. so. com/doc/6569739-6783501. html<br /> *https://baike. so. com/doc/5632595-5845219. html<br /> <br /> 老师的展示 Teacher's presentation<br /> <br /> [[Media:06_Chin_Cult_Archi.pptx]]<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 read both chapters about architecture (p.53 and 60 of our textbook)<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> https://ks.wjx.top/vm/Pm7huWu.aspx<br /> https://ks.wjx.top/vm/hILIIgT.aspx#<br /> <br /> ==展示 Presentations==<br /> <br /> ===建筑 Architecture===<br /> <br /> 夏颖姗 建筑 Architecture [[ Media:Chinese_Architecture.pdf|Architecture]]<br /> <br /> ===紫禁城 Architecture: The Forbidden City===<br /> <br /> 吴凯庭 紫禁城 Architecture: The Forbidden City [[Media:forbidden_city_architecture.pptx|Architecture:The Forbidden City]]<br /> <br /> 老师的展示 Teacher's presentation<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 read the chapter about bridges (p.69 our textbook)<br /> <br /> 2. 填多选题线上测试 Complete the quiz https://ks.wjx.top/vm/wHNLZyi.aspx#<br /> <br /> ==展示 Presentation==<br /> <br /> ===建筑:中国四大名桥 Architecture: Four Famous Bridges===<br /> <br /> [[Media:four_famous_bridges2.pptx|Architecture: Four Famous Bridges]]<br /> <br /> =第八周 Session 8 Jan 11 11:30-13:00 - 中国产出日式文化出品 (China produces Japanese-style products)=<br /> <br /> Today's topic is presented by the student ......<br /> <br /> ==Abstract==<br /> <br /> 最近几年里，中国有通过越来越受欢迎的电脑游戏类——抽卡游戏——扩大文化影响力。本论文简介该游戏的历史，风格和影响力。<br /> <br /> ==Key words==<br /> <br /> 抽卡游戏，动漫，电脑游戏， 中国文化影响<br /> <br /> ==引言==<br /> <br /> 过去几十年里，中国确实成为了世界上最大的经济强国之一。同时，中国正在努力赢得西方观众的喜爱——与之相邻的国家，尤其是韩国和日本，对其他国家的文化产生了诸多影响。寿司和清酒是在世界范围内广为人知的食物，韩式烤肉和泡菜也越来越受欢迎。围绕日本漫画和动漫，以及韩国流行音乐，都形成了大型亚文化。然而，中国唯一出名的似乎却是越南餐厅，具有讽刺意味。总之，本文将简介中国开始在年轻人中建立影响力的新途径。<br /> <br /> ==中国在电脑游戏产业的成绩==<br /> <br /> 毫无疑问，电子游戏是一个产生数十亿美元收入并吸引数亿消费者的庞大产业。毫不意外的是，中国决定进去这个行业，并且可以预料，中国的作品受到了其他西方作品的很大影响——例如《黑神话：悟空》就模仿了《黑暗之魂》系列，或者《王者荣耀》是《英雄联盟》的手机版本。这两款游戏的主要角色直接基于中国民间传说和古典文学，以吸引中国观众。然而，这两款游戏在海外并未取得太大成功。<br /> <br /> ==抽卡游戏==<br /> <br /> 与此同时，在日本出现了一种蓬勃发展的游戏类型，即所谓的抽卡游戏，最著名的例子包括《命运/冠位指定》、《碧蓝档案》和《白猫Project》。这些游戏的一般前提是游戏玩法相当简单且免费，因此适合休闲玩家。它们的主要卖点通常是通过抽卡系统获得众多角色。玩家可以使用游戏内货币或真实货币购买抽卡，有机会获得随机的角色或装备，而其可获得性通常是有时间限制的。与此同时，抽卡游戏一般拥有每日奖励系统，鼓励玩家每天登录，由此游戏逐渐渗透玩家的平日生活。<br /> <br /> 这些游戏不仅非常赚钱（有的在几年内赚数十亿美元的收入），而且迎合了最大的游戏受众——手机游戏玩家。最初的中国大型游戏作品受到了日本动漫文化的很大启发，例如《碧蓝航线》对此影响最大。新近的作品如《原神》、《崩坏：星穹铁道》或《幻塔》似乎更大胆地融合了不同文化，直接引入了中国元素——角色取名为中国名字，其故事基于中国传说，设计涉及各种中国少数民族的传统服饰。以下是一些很好的例子：《原神》中的云堇是一位中国戏曲歌手，《星穹铁道》中的青雀的游戏机制围绕着麻将展开，以及《幻塔》中的榴火，其战斗风格围绕着书法展开。所有这些角色生活在以独特中国风景为基础的地点，例如《原神》的璃月，《幻塔》的第九区，或《崩坏：星穹铁道》的仙舟罗夫。<br /> <br /> ==中国产生抽卡游戏的特别文化风格==<br /> <br /> 这些游戏仍然面向普通的动漫受众，这导致了一个有趣的文化混合——不仅需要重新诠释和调整中国元素以适应日本动漫审美，甚至连日文配音也被推为最推荐的选择，而非中文配音，即使是针对以中国为基础的角色。事实上，每当在《原神》中介绍一个新角色时，英文媒体都会包括英文和日文配音演员，但没有中文配音演员，即使是针对以中国为基础的角色。这不仅使得这些游戏中对中国的描绘高度扭曲了日本文化，还被重新调整以迎合西方观众的喜好。这样的最终产品既不完全是中国风格，也不是日本风格或西方风格，而是将所有这些文化的一部分融合在一起，以符合那些非常容易受文化影响的人群的口味<br /> <br /> <br /> （泊语丰）在介绍游戏中的各种中国元素时，可以举一些更具体的例子。<br /> <br /> ==结论==<br /> <br /> 总的来说，中国产生抽卡游戏是三个不同的文化的融合。由于这种特别的文化风格闻名于世，并且有效地把中国文化推广到西方关注。虽然对于中国抽卡游戏文化影响的程度还没有确切的数据，但毫无疑问，这是一个值得研究的话题，而这些游戏的商业和媒体成功是不可否认的。<br /> <br /> （泊语丰）结论太简单了，缺少主要的内容。<br /> <br /> ==参考资料==<br /> <br /> Adams Matthew 2022 &quot;Tech Otakus Save The World? Gacha, Genshin Impact, and Cybernesis&quot; British Journal of Chinese Studies, Vol. 12.2, July 2022<br /> Woods Orlando 2022 &quot;The Economy of Time, the Rationalisation of Resources: Discipline, Desire and Deferred Value in the Playing of Gacha Games&quot; Games and Culture, 17(7–8), 1075–1092<br /> Kirkpatrick Graeme 2013 &quot;Computer Games and the Social Imaginary&quot; Cambridge UK: Polity Press; 2013.<br /> <br /> ==问题==<br /> <br /> 1.为什么以前中国版的电脑游戏没有获得海外成功？<br /> 2.抽卡游戏用什么方法吸引大众用户？<br /> 3.中国产抽卡游戏风格的特点是什么？<br /> <br /> =第九周 Session 9 Jan 25 11:30-13:00 - 中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals.=<br /> <br /> Student presentation [[Media:Animal_Symbolism.pptx]] [[Media:Animal_Symbolism_Part2.pptx]] [[Media:Animal_Symbolism_Part3.pptx]] [[Media:Animal_Symbolism_Part4.pptx]] by Yan Li<br /> <br /> Comparison of the Chinese and foreign symbolic meaning of the same animal<br /> ==摘要 Abstract==<br /> <br /> 从古到今，动物是中国文化不可缺少的象征。中国的艺术、神话与小说都包括动物的象征，而且每只动物的含义不同。<br /> <br /> ==关键词 Key Words==<br /> <br /> 中国文化、象征、动物、兔子、猴子、猪<br /> <br /> ==引言 Introduction==<br /> <br /> 中国的文化丰富多彩，难怪很多人都不知道中国文化中隐藏的象征。中国人相信有些象征可以给他们带来幸福，让他们发财，但有的也可以带来厄运。动物是一种中国文化中的象征。在中国的艺术里可以看见很多不同的动物，比如：鱼、鹤、龙等等，而且它们的含义都不一样。古代时，中国人信奉泛灵论， 许多古代人相信不同的动物有不同的神力。另外，中国所谓“四象”包括四个动物：青龙、白虎、朱雀与玄武 （Feng Jinquan 2012）。在中国文化中动物象征占有特别的位置。<br /> <br /> ==兔子 Hare==<br /> <br /> 兔子在中国是具有象征主义的一只动物。因为兔子的样子很可爱，所以在中国人心里它是一只可爱与乖巧的动物。 古代时， 兔子代表月亮。 众所周知，在月亮月兔陪美丽的嫦娥当她的宠物（Li Tingyu 2011，32）。 这个故事让我们意识到中国人以兔子为纯洁、和蔼和吉祥的象征（Bansal Deepika &amp; Mahesh Kumar Mishra 2023，23）。 按照一些文章，在兔子的世界没有雄兔，它们通过舔新发芽的植物芽而怀孕。 它用特别的方式来分娩幼崽 -- 把它们从嘴里吐出来（Eberhard, Wolfram 1986, 166）。 在不同的文化里兔子有不同的象征意义，由于天主教的影响，在西方文化里，它的象征意义是生育力和幸福感，且大多数西方人一想到兔子就会想起来复活节。<br /> <br /> ==猴子 Monkey==<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征。在中国文化里，猴子是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 从前，在中国的南部建设很多崇拜神猴的寺庙，而且它们被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这意味着中国文化中猴子占据较高位置。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。之所以如此搭配，是因为一对同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义 (Li Tingyu 2011, 33) 。<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征的例子。中国文化里猴子就是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 之前，在中国的南部建设很多崇拜神猴的寺庙，而且它被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这就强制中国文化中猴子的高位。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。为了明白这张图片的意思，我们要看同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义 (Li Tingyu 2011, 33) 。(柯之川： 在其他文化中它有什么意义呢？）<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征的例子。中国文化里猴子就是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 旧时，在中国的南部建设很多崇拜神猴的寺庙，而且它被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这就意味着中国文化中猴子的高位。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。为了明白这张图片的意思，我们要看同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义。在西方文化中猴子代表灵活与机智，于是它的含义和中国文化中的含义差不多。<br /> <br /> ==猪 Pig==<br /> <br /> 猪在很多不同的文化中都是一个有负面意义的象征，但在中国文化中它的意义比较中立。从古时起，猪代表着繁荣和吉祥 （Bansal Deepika &amp; Mahesh Kumar Mishra 2023，32），可是猪也可以代表随和。太随和和不太随和都不好，只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）。 不过，在现代中国文化中猪也有负面的意义，而且经常用于骂人懒、丑或笨。《西游记》的猪八戒也是一个既笨又懒的角色，而且它很贪吃，于是它经常被嘲笑（Li Tingyu 2011, 32）。 虽然我们都知道幽默可爱的佩奇，可是对西方人来说猪没有好的意义，相反，它跟污垢有关，于是也可以用作骂人的词。<br /> <br /> <br /> 太随和和不太随和都不好，只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）（柯之川：太随和为什么不好？不太随和为什么不好？）<br /> <br /> 太随和和不太随和都不好，因为不太随和，就太忠诚了，可能会排斥别人。一个人太随和就没有忠诚，而且会比较容易失去原则，所以只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）。<br /> <br /> ==结论 Conclusion==<br /> <br /> 从古至今，中国文化中的动物象征都具备很重要的位置。我们不但可以在艺术中看见它们，而且许多也是有名小说中的角色。每只动物都有不少含义，有的跟其他文化差不多，有的完全不一样。由此，明白象征的含义让我们更了解一个国家的文化，而且也让我们更了解语言中的一些俗语。<br /> <br /> ==参考资料 References==<br /> <br /> 1. Bansal, Deepika &amp; Mahesh Kumar Mishra, 2023. Study of Animals Symbolism of Human Traits in Chinese Zodiac. HANS SHODH SUDHA 3 (3), 23-32.<br /> <br /> 2. Eberhard, Wolfram, 1986. A Dictionary of Chinese Symbols. Hidden Symbols in Chinese Life and Thought. Routledge, 166-234.<br /> <br /> 3. Feng Jinquan 冯金泉, 2012. 中国古代四大神兽. Takungpao 128.<br /> <br /> 4. Li Tingyu 李婷玉, 2011. 汉语动植物词汇文化内涵浅析. 文学语言学研究, 32-33.<br /> <br /> 5. Suhardi, 2018. 中国印尼吉祥动物喻体对比浅析. 首届东南亚“汉语+”国际研讨会, 96.<br /> <br /> ==生词 Terms and Expressions==<br /> <br /> 四象 The Four Symbols<br /> <br /> 泛灵论 Animism<br /> <br /> 雄性 male<br /> <br /> 分娩 (of animals) give birth to the young<br /> <br /> 幼崽 young (of an animal)<br /> <br /> ==问题 Questions==<br /> <br /> 1. 中国文化中的四象包括哪些动物？<br /> <br /> 2. 按照有些文章，兔子如何怀孕？<br /> <br /> 3. 在中国文化中哪个角色把自己称呼“齐天大圣”？<br /> <br /> 4. “马上疯猴”的意思是什么？<br /> <br /> 5. 哪个动物负面的意义可以用作骂人？<br /> <br /> =第九周 Session 9 Jan 25 11:30-13:00 - Part 2： 中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People)=<br /> <br /> Student presentation [[Media:Lucky_numbers.pptx]] by Kang Mingjie<br /> <br /> ==摘要 (Abstract)==<br /> <br /> 在中国人信仰中有些数字可以给他们带来幸运或者不好运。这种迷信跟同音有关，而且我们可以看到数字对生活的不同方面的影响。<br /> <br /> ==关键词 (Key words)==<br /> <br /> 数字，幸运，吉利，迷信，电话号码，车牌号，同音。<br /> ==引言 (Introduction)==<br /> <br /> 世界充满许多神秘的事情。人们的能力是有限的，因此有一些事情的存在我们就无法解释。人喜欢或者害怕数字就是难以解释现象之一。数字对人们生活的各个方面有绝对的影响。值得注意的是全球不同地方的人有自己吉利和不吉利的数字，比如西方人最怕的数字就是13，而中国人认为4会带来厄运。说到吉利的数字，欧洲人除了13以外，其他的都喜欢，同时中国人最喜欢的数字为8。人们为何给这几个数字特殊的意义？下面我会介绍中国人喜欢和避免的数字，而且其对中国人生活的影响。<br /> <br /> ==四 (Number four)==<br /> <br /> 对人类来说，最可怕的事情就是死亡。避免4的现象，就跟这个事实有关。说普通话时，4同音“死”（Dong Xiawei &amp; Lu Kewen 2013, 100)，粤语中14的发音跟“要死”一样，而且24的发音就像“易死”差不多（Tse Andrew Yau Hau 2015, 6)。既然死亡不算愉快的事，在中国人的信仰中，4也应该是吸引厄运的，所以他们不仅不愿意自己的电话号码包含4，而且也不愿意4月4日结婚（Dong Xiawei &amp; Lu Kewen 2013,101）。中国的航空，比如属于海南航空机队的所有飞机里没有第4和第14的座位（海南航空网站）。中国城市里的高楼通常没有第4层和其他包括4数字的层（ Tse Andrew Yau Hau 2015, 9)。如果在第4层有房子，中国人常常不会租或者买这种房子。<br /> <br /> == 八 (Number eight)==<br /> <br /> 在中国人信仰中，8是最吉利的数字。中国人之所以喜欢8，因为8同音“发”，“发财”的“发”(Dong Xiawei &amp; Lu Kewen 2013, 100)。谁都愿意发财，所以越多8越好。2008年的奥林匹克运动开幕式8月8日晚上8:08:08开始了（Tse Andrew Yau Hau 2015, 9)。这的确给中国带来了好运，因为中国运动员得了最多金牌。中国人选择车牌号或者电话号码的时候，总是看里面有多少“8”。有许多证据证明这种情况，比如按照纽约时报(May Tiffany 2020)的报告，2020年为了买包含五个“8”的电话号码，一个人花了大概3万25千美元，而且根据统计，北京大部分的车辆有包含“8”或者别的吉利的数字的车牌号（Jaffe Eric 2015）。除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比其他的房子贵235元每平米 (Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116)。<br /> <br /> 除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比贵 （麻亮：多少？）（Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116)。<br /> <br /> 除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比贵 (Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116), 比如在成都这样的房子比其他的房子贵235元每平米。<br /> <br /> == 六与九(Numbers six and nine)==<br /> <br /> 除了8以外，还有6和9这两个幸运数字。6同音“流”，这意味着一切都会很顺利，而9同音“久”（Na Sun &amp; Schneider Thomas 2010:3)。许多新婚夫妇会9月9日（或者别的包括9的日期）结婚。2009年9月9日在北京大约18千对夫妇结婚了（May Tiffany 2020)。有时候为了增加幸运人们会使用幸运数字的结合。2014年在纽约证券交易所阿里巴巴集团的首次公开募股为68美元，因为他们相信这可以带来两倍大的幸运（Cnbc 2014)。<br /> <br /> <br /> 除了8以外，还有6和9这两个幸运数字。6同音“流”，这意味着一切都会很顺利，而9同音“久”（Na Sun &amp; Schneider Thomas 2010:3)。许多新婚夫妇会9月9日（或者别的包括9的日期）结婚。(麻亮：为什么？）<br /> <br /> 许多新婚夫妇会9月9日（或者别的包括9的日期）结婚，因为他们相信如果婚礼的日子中有“9”，他们肯定会永远在一起。<br /> <br /> == 结论 (Conclusion)==<br /> <br /> 相信数字的力量是否属于传统文化还是迷信，也是有争议的一点，但无论如何，上面这几个例子让我们看到了数字对人类的生活有多大的影响，甚至我们也常常意识不到数字能成为那么多事情的决定因素。<br /> <br /> ==参考资料 References==<br /> <br /> Dong, Xiawei [&amp;] Kewen Lu (2013). Lucky Number Effect on Chinese Marriage. Conference: Proceedings of The First Summit Forum of China's Cultural Psychology, 100-105. <br /> <br /> Jaffe, Eric (2015.09.28). How Chinese Superstition About the Number 4 Makes Beijing Traffic Worse. Bloomberg [Online]. &lt; https://www.bloomberg.com/news/articles/2015-09-28/chinese-superstition-about-the-unlucky-number-4-makes-beijing-traffic-congestion-worse&gt; [03.07.2023].<br /> <br /> May, Tiffany (2020.08.17). Defendant’s Luck Runs Out. But the Lucky Phone Number Fetches $325,000. The New York Times [Online]. &lt; https://www.nytimes.com/2020/08/17/world/asia/china-lucky-phone-number.html&gt; [03.07.2023].<br /> <br /> Na, Sun [&amp;] Thomas Schneider (2010). The use of ‚lucky’ numbers in the pricing of Chinese A-share initial public offerings. SSRN Electronic Journal, 1-52. <br /> <br /> Shum, Matthew, Wei Sun [&amp;] Guangliang Ye (2013). Superstition and ’lucky’ apartments: Evidence from transaction-level data. Journal of Comparative Economics 24, 109-117. <br /> <br /> Tse, Andrew Yau Hau Tse (2015). To Be or Not to Be Superstitious—That’s the Question. Procedia - Social and Behavioral Sciences 208, 5-12. <br /> Why Alibaba’s $68 is a lucky number. (2014.09.18). CNBC [Online]. &lt; https://www.cnbc.com/2014/09/18/why-alibabas-68-is-a-lucky-number.html&gt; [03.07.2023].<br /> <br /> ==生词 (Terms and Expressions)==<br /> <br /> 幸运数字 auspicious numbers<br /> <br /> 同音 be homonymic<br /> <br /> 首次公开募股 IPO (Initial Public Offering)<br /> <br /> 车牌号 number of license plate<br /> <br /> 迷信 superstition<br /> <br /> ==问题 (Questions)==<br /> <br /> 1. 2014年在纽约证券交易所阿里巴巴集团的首次公开募股为什么是$68？<br /> <br /> 2. 为什么中国人喜欢8？<br /> <br /> 3. 为什么中国人避免4？<br /> <br /> 4. 2020年为了买包含五个“8”的电话号码，有人花了多少钱？<br /> <br /> =第十周 Session 10 Jan 25 13:15-14:45 Part 1 - 基督教和佛教之间的差别 The Differences between Christianity and Buddhism=<br /> <br /> presented by ZYX <br /> <br /> presentation: [[https://docs.google.com/presentation/d/1nwgs5VKepzghfg_MLrm6HlzOXxJF2Tq-/edit?usp=drive_link&amp;ouid=103541239485723010069&amp;rtpof=true&amp;sd=true]] [[Media:The_Differences_between_Christianity_and_Buddhism.PPTX]]<br /> ===摘要 (Abstract)===<br /> <br /> 基督教和佛教都不是源自中国的宗教。它们在中国的出现和发展之间存在着显著的差异。<br /> <br /> ===引言 (Introduction)===<br /> <br /> 在宗教方面，中国数百年来主要以中国的宗教为主：儒教、道教以及起源于印度并且在中国经历了深度中国化的佛教。基督教公元7世纪左右才出现。<br /> <br /> ===佛教和基督教在中国的出现 (The Appearance of Buddhism and Christianity in China)===<br /> <br /> 佛教于公元1世纪中叶从印度传入中国 (Zotz 2007, 171)，当时道教和儒教已经在社会中获得了知名度和地位。在翻译过程中，佛教与道教紧密联系在一起，随后逐渐偏离了原始教义，慢慢演变成了中国佛教。<br /> <br /> 基督教在中国的传教历史可以追溯到公元7世纪左右。根据最早的传教史，基督徒从一开始就面临着适应中国宗教现实的压力，其中包括在翻译中借鉴了佛教和道教的哲学思想。对于意大利的耶稣会士来说，16世纪末的耶稣教士的活动成为进一步传教中国的必要基础。<br /> <br /> 唐代的传教士将他们所宣扬的信仰真理与儒家、道家和佛教的元素进行了融合。在他们的著作中，上帝被认为是一切事物的起源和阴阳的创造者，也被称为佛教术语“佛陀”。除了信仰真理外，基督徒还宣扬对天的敬仰、对皇帝、官员和学者的尊敬，从而适应了中国现有的社会等级制度。<br /> <br /> ===在宗教信仰上的差异 (Differences between Religious Beliefs)===<br /> <br /> 佛教和基督教在宗教信仰上存在根本性的差异。基督徒相信唯一、全能和无所不在的上帝，是世界的创造者，而佛教则排斥任何神的存在 (姚 2004, 1)。佛陀虽然有人们为他建立塑像并尊崇他，但他并不是神。根据基督教观念,苦难是由人类的罪恶所导致，而根据佛教的观念苦难是生活的固有部分。对于人死后发生的事情，两者的观点也完全不同。在这两种情况下，这是个体在生前行动的结果。基督教徒相信为善良的人所承诺的天堂，那里可以享受永恒的幸福，以及为罪人而设的地狱，他们将遭受永恒的痛苦。佛教徒相信轮回的循环。只有通过达到涅槃（开悟）并进入“非存在”的状态，才能解脱。这两种宗教涉及类似的问题，但以不同的方式处理。它们的共同点是佛教和基督教都不是在中国形成的，因此对中国人来说是陌生的。<br /> <br /> ===耶稣会士传教士对佛教的态度 (Attitude of the Jesuit Missionaries towards Buddhism)===<br /> <br /> 16世纪末时，耶稣会士有意地努力与佛教传统建立联系，这可从他们穿着的僧袍中得到证实。他们想避免因其与欧洲人不同的外貌而被排斥。然而，与佛教的联系过于深远。两种宗教都谈论了尘世中的苦难，并提供了死后更好的选择，因此有时将基督教视为佛教的一个分支。传教士们意识到，以佛教僧侣的打扮，他们可以更容易地接触到社会底层，但他们无法在知识精英中获得尊重。耶稣会士们当时采取了不同的策略 - 他们计划从社会的顶层进行福音传教。耶稣会士在16世纪末的主要目标是进入北京并使皇帝皈依基督教信仰。为了实现这一目标，传教士们采纳了儒家的风尚，并开始与佛教或道教等联系疏远 (Charbonnier 2007, 155)。<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 虽然基督教和佛教好像有许多共同的地方，虽然实际上两个宗教的观念不一样，还有它们在中国的历史有很多差别。<br /> <br /> ===参考资料 (References)===<br /> <br /> 1. Charbonnier, Jean 2007, Christians in China: A.D. 600 to 2000, San Francisco: Ignatius Press<br /> 2. 陈登 2001, 佛教与基督教的儒学化比较 [In:] „湖南大学学报（社会科学版）”，Vol.15, No.3<br /> 3. 姚卫群 2004, 佛教与基督教的“神”观念比较 [In:] “陕西师范大学(哲学社会科学版)”, Vol.33, No.2<br /> 4. Youlan, Feng 2001, Short history of Chinese Philosophy, Warszawa: Wydawnictwo Naukowe PWN<br /> 5. Zotz, Volker 2007, Geschichte der buddhistischen Philosophie, Kraków: Wydawnictwo WAM<br /> <br /> ===关键词 (Key words)===<br /> <br /> 基督教；佛教；宗教；中国；传教士；耶稣会士；宗教信仰；宗教差异<br /> <br /> ===生词 (Terms and Expressions)===<br /> <br /> 基督教 Christianity;<br /> 佛教 Buddhism;<br /> 耶稣会士 Jesuit;<br /> 宗教信仰 religious belief;<br /> 传教士 a missionary<br /> <br /> ===问题 (Questions)===<br /> <br /> 1. 基督教什么时候在中国出现？<br /> 2. 基督教和佛教对苦难的看法有什么差别？<br /> 3. 基督教的上帝和佛教的佛陀是一样的吗？<br /> 4. 对中国人来说，为什么基督教和佛教都是陌生的？<br /> <br /> =第十周 Session 10 Jan 25 13:15-14:45 - Part 2: 中国摇滚乐的形成 Development of Chinese Rock Music=<br /> ==摘要 Abstract==<br /> 文化大革命之后，中国的艺术，包括音乐，经过了大量变化。新的流派出现了，音乐家找到新的方法发挥自己的创造性。摇滚乐在80年代后半叶非常流行，属于这些流派其中之一。我想介绍中国摇滚乐是怎么出现的，以及摇滚乐与其他音乐流派的区别是什么。<br /> <br /> ==关键词 (Key words)==<br /> 中国音乐，通俗音乐，摇滚乐，崔健<br /> <br /> ==前言 (Introduction)==<br /> 1976年，毛泽东去世之后，文化大革命结束了。这一事件标志着迅速变化的开始。这些变化不仅涉及政治，经济等方面，而且还对文化，艺术各个领域产生了重大的影响。从那时候开始，艺术家可以享受的创作自由比以前更多，因而出现了许多绘画，摄影以及音乐的新趋势。我想介绍的话题就是中国现代音乐，特别是摇滚乐，它的起源和发展。<br /> <br /> ==中国流行音乐 (Chinese popular music)==<br /> <br /> 按照 Timothy Lane Brace (1992) 的论文，中国人使用三个术语来定义民众当中最普及的音乐风格。这些术语包括：“流行音乐”，“通俗音乐”以及“轻音乐”。它们都表示从西方音乐中汲取一些元素的中国音乐，但同时也有一些区别。“轻音乐”界定中国民间音乐或者传统音乐，配以西方流行音乐的伴奏，而“流行音乐”和“通俗音乐”是被年轻人使用的词，定义于 20世纪在中国出现的音乐风格。“流行音乐”这个术语从 30年代到 40年代最常使用，描述毛泽东时期之前创造的风格，而“通俗音乐”指的是文化大革命结束后创造的风格。“通俗音乐”可以分为三个最主要的流派：“港台乐”，“西北风”以及“摇滚乐”。“港台乐”起源于香港和台湾，70. 年代末传到中国大陆。它的旋律即平稳又简单，歌词的主题一般是浪漫的爱情，很像西方的流行歌 (Brace 1992: 137-138)。“西北风”跟寻根现象有关：80年代中期，在艺术界出现了寻找中国文化根源的倾向，因为大革命的时候，中国文化的根源遭到了很严重的损失。“西北风”音乐家的灵感来自中国西北地区的传统民歌，他们用中国的传统乐器，歌词会提起对家乡的爱的话题 (Brace 1992: 147-149)。不过与此同时，在这种音乐中可以听到许多西方摇滚乐的特点，比如：很快的节奏，猛烈的旋律和强劲的低音线 (Zhao 2010: 44). 但是我们可不可以把“西北风”当作中国摇滚乐的原型？<br /> <br /> （吴凯庭 - Timothy Lane Brace （1992，？）没有准确的参考。）<br /> <br /> 按照 Timothy Lane Brace (1992: 134) 的论文，中国人使用三个术语来定义民众当中最普及的音乐风格。这些术语包括：“流行音乐”，“通俗音乐”以及“轻音乐”。它们都描述从西方音乐中汲取一些元素的中国音乐，但同时也有一些区别。“轻音乐”界定中国民间音乐或者传统音乐，配以西方流行音乐的伴奏，而“流行音乐”和“通俗音乐”是被年轻人使用的词，定义于 20世纪在中国出现的音乐风格。“流行音乐”这个术语从 30年代到 40年代最常使用，描述毛泽东时期之前创造的风格，而“通俗音乐”指的是文化大革命结束后创造的风格。“通俗音乐”可以分为三个最主要的流派：“港台乐”，“西北风”以及“摇滚乐”。“港台乐”起源于香港和台湾，70. 年代末传到中国大陆。它的旋律即平稳又简单，歌词的主题一般是浪漫的爱情，很像西方的流行歌 (Brace 1992: 137-138)。“西北风”跟寻根现象有关：80年代中期，在艺术界出现了寻找中国文化根源的倾向，因为大革命的时候，中国文化的根源遭到了很严重的损失。“西北风”音乐家的灵感来自中国西北地区的传统民歌，他们用中国的传统乐器，歌词提起对家乡的爱情的话题, (Brace 1992: 147-149)。不过与此同时，在这种音乐中可以听到许多西方摇滚乐的特点，比如：很快的节奏，猛烈的旋律和强劲的低音线 (Zhao 2010: 44). 但是我们可不可以把“西北风”当作中国摇滚乐的原型？<br /> <br /> ==西北风和摇滚乐的区别 (Differences between xibeifeng music and rock music)==<br /> <br /> T. Brace (1992: 162) 指出，西北风和摇滚乐出现的时间大致相同。刚听的时候，人们往往把摇滚乐与西北风混为一谈，因为它们的声音即使不完全相同，也确实非常相似。中国摇滚乐的起源可以追溯到 1985 年：当时，一位叫崔健的音乐家，被誉为中国摇滚乐的先驱，发行了第一张唱片 (Zhao 2010: 35)。因为他走的旋律很类似北方的民谣，他被听众视为西北风的音乐家，然而自己强烈反对这样的说法，自称创作纯粹的摇滚乐。那这两种流派有什么区别？最主要的区别不是涉声音的，是涉及意识形态的。那是不是政治的参与作中国摇滚乐的特点？大多人认为崔健最有名的一首歌，《一无所有》，包蕴政治的内涵，不过崔健本人表明，虽然他的歌包括一些抗议的元素，但跟政治没有什么关系，因为如果把自己音乐的范围限于政治的批评，就会限制自己的创作自由 (Brace 1992: 164-166)。因此，摇滚音乐家所遵循的意识形态不是一种政治意识形态，而是一种更广泛的自由意识形态，包括思想的自由，创作的自由以及生活方式的自由 (Brace 1992: 173)。遵循个人自由的理念就是摇滚音乐创作者与其他音乐流派创作者最重要的区别。<br /> <br /> ==80年代以后摇滚乐的情况 (Rock music after the 80s)==<br /> <br /> 正如之前所述，80年代中期就是中国摇滚乐的发端。80. 年代后半叶就是这一流派最流行的时间。这就是因为文化大革命的恐怖以后，在社会里个人的自由成为了最重要的价值观念之一。1989 年之后，摇滚乐的知名度开始减少。Hao Huang (2003: 189-191) 提出，天安门屠杀之后，当局再次限制了公民的人身自由，包括艺术家的创作自由。因而，社会对精神理想的追求逐渐冷却了，人们开始转向消费主义。虽然摇滚乐并没有完全消失 （90年代，代表中国摇滚乐的乐队仍然被建立，比如叫《唐朝》的乐队）(De Kloet 2005: 237)，但从 1989 年开始，这种流派确实处于流行的边缘。<br /> <br /> (吴凯庭 - 最后一个句子应该是：这种流行派确实处于流行“的”边缘。）<br /> <br /> 正如之前所述，80. 年代中期就是中国摇滚乐的发端。80年代后半叶就是这一流派最流行的时间。这就是因为文化大革命的恐怖以后，在社会里个人的自由成为了最重要的价值观念之一。1989 年之后，摇滚乐的知名度开始减少。Hao Huang (2003: 189-191) 提出，天安门屠杀之后，当局再次限制了公民的人身自由，包括艺术家的创作自由。因而，社会对精神理想的兴起逐渐冷却了，人们开始转向消费主义。虽然摇滚乐并没有完全消失 （90. 年代，代表中国摇滚乐的乐队仍然被建立，比如叫《唐朝》的乐队）(De Kloet 2005: 237)，但从 1989 年开始，这种流派确实处于流行的边缘。<br /> <br /> ==结论 (Conclusion)==<br /> 对中国摇滚乐的创作，意识形态是最重要的因素。随着社会心态的变化，它的知名度减少了，但崔健等等的摇滚乐家的成就并没被遗忘，为当代的摇滚乐家奠定了基础。<br /> <br /> ==参考资料 (References)==<br /> Brace, Timothy Lane 1992. Modernization and Music in Contemporary China: Crisis, Identity, and the Politics of Style. Austin: The University of Texas at Austin.<br /> <br /> De Kloet, Jeroen 2005. “Authenticating Geographies and Temporalities: Representations of Chinese Rock in China”. Visual Antrophology, 18, 237.<br /> <br /> Hao, Huang 2003. “Voices from Chinese Rock, Past and Present Tense: Social Commentary and Construction of Identity in 《Yaogun Yinyue》, from Tiananmen to the Present”. Popular Music and Society 26, 189-191.<br /> <br /> Zhao, Yue 2010. The Musicality of C-Pop. A Study of Chinese Popular Music from 1985-2010. Sheffield: <br /> Department of Music The University of Sheffield.<br /> <br /> ==Terms and Expressions==<br /> <br /> 音乐流派 - music genre<br /> <br /> 旋律 - melody<br /> <br /> 灵感 - inspiration<br /> <br /> 节奏 - rhythm<br /> <br /> 低音 - bass<br /> <br /> 内涵 - implication<br /> <br /> 意识形态 - ideology<br /> <br /> ==Questions==<br /> <br /> 1. 摇滚乐跟什么音乐流派经常被混为一谈？<br /> <br /> 2. 在中国，摇滚乐是什么时候最流行的？<br /> <br /> 3. 哪位音乐家被誉为中国摇滚乐的先驱？<br /> <br /> 4. 他最有名的一首歌的题目是什么？<br /> <br /> =第十二周 Session 12 Jan 25 13:15-14:45 - Part 3 中国饮食文化——中国菜的命名艺术 Culinary Culture of China: The Art of Naming Chinese Dishes=<br /> <br /> ===摘要 (Abstract)===<br /> 中国饮食文化与汉语的关系非常密切，在塑造人们对食物的认知方面发挥了巨大的作用。 它也极大地影响了中国菜肴的命名方式，无论是过去还是现在。<br /> <br /> ===关键词 (Key Words)===<br /> 中国饮食文化；中文；汉语；传统；语言分析；菜肴名称；菜的命名<br /> <br /> ===引言 (Introduction)===<br /> <br /> 中国多样而复杂的饮食文化不仅体现在居民的日常生活中，也体现在中国数百年来创作的小说和其他书面作品中。 我们在其中看到的中国菜名大多寓意深刻，命名方式考究，文化背景深厚，文化历史内涵丰富。 汉语由于其与文化的密切关系，在塑造人们对食物的认知方面发挥了巨大的作用，并极大地影响了中国菜肴的命名。 在下一部分中，我将讨论为中国菜命名的话题。<br /> <br /> ===中国菜的命名艺术 (The Art of Naming Chinese Dishes)===<br /> <br /> 中国是一个非常重视命名的国家。这适用于重要地点、重大事件、各类机构、艺术领域、习俗和传统或精神和仪式的各个方面，也适用于与衣、住、行和食品有关的小问题。在秦汉时期，菜肴的命名艺术主要是根据食材和食品的加工方法来命名，但在南北朝之后，这方面出现了许多新的命名方法。普通的菜肴常常有极其优雅和美丽的名字，有时是深思熟虑的，非常令人惊讶。一个精心挑选的名字很容易引起人们的兴趣，从而在用餐时创造出一种愉快的气氛，鼓励宴客者品尝新的菜肴（王学泰 1997：226）。<br /> <br /> 中国菜肴的名称具有丰富的艺术性，其创作灵感有时来源自自然现象、自然物体以及任何可能引起审美联想的事物。菜名中还反映出强调菜肴的味道、颜色、香味和形状的倾向，因为这些因素决定了菜肴的质量（Pimpaneau 2001: 57）。名称中使用的颜色主要是红色、黄色、白色和绿色。根据心理学，这些颜色可以刺激食欲，而蓝色和青色则有可能导致生病。此外，明亮、闪亮和清澈的颜色会唤起愉悦感，而深色则产生相反的效果。 菜肴的命名也遵循这一原则：通常使用贵重且闪亮的物品来代替颜色，以增添菜肴的精致感。其中一些词汇包括&quot;金&quot;、&quot;玉&quot;、&quot;翡翠&quot;、&quot;琥珀&quot;、&quot;水晶&quot;、&quot;珍珠&quot;和&quot;锦&quot;。即使菜肴的颜色较深，也更常见地使用&quot;乌&quot;而不是&quot;黑&quot;，因为&quot;乌&quot;具有更高尚的意义并带有更积极的内涵（王学泰 1997：227-228）。<br /> <br /> ===中国菜肴的命名方法 (Methods of Naming Chinese Dishes)===<br /> <br /> 中国菜的命名是一门艺术，反映不同地区居民的各种文化传统、习俗和审美趣味。中国人喜欢诗意的隐喻，这也是给菜肴起精致名称的原因之一。这些名称不仅与菜肴本身有关，还指戏剧或中国传统文学作品中的神话、传说和历史故事。一些美食的起源可能包括丰富多彩的比喻或流行故事，而基于这些故事的名称使菜肴成为人们关注的对象（Kajdański 2011: 147）。这种命名方式不仅能刺激食欲，还能激发人们的好奇心，并使食物本身获得新的象征意义。 常敬宇（常敬宇 1998: 139-140）指出了以下几种命名新菜肴的方式：<br /> <br /> – 以人名、姓氏或头衔命名菜肴（“宫保鸡丁”、“麻婆豆腐”等）；<br /> <br /> – 以城市或地理区域命名菜肴（“北京烤鸭”、“西湖醋鱼”等）；<br /> <br /> – 根据食物的形态或形状来命名（“猫耳朵”、“龙须面”等）；<br /> <br /> – 根据菜肴的颜色或食材的颜色来命名（“红白豆腐”、“雪衣鱼条”等）；<br /> <br /> – 根据菜肴中的主要味道或香气来命名（“香酥鸡”、“麻辣烫”等）；<br /> <br /> – 根据菜肴中使用的油或酱来命名（“红油豆腐”、“蚝油牛肉”等）；<br /> <br /> – 根据烹制菜肴的容器来命名（“瓦罐面”、“火锅肉”等）；<br /> <br /> – 根据菜肴中使用的调料来命名（“糖醋鱼”、“红糟鱼片”等）；<br /> <br /> – 根据菜肴的烹制方法来命名（“炸大虾”、“红烧鲤鱼”等）；<br /> <br /> – 以神话、传说、信仰或历史故事命名菜肴（“过桥米线”、“佛跳墙”等）。<br /> <br /> 评论：在解释每个翻译方式中，你应该举几个例子<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 饮食在中国文化中占有非常重要的地位，而中国菜名不仅反映所用食材的多样性、烹调方法或菜肴的色、香、味、貌，还包含相关人物事件、重要地点和历史时期、文学作品和传说的提及等诸多文化元素。而且，许多食品的名称和与食品有关的词语都远远超出了字面的范畴，隐藏着丰富的象征意义、隐喻性和广泛的内涵，涉及人类生活的各个领域。<br /> <br /> ===参考资料 (References)===<br /> <br /> 常敬宇 1998. 汉语词汇与文化. 北京: 北京大学出版社.<br /> <br /> Kajdański, Edward 2011. Chiny: leksykon. Warszawa: Spółdzielnia Wydawniczo-Handlowa &quot;Książka i Wiedza”.<br /> <br /> Pimpaneau, Jacques 2001. Chiny: kultura i tradycje. Tłum. Irena Kałużyńska. Warszawa: Wydawnictwo Akademickie DIALOG.<br /> <br /> 杨德峰 2001. 汉语与文化交际. 北京: 北京大学出版社.<br /> <br /> 王学泰 1997. 华夏饮食文化. 北京: 中华书局.<br /> <br /> ===Questions===<br /> <br /> 1. 中国菜的许多新命名方式是什么时候出现的？<br /> <br /> 2. 中国菜肴的命名常使用哪些颜色？<br /> <br /> 3. 为什么中国菜肴的命名常常使用贵重且闪亮的物品来代替颜色？<br /> <br /> 4. 中国菜肴的命名方法有哪些？<br /> ==第十二周 Session 12 Jan 25 11:30-13:00 - 中国佛教 (Chinese Buddhism)= SSM<br /> ===摘要 (Abstract)===<br /> 从公元一世纪起，佛教对中国文化的影响十分明显。在本土与外来高僧的努力下，大部分佛典被翻译成中文，助于形成中国佛教学派。这样，就出现了独特的中国佛教。<br /> <br /> ===关键词 (Key Words)===<br /> 中国佛教；禅宗；天台宗；净土宗；华严宗；白莲教；高僧；佛典<br /> <br /> ===引言 (Introduction)===<br /> 佛教是世界上最有名的宗教之一。佛教的教义也影响到了中国的文化。<br /> <br /> ===中国佛教史 (History of Buddhism in China)===<br /> 佛教于公元一世纪由印度传入中国，这主要得益于中国在西域扩展其影响力。这样才能跟印度建立联系。在这种情况下，东汉的第二位皇帝汉明帝（28-75年）公元64年派遣了第一批使节前往印度，为的是寻找佛教教义的发源地。三年后，当他们与两位高僧一起返回洛阳时，明帝非常高兴，并下令在首都修建白马寺。寺庙的名字与使者们骑的白色的马有关。这不但是中国最早建立的佛教寺庙，而且是翻译带来的经典的地方（Sang 2004：59）。从那时起，早期汉译佛典使佛教教义在中国得到快速的传播。中国本地与外来高僧对所取得的成就发挥了关键的作用。由于他们的努力，僧伽得以获得独立并成为文化教育机关。不过在东汉倒台后，佛教才得到快速的传播，尤其是在普通人中。从221年至589年，中国处于政治不稳定和冲突之中。在这种情况下，中国居民渴望逃离沉重的现实。佛教给予他们在来世获得更美好生活的希望（Zürcher 2007：2-5）。直到第六世纪，大部分重要的佛典被高僧从梵文翻译成中文。汉译佛典有助于形成中国佛教流派。研究者经常提到四个最著名的中国佛教学派，包括禅宗、天台宗、华严宗、净土宗，还提起白莲教（Snelling 1990：31-32）。<br /> <br /> ===中国佛教学派：净土宗、白莲教 (Chinese Buddhist Schools: Pure Land School, The White Lotus)===<br /> 402年一个叫释慧远的高僧（334-416年）创立了白莲教，与此同时，他创立了净土宗的大乘佛教传统，该学派延续了他的教诲。白莲教的成员承诺相互帮助，并履行自己的责任，以期在西方极乐世界中重生。白莲教的主要修行法门是念佛，特指修行人一心忆念阿弥陀佛的名号以及祈求死时升入佛国净土（Zürcher 2007：219-221）。<br /> <br /> ===中国佛教学派：华严宗 (Chinese Buddhist Schools: Huayan School)===<br /> 在公元6世纪初，在中国出现了华严宗，该学派也属于大乘佛教传统，其教义和修行基于《华严经》。华严宗的一个显著的特点是其教义和修行都受到本土道教的影响，因为华严宗涉及到道教的关键概念，宇宙真理——道（Harvey 2013：145-148）。 <br /> <br /> ===中国佛教学派：禅宗 (Chinese Buddhist Schools: Chan School)===<br /> 华严宗和道教都对禅宗的发展产生了重要影响。传统上，半传奇般的印度高僧叫菩提达摩（5-6世纪)于公元6世纪创建了禅宗。该学派的名称由坐禅而来。禅宗的信徒相信，只有修心养性，才能得到开悟。信徒也深信每个人都具有佛性，即成佛的潜力。因此，禅宗特别注重实践，同时将佛经视为精神成长的一种限制形式（Sang 2004：62）。<br /> <br /> '''(请加菩提达摩的出生日期，舒然）'''<br /> <br /> ===中国佛教学派：天台宗 (Chinese Buddhist Schools: Tiantai School)===<br /> <br /> 公元6世纪还出现了天台宗，由智顗（538-597）创立，该学派的名称取自位于浙江省的天台山。天台山上也是天台宗的主要总部——国清寺。天台宗信徒认为教义和冥想是宗教生活中同等重要的要素。天台宗的教义基于《妙法莲华经》，强调佛陀的永恒和智慧。由于其内容，《妙法莲华经》很快就成为最重要的中国佛教经典（Chen 2006：9）。<br /> <br /> '''(请加智顗的出生日期，舒然）'''<br /> <br /> ===结论 (Conclusion)===<br /> 总而言之，中国佛教学派与高僧的翻译事务的发展推动了与众不同的中国佛教。因此，一直到现在，在中国，佛教仍是最重要的宗教之一。<br /> <br /> ===参考资料 (References)===<br /> Chen Jian 陈坚 2006. “Chanzong: Shenghuo zhong yu jiaoyì, shenmei gao yu xinyang” 禅宗: 生活重于教义, 审美高于信仰 [Chan School: Life is more important than doctrine, aesthetics is more important than faith]. Xinyang shifan xueyuan xuebao 信阳师范学院学报 1, 9-13. <br /> <br /> Harvey, Peter 2013. An Introduction to Buddhism. Teachings, History and Practices. New York: Cambridge University Press.<br /> <br /> Sang Ji 2004. Religions and Religious Life in China. Translated by Li Zhurun. Beijing: China Intercontinental Press.<br /> <br /> Snelling, John 1990. The Elements of Buddhism. Shaftesbury: Element.<br /> <br /> Zürcher, E. 2007. The Buddhist Conquest of China. The Spread and Adaptation of Buddhism in Early Medieval China. Leiden: Brill.<br /> <br /> ===生词 (Terms and Expressions)===<br /> 西域：the Western Regions<br /> 高僧：eminent monk<br /> 大乘：Mahayana, the Great Vehicle<br /> 西方极乐世界：Western Pure Land of Ultimate Bliss<br /> 阿弥陀佛：Amitabha, Buddha of infinite light <br /> 开悟：to become enlightened <br /> 坐禅：to meditate<br /> 佛性：Buddhata<br /> <br /> ===Questions===<br /> 1. 哪位皇帝使佛教传入中国？<br /> 2. 第一座中国佛教寺庙叫什么？<br /> 3. 禅宗的修行法门“念佛”是什么？<br /> 4. “佛性”是什么意思？<br /> =第十三周 Session 13 Jan 25 13:15-14:45 - 缠足 (Foot-binding)=<br /> ==摘要 (Abstract)==<br /> 在中国传统社会，女人美丽的主要特征之一就是小脚。 于是，缠足的习俗出现了——一种极其痛苦的习俗，将脚上的骨头折断，然后用绷带包扎，使其尽可能小。<br /> <br /> ==引言 (Introduction)==<br /> <br /> '''中国传统社会的缠足习俗''' <br /> <br /> 在传统中国，有一种习俗被称为&quot;缠足&quot;，它在近现代已成为中国女性权益方面的巨大反面教材。这是一种从公元十世纪开始的极其痛苦的实践，目的是使脚尽可能地小。为了进行这个仪式，人们会为女孩准备特殊的饮食，以软化骨头，以便更容易裹绑。实践本身以将脚浸泡在加入不同草药和尿液的水中开始。然后，母亲会用明矾擦拭脚部，以收缩组织并减少出血。接下来，她会修剪指甲并浸湿绷带，当绷带干燥时，会更加紧缩脚部。她会从脚弓开始裹绑，弯曲四个小脚趾并用力旋转。然后，她会用绷带绕过脚后跟，并以一个小环收尾。这个过程需要每四天进行一次，以使脚部更加纤细，绑得更紧。在这个过程中，还需要使用绣花鞋作为必要的工具，其中有专门用于开始和结束过程的不同款式。（杨思蒙 2022, 46-48) <br /> <br /> ==起源及后果 (Orgins and Consequences)==<br /> <br /> 在行走过程中，脚弓和骨骼会断裂。如果这种情况没有发生，人们就会将小石块绑在女孩脚上，直到骨骼断裂为止。如果即使这样做也没有成功，或者女孩太小以至于无法行走，母亲会亲自用大石头折断骨骼。毋庸置疑，这个仪式给女性带来了难以形容的痛苦：极大地阻碍了行走，并导致许多健康并发症，甚至死亡。据估计，高达10％的女孩因为这种实践而丧生。在脚被绑好之初，母亲会照料，而成年女性则自己负责。这种习俗的起源并不完全清楚。据说它起源于关于姚宁的传说——她是李后主宫廷的皇妃。（杨兴梅，罗志田1999, 2） <br /> <br /> ==缠足的目的 ( The Aim of Foot-binding Practice)==<br /> <br /> <br /> 整个痛苦的仪式旨在确保女性将来嫁给一个好丈夫，从而实现社会晋升。被称为&quot;三寸金莲&quot;（因为绑脚的被称为&quot;三寸金莲&quot;）被认为代表女性的品格和价值，似乎证明了她的内在纪律和忍耐痛苦的能力，显示她适合成为一个好母亲。选择潜在配偶时，不会考虑脚大的女性。小脚成为性感的象征，也是男性的恋物对象。此外，绷带和鞋子本身也成为&quot;黄金莲&quot;的情趣元素。（Li Fajun 2022, 674-678) <br /> <br /> ==缠足的结束 (The End of Foot-binding Practice)==<br /> <br /> <br /> 在1672年的康熙皇帝和1902年的慈禧太后的敕令下，这种实践受到了限制。然而，这个根深蒂固的传统习俗一直延续到20世纪30年代。直到全国范围内进行了&quot;放足&quot;运动后，才停止了这种实践。尽管如此，在农村地区仍有一段时间束缚着女孩们的脚。即使在今天，仍然有极少数女性保留着&quot;三寸金莲&quot;。 (Błaszczyk, Sikora 2015, 123)<br /> <br /> ==参考资料 References==<br /> <br /> A. Błaszczyk, M. Sikora, Kilka uwag o prawno-społecznym statusie kobiet w Chińskiej Republice Ludowej, „Kobieta w prawie i polityce” 2015, nr 9, s. 233<br /> <br /> 杨思蒙, 从缠足看宋代以后的大众审美观, 今古文创. 2022(32) Page:46-48<br /> <br /> 杨兴梅，罗志田，近代中国人对女性小脚美的否定 1999, Page: 2<br /> <br /> == 生词 Terms and Experessions==<br /> <br /> 缠足 - foot-binding<br /> <br /> &quot;三寸金莲&quot; - lotus feet<br /> <br /> 绑 - bind,tie<br /> <br /> &quot;放足&quot;运动 - Free-foot Movement<br /> <br /> ==Questions==<br /> <br /> 1.中国古代缠足的过程是怎样的？<br /> 2. 缠足的习俗源自什么传说？<br /> 3、什么是“三寸金莲”？<br /> 4. 缠足是哪一年开始禁止的？<br /> =第十三周 Session 13 Jan 25 13:15-14:45 - 鬼怪和辟邪 (Monsters and Exorcism)=<br /> ===摘要 （Abstract）===<br /> 鬼怪在中国文化中扮演着非常重要的角色。 人们别无选择，只能寻找各种方法来辟邪他们。<br /> ===关键词 （Key Words）===<br /> 鬼怪，辟邪，文化，恶意， 中元节<br /> === 引言 （Introduction） ===<br /> 在台湾或中国文化和历史中，有很多关于鬼怪的提及。绝大多数的恶魔生物都对人类怀有恶意。通常鬼怪总想要附身受害者，吞噬他或者给他带来不幸的生活。鬼怪在旧时代的人对世界的看法中有很重要的影响。人们总喜欢用鬼怪来解释不祥现象，不过更有趣是他们发明辟邪的方式。<br /> === 过年 ===<br /> 在中国人的文化有很多提到鬼怪的地方。比如说以前的人们过年的时候做桃符是为了辟开不好的事情，带来家的平安跟好运，还有据说桃木有镇邪驱邪的功效。但是它们很难做，也很贵，并非所有家庭都能负担得起，所以人们开始用纸作的红色春联，现在中国人贴春联在门窗上，作为装饰品，为了给家庭带来幸福和大好运。红色不但表示吉利，而且人们相信红色会帮助辟邪不好的事情。以前在过年的时候人们放鞭炮，目的是赶走山臊，这是一种像猴子一样的怪物。放鞭炮的传统也跟一个叫“年”的怪物有关。每年这个时候这个怪物都会袭击村庄，然后绑架人们的孩子。他们相信这个鬼怪除了鞭炮的响声音什么都不怕。现在人们不再相信鬼怪，但是放鞭炮仍然是华人新年庆祝活动的传统象征。另一个很有趣的是压岁钱的习俗，压岁钱是压制邪祟的钱。人们相信可以贿赂鬼怪，如果他们放钱在孩子床上，有鬼怪来，鬼怪就会只拿钱，不会靠近和伤害孩子，而是自行离开。现在，红包意味家庭成员的繁荣和善意。<br /> === 插艾草 ===<br /> 植物在文化中也发挥了重要的作用。比如说插艾草的习俗。实行这个习俗是为了辟邪和顺便驱蚊子。夏天，尤其是五月，因为天气非常热，所以蚊子很多。以前蚊子带来了很多疾病，医疗不发达，因此古代人们用鬼怪来解释疾病。鬼怪做恶事会影响人们的健康，所以如果人生病，都是鬼怪害的。如果一个人经常生病，他们就认为被鬼怪附体了。因为蚊子不喜欢艾草的味道，插艾草不让蚊子靠近，这样会驱逐蛟虫。现在也有插艾草的习俗，但是没有那么大的附加意义，只是一种习俗。<br /> === 戴香包 ===<br /> 别的一种辟邪鬼怪的方法是戴香包。里面有各种各样的草药，除了艾草，人们还用雄黄和菖蒲的植物，认为这种味道会让鬼怪不靠近。以前的人平常戴香包，妻子送给丈夫（及孩子），希望他平安，比如说他去很远的地方。香包确保辟邪，保护健康。第二个的原因是一般的人不会天天洗澡，所以他们味道真不好，戴香包让味道变得更好。人们感觉非常不方便，所以这是以前的常见的作法。<br /> === 喝午时水 ===<br /> 古代人认为从井拿水来喝是最好的水因为能祛除百病。于是，喝午时水的习俗就产生了。这个习俗跟华人道教和阴阳有关系。夏天来了，太阳表示阳。人类的时间是阳，鬼怪的时间是阴。不同的地方可能被阳气或阴气影响。对古代人来说不能去墓园散步因为在那里阴气很大。如果阳气比较多，鬼怪不会来，身体会健康。如果阴气比较多，一定会发生不好的事情或带来疾病。端午节是一年之中白天最长，晚上最短的时间，阳气最重的，所以从井喝午时水去除不好的影响，让人健康和辟邪鬼怪。<br /> === 中元节 ===<br /> 中元节跟道教有关，是超度亡灵的节日。普渡是农历七月十五号，传统上七月是鬼月。中元节不同的是祭拜的对象是鬼，不是神。祭拜灵鬼的原因是让过世的人去他们应该去的地方，超度他们。佛教认为每个人都一样，都可以接受这种普渡。在华人的观点，吃饱非常重要。饿鬼对人类一定会做不好的事情。饿鬼吃饱满足以后就会很开心，对给他们吃的主家不会做不好的事情。普渡的目的就是超度亡灵，祈求平安。现在普渡只是个习俗，没有人真的相信。<br /> === 结论 Conclusion ===<br /> 在过去，当人们遇到不好的事情时，他们常常责怪鬼怪。在医学还不够发达的时代，人们在寻找解决办法来解释没有明显答案的事情。驱邪的方法多种多样，从放鞭炮到在窗户上挂气味浓烈的植物，现在对现代人来说似乎很遥远的事情对古代人来说却有道理和深刻的意义。<br /> === 参考资料 References ===<br /> Zwoliński A. Satanizm. Polskie Wydawnictwo Encyklopedyczne Polwen, 2007.<br /> <br /> Eliade M. Aspekty mitu. Wydawnictwo KR, Warszawa 1998.<br /> <br /> Pimpaaneau J., Chine. Culture et traditions, Chiny, kultura i tradycje. Tłum. I. Kałużyńska, Dialog , Warszawa, 2000.<br /> <br /> Wasiliew L ., Kulty religie i tradycje Chin, przekł. A . Bogdański, PIW, Warszawa 1974.<br /> <br /> == 问题 (Questions) ==<br /> 1. 为什么人们想出各种方法来消灭蚊子？<br /> 2. 蚊子害怕什么气味？<br /> 3. 为什么人们要在中午喝井里的水？<br /> 4. 中元节是什么时候？<br /> <br /> =第十四周 Session 14 Feb 1 11:30-13:00 - 中医植物 (Herbs in Traditional Chinese Medicine)=<br /> === 摘要（Abstract）===<br /> 本文是关于中药的，植物在中药中起着非常重要的作用。尽管现代医学已经发展出许多先进的治疗方法，但中药植物仍在许多地方广泛使用，并在一些领域得到了科学研究的支持。本章选取了几种常见的中药植物，并对它们的用途进行了说明。<br /> === 关键词（Key Words）===<br /> 中医植物，中医，中医学，中药，药物，传统医药学<br /> === 引言（Introduction）===<br /> 中药是在中医理论指导下应用的药物。由于其来源包括植物、动物和矿物，椬物类药比例最多，使用也最普遍。中药涵义广泛，主要分为中药材（中草药和中药饮片）和中药制剂，包含传统临床制剂（丸、散、膏、丹、汤等）、中成药、供配伍用中药颗粒等。中药传统称为本草、生药等。目前，日韩等地仍称中药为汉药或汉方药。<br /> === 植物 —— 发展 (Plants - Development) ===<br /> 中医学是中国传统医学的重要组成部分，其中植物在中医疗法中扮演着重要的角色。中医植物指的是用于中医治疗的各种植物材料，包括根、茎、叶、花、果实、种子等。中医将人体看成是形、神、气的统一体，并且按照这一理念进行治疗，这是其与西医的一个重要区别。这种治疗方法已在中国使用了数千年。在药物之中，药草类（药用的植物）占绝大多数，人类在寻找食物的同时，发现了许多具有治疗作用的植物。各味药多遵循中医药理论组成各种方剂来应用和验证，加以总结，逐渐形成中国的传统医药学，也同时形成中国对药用植物使用的特点和优势。<br /> <br /> 中医学是中国传统医学的重要组成部分，其中植物在中医疗法中扮演着重要的角色。中医植物指的是用于中医治疗的各种植物材料，包括根、茎、叶、花、果实、种子等。中医将人体看成是形、神、气的统一体，并且按照这一理念进行治疗，这是其与西医的一个重要区别。这种治疗方法已在中国使用了数千年。药物之中因草类（药用植物 &lt;---去掉“的” Świeboda）占绝大多数，人类在寻找食物的同时，发现了许多具有治疗作用的植物。各味药多遵循中医药理论组成各种方剂来应用和验证，加以总结，逐渐形成中国的传统医药学，也同时形成中国对药用植物使用的特点和优势。<br /> <br /> === 植物 —— 化合物 (Plants - Compounds) ===<br /> 所有植物都产生化学化合物，这些化合物具有进化优势。这些植物化学物质具有作为药物的潜力，如科学证实，这些物质在药用植物中的含量和已知的药理活性是它们在现代医学中使用的科学依据。例如，水仙（Narcissus）含有九组生物碱，包括加兰他敏，许可用于治疗阿尔茨海默症，此外，生物碱是苦味和有毒的，并且浓缩在植物的部分，例如最容易被食草动物吃掉的茎，它们也可以防止寄生虫。虽然现代医学已经发展了许多先进的治疗方法，但中医植物在许多地方仍然被广泛使用，并且在一些领域中得到了科学研究的支持。<br /> <br /> 所有植物都产生化学化合物，这些化合物具有进化优势。这些植物化学物质具有作为药物的潜力，如果科学证实，这些物质在药用植物中的含量和已知的药理活性是他们（它们 Świeboda）在现代医学中使用的科学依据。例如，水仙（Narcissus）含有九组生物碱，包括加兰他敏，许可用于治疗阿尔茨海默症，再加上，生物碱是苦味和有毒的，并且浓缩在植物的部分，例如最容易被食草动物吃掉的茎，他们（它们）也可以防止寄生虫。虽然现代医学已经发展了许多先进的治疗方法，但中医植物在许多地方仍然被广泛使用，并且在一些领域中得到了科学研究的支持。<br /> <br /> === 植物 —— 使用（例子) (Plants - use (examples)) ===<br /> 与西方一样，也有许多标准混合物和药物可供使用。以下是一些常见的中医植物及其应用：<br /> <br /> 1. 人参（Panax ginseng）：人参是最著名的中药之一，被用于提高体力、增强免疫力、改善记忆和注意力等方面。<br /> <br /> 2. 田七（Panax notoginseng）：田七具有活血化瘀、止血、消肿等功效，常用于中医治疗创伤、出血以及心脑血管疾病等。<br /> <br /> 3. 黄芪（Astragalus membranaceus）：黄芪被广泛应用于中医药领域，具有补气、提升免疫力、益气补阳的作用, 改善疲劳等功效。<br /> <br /> 4. 当归（Angelica sinensis）：当归常用于妇科疾病的治疗，如调理月经、缓解经痛等，也常用于补血、活血的方剂中。<br /> <br /> 5. 丹参（Salvia miltiorrhiza）：丹参具有活血化瘀、消肿止痛等作用，常用于中医治疗心脑血管疾病、炎症等。<br /> <br /> 6. 五味子（Schisandra chinensis）：五味子被用作中药调剂剂型的重要成分，常用于增强肝脏功能、改善睡眠和抗衰老。<br /> <br /> 7. 党参（Codonopsis pilosula）：党参具有益气健脾、提升免疫力等功效，常用于中医治疗脾胃虚弱、疲劳等症状。<br /> <br /> 8. 白芍（Alba peony）：白芍具有活血化瘀、调经止痛的作用，常被用于妇科问题和痛经的治疗。<br /> <br /> === 结论（Conclusion）===<br /> 这只是一小部分现代中医常用的植物，还有许多其他植物在中医实践中被广泛应用。重要的是要理解，中医植物的使用需要经过专业的中医医生的指导和判断，以确保安全和有效性。在考虑使用中医植物进行治疗时，建议咨询专业的中医医生。<br /> <br /> 这只是一小部分现代中医常用的植物，还有许多其他植物在中医（应该是“在中医中” Świeboda）实践中被广泛应用。重要的是要理解，中医植物的使用需要经过专业的中医医生的指导和判断，以确保安全和有效性。在考虑使用中医植物进行治疗时，建议咨询专业的中医医生。<br /> <br /> === 参考资料（References）===<br /> <br /> Kierzkowski, K. Poszukiwanie nowych sposobów leczenia wobec zagrożeń cywilizacyjnych. O współczesnej wartości tradycyjnej medycyny chińskiej.<br /> <br /> Park, H. Tradycyjna medycyna chińska: wiosenne przebudzenie.<br /> <br /> Fibich, K. (2012). Tradycyjna Medycyna Chińska oczami Europejczyków. Studium recepcji nowości kulturowych.<br /> <br /> Hong Kong Baptist University 2022, Medicinal Plant Database URL: https://libproject.hkbu.edu.hk/was40/outline?lang=ch&amp;page=2&amp;channelid=1288&amp;ispage=yes&amp;trslc=50332160.1688399549.1<br /> <br /> === 问题 (Questions) ===<br /> 1. 中药涵义广泛是什么？<br /> <br /> 2. 中医是如何治疗人体的？<br /> <br /> 3. 哪种植物被批准用于治疗阿尔茨海默病？<br /> <br /> 4. 白芍是用来做什么的？<br /> =第十四周 Session 14 Feb 1 11:30-13:00 - 广东的文化饮食习惯：广东人为何爱吃野味？ The tradition of eating wild animals in Guangdong=<br /> <br /> <br /> LINK TO THE PRESENTATION: https://www.canva.com/design/DAEgvcSy460/6hbi140k0LYk4a0hlrODTw/view?utm_content=DAEgvcSy460&amp;utm_campaign=designshare&amp;utm_medium=link&amp;utm_source=editor<br /> <br /> <br /> <br /> ===摘要 (Abstract)===<br /> <br /> 食用野生动物是广州传统饮食文化的重要组成部分。本文分析了导致这一习俗普及的文化和社会因素。 <br /> <br /> ===引言 (Introduction)===<br /> <br /> 传统饮食习俗是广州文化遗产的重要组成部分，这一被称为“美食之地”的南方省份的美食闻名于全国。广州烹饪传统的一个重要元素是野生动物的肉。然而，随着人们逐渐意识到食用野生动物的危害，广东人对野味的喜爱引起了很大争议。本文将探讨野味在广东流行的文化和社会原因。 <br /> <br /> ===传统中医药文化 (The Culture of Traditional Chinese Medicine)===<br /> <br /> 在许多亚洲社会，特别是在偏远贫困的农村地区，中国传统医学的理论与实践仍然是日常生活中不可或缺的一部分（周珺 2013）。中医的坚定支持者认为可以通过人的内力和中草药、补品等来平衡人体健康。许多种治疗方法采用活的与死的野生动物，包含稀有濒危动植物的成分。中医在广州地区的广泛流行与其热带气候紧密相关。在炎热潮湿的气候下，极易传播疾病，过去生活比在其它地方更不容易。因此，土生的广东人惯于通过传统药物和食物来调节人体健康，治疗及预防疾病，包括有野生动物制成的药物 （宋雪梅 2004）。<br /> <br /> ===野味有营养价值的误解 (Misconceptions about the nutritional value of wild animals)===<br /> <br /> 许多野味爱好者认为，野生动物的肉是一种对身体更加健康、更加有营养的养殖动物肉的代替。不过，这个观点至今尚未得到证实。与此相反，专家们称，目前尚无证据表明野味比饲料喂养的肉类动物更有营养或滋补功效。华南理工大学食品学院教授、博士生导师郑健仙认为，“野味并不像想象中那么神秘，它也只是一种动物性食品，营养含量无非是蛋白质、脂肪等，在营养上并不比普通的饲养动物更有优势。” （宋雪梅 2004）几项研究证实了几乎所有的野生动物都携带大量寄生虫与病毒，这是众所周知的事实 。当野物肉一进入人体，就会易引发各类严重疾病，甚至可导致死亡。为了保住肉的鲜美和营养，不少广东人爱吃半生不熟的，有些做法甚至就是生吃，其结果是将微生物、病毒和寄生虫都引入体内（中历史网 2018）。<br /> <br /> 半部分还是宋雪梅说的吧？需要补充<br /> 黄旭明<br /> <br /> ===展示高地和财富 (Showing high position and wealth)===<br /> <br /> 专家们认为，在广州食野味逐渐成为人们摆阔的方式之一。吃野肉，请别人吃野肉都是公开展示财富和高地位的一种常用方法。以前广东地区曾经很贫困，当地百姓只能 “逮到什么吃什么”。随着社会经济的迅速发展和科学技术的全面进步，野生动物的肉在人们的意识中成为了高档的美味。省社科院经济学专家刘毅称道，“野味在过去可能并不值钱，但因为吃的人多了，加上生态环境受到严重破坏，野味变得越来越贵，最初人们可能比较重视它的滋补效果和口感，到后来，它开始成为人们显阔的方式之一。（宋雪梅 2004）” 除了以上的传统文化的因素以外，几位记者的调查显示， 提供野味菜肴的政府宴会是常见的。 在公务接待中，不乏有政府部门知法犯法，请人吃禾花雀、穿山甲等野生动物的行为（周珺 2013）。<br /> <br /> 语法出了一些问题 （...素以外，几位记者的调查， 提供野...）<br /> 黄旭明<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 吃野生动物深深植根于广州文化中，而伴随着文化的进化，变成为一种保持健康，显示身份的方式。人们对野肉的营养和健康特性的误解尤其在农村地区是很普遍的。农村人主要依靠中医治愈疾病，他们认为以野生动物肉可以治疗许多疾病和健康问题。此外，在过去的几十年里，野生动物的肉已经成为了一种奢侈的食品，可以用来展示一个人的社会地位和财富。上述例子表明，野味在广东的流行主要是由文化因素和社会对潜在的损害和威胁的认识不足所决定的。 <br /> <br /> ===参考资料 (References)===<br /> <br /> 宋雪梅 2004. 探源：广东人为何嗜吃野味 专家学者众说纷纭 [online] https://www.chinanews.com.cn/n/2004-01-07/26/389066.html<br /> <br /> 周珺 2013. 专家称吃野味成为人们显身份摆阔方式之一 [online] https://news.jxnews.com.cn/system/2013/02/09/012286286.shtml<br /> <br /> 中历史网 2018. 广东人为什么爱吃野味？[online] https://www.y5000.com/shbt/dcsh/28025.html<br /> <br /> <br /> ===关键词 (Key words)===<br /> <br /> 野味，中医，广东，饮食文化<br /> <br /> ===生词 (Terms and Expressions)===<br /> <br /> 野味 bush meat<br /> 稀有濒危动植物 rare and endangered animals and plants<br /> 显阔 show off wealth and status<br /> 寄生虫 parasites<br /> <br /> ===问题 (Questions)===<br /> <br /> 1.对传统中医来说，怎样可以平衡人体健康？<br /> 2.根据目前的科学知识，野生动物肉比养殖动物肉对身体更有营养吗？<br /> 3.吃野味对身体有什么危害？<br /> 4.为什么野味成为了奢侈的食品？<br /> <br /> =第十五周 Session 15 Feb 15 11:30-13:00 - Final Paper=<br /> The deadline to submit the final exam paper is January 31. The papers will be graded until Feb 15. Please follow this link to the [[20240131_cult_finals|final paper]] page.<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> &lt;h1&gt;Basic information&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.23K.03201.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Hsiu-Ting Yu&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Hsiu-Ting Yu&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_002.png&quot;<br /> width=&quot;681&quot; height=&quot;55&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> 2&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_003.png&quot;<br /> width=&quot;681&quot; height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 2&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Exam&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_004.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 6&lt;/p&gt;<br /> &lt;h1&gt;Goals&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Presentation and discussion on selected topics<br /> in the field of traditional Chinese culture, art and<br /> theater - from the Zhou Dynasty to the end of the Qing<br /> Dynasty - in relation to the phenomena in contemporary<br /> Chinese culture, art and theater.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Developing the ability to independently read<br /> and analyse selected texts, understand discussed issues,<br /> deepen individual knowledge and compare distant phenomena<br /> in time.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_005.png&quot;<br /> width=&quot;6&quot; height=&quot;5&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> Completed courses in the history of China and the history of<br /> Chinese literature.&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_006.png&quot;<br /> width=&quot;6&quot; height=&quot;5&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> Fluent reading comprehension of Chinese texts at the B2 level of<br /> the Common European Framework of Reference for&lt;br&gt;<br /> Languages.&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has knowledge of selected aspects of Chinese<br /> culture, art, theater, drama and aesthetics&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;recognizes connections between culture, art,<br /> theater and drama of ancient and present China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;understands the idea of continuity of<br /> tradition and its modern interpretations and continuations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;performs critical analyzes of cultural texts<br /> in Chinese&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;participates in discussions on topics related<br /> to Chinese culture, presents own views and correctly<br /> arguing&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;them&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U06&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;understands the meaning of high culture and<br /> the need to promote the development of international<br /> cultural exchange&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K05, SNL_K2_K08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Categories of time and space in ancient<br /> Chinese culture&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_007.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 6&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Traditional Chinese painting and its<br /> contemporary continuations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Traditional Chinese calligraphy and modern<br /> calligraphy&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetics of Chinese traditional poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetics of Chinese traditional musical<br /> theater and its reference in avant-garde drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Space, line and theatricality in ancient<br /> Chinese garden art and modern shaping of the urban<br /> landscape&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Stylization, conventionality and symbolism in<br /> traditional Chinese culture&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetization and celebration of everyday<br /> life in ancient China and today&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;h2&gt;Semester 1&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Audio and/or video demonstrations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Attendance at classes is mandatory. The first<br /> semester of the course is passed on the basis of a written<br /> test.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Semester 2&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Audio and/or video demonstrations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The second semester of the course is passed on<br /> the basis of preparation of a multimedia presentation and<br /> a written exam.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_008.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 6&lt;/p&gt;<br /> &lt;h1&gt;Literature&lt;/h1&gt;<br /> &lt;h2&gt;Obligatory&lt;/h2&gt;<br /> &lt;p&gt;1. Chinese texts on culture, fine arts and aesthetics are provided<br /> during classes by the teacher.&lt;/p&gt;<br /> &lt;h2&gt;Optional&lt;/h2&gt;<br /> &lt;p&gt;1.&lt;br&gt;<br /> 2.&lt;br&gt;<br /> 3.&lt;br&gt;<br /> 4.&lt;br&gt;<br /> 5.&lt;br&gt;<br /> 6.&lt;br&gt;<br /> 7.&lt;br&gt;<br /> 8.&lt;br&gt;<br /> 9.&lt;br&gt;<br /> 10.&lt;br&gt;<br /> 11.&lt;br&gt;<br /> 12.&lt;br&gt;<br /> 13.&lt;br&gt;<br /> 14.&lt;br&gt;<br /> 15.&lt;br&gt;<br /> 16.&lt;br&gt;<br /> Witold Rodziński, Historia Chin, Wrocław 1974 – rozdziały<br /> poświęcone kulturze, literaturze, nauce chińskiej od dyn. Zhou do<br /> Qing.&lt;br&gt;<br /> John King Fairbank, Historia Chin. Nowe spojrzenie, Gdańsk 1996.<br /> Patricia Buckley Ebrey , Ilustrowana historia Chin, Warszawa 2002.&lt;br&gt;<br /> Laurence Sickman, Aleksander Soper, Sztuka i architektura w<br /> Chinach, Warszawa 1984. Craig Clunas, Art In China, Oxford 1997.&lt;br&gt;<br /> 5000 lat sztuki chińskiej [album], Warszawa 2014.&lt;br&gt;<br /> Adina Zemanek (red.), Estetyka chińska . Antologia, Kraków 2007,<br /> Universitas. JeeLoo Liu, Wprowadzenie do filozofii chińskiej, Kraków<br /> 2010.&lt;br&gt;<br /> Hajime Nakamura, Systemy myślenia ludów Wschodu, Kraków 2003.<br /> Benjamin I. Schwartz, Starożytna myśl chińska, Kraków 2009.&lt;br&gt;<br /> Livia Kohn, Taoizm. Wprowadzenie, Kraków 2012.&lt;br&gt;<br /> Xinzhong Yao, Konfucjanizm. Wprowadzenie, Kraków 2000. Francois<br /> Jullien, Drogą okrężną i wprost do celu, Kraków 2006. Francois<br /> Jullien, Pochwała nieokreśloności, Kraków 2006.&lt;br&gt;<br /> William Dolby, A History of Chinese Drama, London 1976, Paul Elek.&lt;br&gt;<br /> Izabella Łabędzka, Obrzędowy teatr Dalekiego Wschodu, Poznań 1999,<br /> Wyd. UAM.&lt;/p&gt;<br /> &lt;h1&gt;Calculation of ECTS points&lt;/h1&gt;<br /> &lt;h2&gt;Semester 1&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;60&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;/p&gt;<br /> &lt;h2&gt;Semester 2&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_009.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 6&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;15&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the exam&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;15&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_010.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;5 / 6&lt;/p&gt;<br /> &lt;h1&gt;Learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to aktywnego działania w<br /> społecznościach wielokulturowych i międzynarodowych na<br /> rzecz rozwoju wymiany kulturalnej w interesie publicznym w<br /> stopniu zaawansowanym.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to doceniania dorobku<br /> sinologii w zakresie zachowania dziedzictwa kulturowego<br /> Azji&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Wschodniej i uczestnictwo w działaniach na<br /> rzecz jego rozwoju.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can dobierać odpowiednie źródła i<br /> udostępniane przez nie informacje, dokonywać ich oceny,<br /> krytycznej analizy, syntezy i wykorzystywać w optymalny<br /> sposób.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U06&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can komunikować się w języku<br /> chińskim na tematy specjalistyczne ze zróżnicowanymi<br /> kręgami odbiorców przy użyciu różnych kanałów i technik<br /> komunikacyjnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=File:The_Differences_between_Christianity_and_Buddhism.PPTX&diff=158802 2024-02-05T01:23:30Z

<p>Zhang Yuxuan: </p> <hr /> <div></div>

Zhang Yuxuan https://bou.de/u/index.php?title=I_am_this_type_of_woman&diff=158801 2024-02-05T01:05:17Z

<p>Zhang Yuxuan: /* Anna Proskura */</p> <hr /> <div>=I am this type of woman=<br /> ==Introduction==<br /> Author:月下蝶影 Butterfly's Shadow Beneath the Moon<br /> <br /> Title: 我就是这般女子 I Am This Type of Woman<br /> <br /> Full novel: https://www.zhenhunxiaoshuo.com/wojiushizhebannvzi/ <br /> <br /> Presentation:<br /> ==Summary==<br /> &quot;A stupid father with good luck, a kick-ass and protective mother, and a dandy younger brother all want a principal husband.<br /> Her engagement has been broken off three times yet she does not panic.<br /> Beautiful and magnificent clothes, golden beams in their house.<br /> She has money, she has power, why would she need a husband?<br /> This is a story about a garish woman who has had her engagement broken off three times and a hypocrite of a man.&quot;<br /> <br /> Story set in ancient China. The main character is a beautiful noble lady who is said to be very vain, her family is also not liked among other nobles. But they have close-knit ties with the emperor, so without doing anything they get all they need to get through and on top of that, live in luxury.<br /> <br /> At first the reader thinks, the main character - Ban Hua - has some dreams that predict future. In fact, it's her second time in life, she died in the previous one and it shows through her dreams. Ban Hua gets to see if the predicitions will come true or not.<br /> <br /> The male lead is Rong Xia, though at first he doesn't appear much, later on he plays a key role as a romantic lead and the emperor.<br /> <br /> ==Translation==<br /> This is the first chapter &quot;Jilted&quot;. We get to know the Ban family: <br /> - 班婳 main character (MC)<br /> - 阴氏 mother of the MC<br /> - 班淮 aka 静亭侯 father of the MC<br /> - 阴氏 MC's younger brother.<br /> As well as her ex's: 谢启临, 沈钰来.<br /> Main character was jilted for the third time. She has a nightmare that predicts her family's downfall in five years.<br /> <br /> ==Anna Proskura==<br /> 金秋九月，本是丰收的好时节，但是静亭侯却躲在书房里砸了好几样瓷器，嘴里不停地骂骂咧咧，看起来不像是侯爷，倒更像是个市井流氓。<br /> “在京城这个地界儿，敢得罪我班淮，老子弄死他！”<br /> “父亲，您别生气，儿子这就出去找人揍他一顿。”<br /> “你叫人揍他，我找皇上收拾他！”<br /> <br /> In the fall of September, the Marquis of Jingting hid in his study room and smashed the porcelain, cursing incessantly. The man, who looked more like a street hooligan than a dignified gentleman, continuously shouted very unflattering epithets. He was displeased that Xie Qilin had insulted his daughter Ban Hua. To appease him, his son said that he would find someone who would beat him well, which pleased Jingting Hou Ye Fu. Jingting also said he would go to the emperor to have Xie Qilin punished.<br /> <br /> ==Asia Zawada==<br /> “闹够了没有？”阴氏一脚踹开书房门，看着摩拳擦掌的父子俩，厉声呵斥道，“还嫌外面那些话传得不够难听是不是？”<br /> 静亭侯与儿子齐齐噤声，静亭侯把踩在椅子上的腿收了回来，静亭侯世子班恒把挽起来的袖子捋了下去。<br /> <br /> ==Ada Dan==<br /> 九月的天，阴氏愣是要扇着扇子才能勉强平复心底的怒气，她看也不看地上的碎瓷片，径直走到椅子上坐下，跟在她身后进来的丫鬟婆子们开始七手八脚的收拾起来。<br /> 瓷片撞来撞去的声音听得她心里火气更重，狠狠地瞪了父子二人一眼，素手一拍，桌面上的茶盏跟着跳了跳。<br /> <br /> ==Edyta Skorupa==<br /> “不过是个乡野小地出来的东西，考上科举竟说要退婚，还摆出一副当初是我侯府逼婚他才不得不从的姿态，什么玩意儿？！”<br /> “母、母亲，”班恒凑到阴氏面前，陪着笑脸道，“您且别动怒，天底下三条腿儿的蟾蜍不好找，两条腿的男人遍地都是，咱们家要收拾他，不过是动动嘴的事情，可别把您身子气坏了。”<br /> <br /> ==Ewa Kopania==<br /> “我倒是不想生气，可你看看这都什么事儿？”<br /> 任哪个做母亲放在心尖尖上的女儿，被人退了三次婚，心里都畅快不起来。<br /> 她膝下仅一子一女，侯爷虽荒唐懒散，但不是贪花好色之人，所以家里并无妾侍通房，不过他也就这个优点能拿得出手了。<br /> <br /> ==Julia Dereżyńska==<br /> 当初女儿出生时，她跟一位闺中好友订了娃娃亲，哪知道那孩子长到三岁的时候得了一场天花夭折了。<br /> 女儿十三岁时，与忠平伯府嫡次子谢启临定亲，哪知道临出阁了，谢启临突然找到“真爱”，跟“真爱”私奔了。<br /> <br /> At first when her daughter was born, she had arranged a childhood engagement with a good friend of hers, but the son died at three years old after contracting smallpox.<br /> <br /> At the age of thirteen, her daughter had been betrothed to Xie Qilin, the second son of Zhongping Count’s house, just as she reached the age of marriage however, Xie Qilin suddenly found “True Love” in a brothel and eloped with her.<br /> <br /> ==Karol Perka==<br /> 害得外面都在传，她家姑娘是个草包，连一个丫鬟都比不上。 <br /> 不然堂堂伯爷府的公子为什么宁可跟一个上不得台面的女人私奔，也不跟她成亲？<br /> 后来谢启临虽然被找了回来，但两家婚事黄了，从此两家人也不再来往，差点没成为仇人。<br /> <br /> ==Karolina Englert==<br /> 这次的事情更加荒唐，这个沈钰是是东洲沈氏偏支，勉强算得上当地的望族，来京城后对他们家姑娘一见钟情，哭着求着跟他家提亲七八次，结果他们家刚答应下来，他这厢又反口了。<br /> 退婚的时候，表面上说着配不上他们家，内里却是嫌弃她家姑娘口有美貌没有头脑，为人奢侈懒散，不是良配。<br /> <br /> ==Lena Rzeźnikowska==<br /> 当初你没考上探花时咋不这么说？这会儿倒嫌弃她家姑娘奢侈了，他们静亭侯府有钱，愿意让自家姑娘奢侈点又怎么了？！<br /> 这厢班家三人气得食不下咽，那边被退婚的正主却还睡得正香。<br /> 班婳在做梦，这个梦很长，长到她醒来的时候，根本分不清这里是现实还是梦境。当她坐起身，看到外面挂着的珍珠帘，才恍然惊觉，她刚才是在做梦。<br /> <br /> ==Malwina Filipowicz==<br /> 对了，她刚才梦到什么了？<br /> 好像是她又被退婚，谁做了皇帝，她父亲冒犯新帝，被削去了爵位，然后他们全家就过上了苦巴巴的日子。<br /> 天啊，不能跟人攀比首饰，攀比华服的日子有多么可怕？<br /> 不能看那些人明明在背后骂她，表面却不得不恭敬她的憋屈样子，这人生该有多无聊？<br /> <br /> ==Natalia Gloc==<br /> 这个梦实在太晦气，她还是早点忘了好。<br /> “乡君，”丫鬟抹着眼泪哭哭啼啼地走了进来，“沈探花竟然来退婚了。”<br /> 班婳软趴趴的腰杆顿时挺直起来：“退婚？”<br /> 完了，噩梦成真了！<br /> <br /> ==Paweł Andraszak==<br /> 她父亲不是静亭侯，那她弟弟就不是世子，她也不再是当今陛下亲封的乡君，她以后还怎么吃喝玩乐，打马遛狗赏花？<br /> 人生苦短，难道她只有短短几年的享乐时光了吗？<br /> 那个梦别的她没记住多少，自己不是乡君以后有多惨倒是记得清清楚楚。想到这，她顿时悲从心来，穿上鞋子披上衣服就往主院跑去。<br /> <br /> ==Wikotria Wolny==<br /> “乡君，您的头发！”<br /> 幸好静亭侯府的下人嘴严，不然到了明天，京城里的热点就会变成“静亭侯嫡女因退婚发狂，衣衫不整在家中狂奔。”<br /> 实际上，这也是静亭侯看到女儿后的第一个想法。<br /> “我的乖女，”静亭侯看到女儿披头散发，衣衫不整的出现在书房，顿时嚎啕大哭起来，“乖女，咱不嫁了，明天爹去给买一打的面首回来，能文能武长得好，你喜欢哪个挑哪个。”<br /> <br /> ==Zyta Rydz==<br /> 天下的男人都不是好东西，害得他女儿变成了这样。<br /> 这种时候，静亭侯已经把自己抛出了男人的范围。<br /> 班恒艳羡的瞥了姐姐一眼，他连个通房丫头都没有，也没见谁给他张罗一个，夜深人静红袖添香，也是雅事嘛。<br /> “想都别想，”阴氏斜着眼睛瞪了儿子一眼，“你给我乖乖待在家里念书。”<br /> <br /> <br /> All men are trash (༼ ༎ຶ ෴ ༎ຶ༽), causing his daughter to become like this. Jingting already removed himself from the category of men. Ban Hengyan glanced at his sister; he didn't even have a maid, let alone anyone to arrange one for him. 'Don't even think about it,' Yin Shi glared at her son with narrowed eyes. 'You stay at home and study obediently.'</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Three_Body_Problem_by_Liu_Cixin&diff=158800 2024-02-05T00:46:10Z

<p>Zhang Yuxuan: /* Anna Proskura */</p> <hr /> <div>‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ 🪐✩˚₊‧‧₊˚✩ ‧˚₊‧<br /> <br /> Author: 刘慈欣 Liu Cixin<br /> <br /> Title: 三体 The Three Body Problem<br /> <br /> Book series: 地球往事 Remembrance of Earth's Past <br /> <br /> Genre: 科幻小说 Science Fiction<br /> <br /> Date of publication: 2008<br /> <br /> Text in Chinese: https://www.feiku6.com/read/santi/8505669.html<br /> <br /> == Book Introduction ==<br /> <br /> &quot;The Three-Body Problem&quot; is a science fiction novel by Chinese author Liu Cixin, first published in 2008. It's the first book in the Remembrance of Earth's Past trilogy. The story begins during China's Cultural Revolution, when a young astrophysicist, disturbed by the humanity's capacity for destruction, sends a message into space, inviting alien civilizations to intervene and take over Earth. Centuries later, the narrative shifts to present-day China, where scientist Wang Miao is recruited to investigate a series of inexplicable deaths among physicists. His investigations lead him to a virtual reality game called &quot;Three Body,&quot; which is deeply intertwined with the mystery of the deaths and a global conspiracy. <br /> <br /> == Chapter 7: INTRODUCTION ==<br /> In this Chapter the main character - the scientist Wang Miao discovers the &quot;Three Body&quot; game and plays it for the first time. The game serves a significant role in the storyline. It is a virtual reality simulation that involves strategic challenges and puzzles that players must solve. The world of the game is set on an incredibly unwelcome planet, whose harsh conditions make it extremely difficult for humans to survive. The world of the game is very chaotic due to the unpredictable moves of the sun - the sun moves around the planet in a mysterious way, causing irregular seasons, varying from extreme cold to boiling heat. In the Era of Chaos, the temperatures can change rapidly even during one day. In the Era of Stability, the temperatures are good enough for humans to live and build civilization. However, the moves of the sun cannot be predicted, and the players never know when the next Era is about to come, so the civilisation arises and dies over and over again.<br /> Because of these terrifying conditions, players of the game must preserve their bodies by occasional &quot;dehydration&quot; - it is a process in which human body removes all water and becomes a light, human-shaped skin that can be preserved for the good times. When the conditions are good again, humans can be returned to life by &quot;hydrating&quot; their bodies once again. The purpose of the game is to discover the rules of this strange world and its physics, so that there is a way for the civilization to exist peacefully.<br /> <br /> <br /> == Aleksandra Urbańska ==<br /> 汪淼在浏览器的地址栏中输入那个很容易记住的游戏网址：www.threebody.com网页上显示该游戏只支持V装具方式。汪淼想起了纳米中心的职工娱乐室里好像有一套V装具，就走出已经空荡荡的中心实验大厅，去值班室要了钥匙，在娱乐室中穿过一排台球桌和健身器材，在一台电脑旁找到了V装具，费了很大劲才把感应服穿上，然后戴上显示头盔，启动电脑。<br /> <br /> 启动游戏后，汪淼置身于一片黎明之际的荒原，荒原呈暗褐色，细节看不清楚，远方地平线上有一小片白色的曙光，其余的天空则群星闪烁。一声巨响，两座发着红光的山峰砸落到远方的大地上，整个荒原笼罩在红色光芒之中。被激起的遣天蕞日的尘埃散去后，汪淼看清了那两个顶天立地的大字：三体。<br /> <br /> <br /> == Anna Proskura ==<br /> 随后出现了个注册界面，汪淼用“海人”这个ID注册，然后成功登录。<br /> <br /> 荒原依旧，但V装具感应服中的压缩机咝咝地启动了，汪淼感到一股逼人的寒气。前方出现了两个行走的人影，在曙光的背景前呈黑色的剪影……汪淼追了上去，他看到两人都是男性，披着破烂的长袍，外面还裹着一张肮脏的兽皮，都带着一把青铜时代那种又宽又短的剑。其中一人背着一只有他一半高的细长的木箱子，。那人扭头看看汪森，他的脸像那兽皮一样脏和皱，双眼却很有神，眸子映着曙光。“冷啊”他说。<br /> <br /> “是。真冷”汪森附和道。<br /> <br /> “这是战国时代，我是周文王。”那人说。<br /> <br /> After the registration window appeared, Wang created the ID &quot;Hairen&quot; and logged in. It was still the same desert, but the compressors in the V-suit woke up and whirred. Wang felt a chill run through him. Two walking figures appeared directly in front of him, their dark silhouettes looming against the pre-dawn sky. Wang sprinted after them. The strangers were two men who were dressed in long, holey robes with dirty animal skins thrown over them. Each carried a short, broad bronze sword at his side. One of the strangers carried a narrow and long wooden chest behind his back. One of the wanderers said that he was cold, to which the Wang said that he was cold too. And the one who carried the chest said, this is the era of the Battle Kingdoms and he is King Wen of the house of Zhou.<br /> <br /> == Asia Zawada ==<br /> <br /> “周文王不是战国时代的人吧？”汪淼问。<br /> “他一直活到现在呢，纣王也活着”另一个没背箱子的人说，“我是周文王的追随者，我的ID就叫‘周文王追随者’，他可是个天才。”<br /> <br /> “我的ID是‘海人’，”汪淼说，“您背的是什么？”<br /> <br /> 周文王放下那只长方形木箱，将一个立面象一扇门似的打开。露出里面的五层方格，借着晨曦的微光。汪淼看到每层之间都有高低不等的一小堆细沙，每格中都有从上一格流下的一道涓细的沙流<br /> <br /> “沙漏，八小时漏完一次，颠倒三次就是一天。不过我常常忘了颠倒，要靠追随者提醒。”周文王介绍说。<br /> <br /> <br /> <br /> == Edyta Skorupa ==<br /> “你们好像是在长途旅行，有必要背这么笨重的计时器吗？”<br /> <br /> “那怎么计时呢？”<br /> <br /> “拿个小型的日晷多方便，或者干脆只看太阳也能知道大概的时间。”<br /> <br /> 周文王和追随者面面相觑。然后一起盯着汪淼，好像他是个白痴，“太阳？看太阳怎么能知道时间？这可是乱纪元。”<br /> <br /> 汪森正要询问这个怪异名词的含义，追随者哀鸣道：“真冷啊，冷死我了！”<br /> <br /> 汪淼也觉得冷，但他不能随便脱下感应服，一般情况下。那样做会被游戏注销ID的。他说：“太阳出来就会暖和些的。”<br /> <br /> “你在冒充伟大的先知吗？连周文王都不算先知呢！”追随者冲汪淼不屑地摇摇头。<br /> <br /> <br /> <br /> == Ewa Kopania ==<br /> “这需要先知吗？谁还看不出来太阳一两个小时后就会升起。”汪淼指指天边说。<br /> <br /> “这是乱纪元！”追随者说。<br /> <br /> “什么是乱纪元？”<br /> <br /> “除了恒纪元，都是乱纪元。”周文王说，像回答一个无知孩童的提问。<br /> <br /> 果然，天边的晨光开始暗下去，很快消失了，夜幕重新笼罩了一切，苍穹星光灿烂。<br /> <br /> “原来现在是黄昏不是早晨？”汪淼问。<br /> <br /> “是早晨，早晨太阳不一定能升起，这是乱纪元。”<br /> <br /> 寒冷使汪淼很难受。“看这样子，太阳要很长时间以后才会升出来。”他哆嗉着指指模糊的地平线说。<br /> <br /> <br /> <br /> == Gabriela Krukowska ==<br /> “你怎么又会有这种想法？那可不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”<br /> <br /> “不行！”周文王断然说道，“我也是勉强吃饱，要保证我能走到朝歌，而不是你。”<br /> <br /> 说话间。汪淼注意到另一个方向的地平线又出现了曙光，他分不清东南西北，但肯定不是上次出现时的方向。<br /> <br /> <br /> 这曙光很快增强，不一会儿，这个世界的太阳升起来了，是一颗蓝色的小太阳，很像增强了亮度的月亮，但还是让汪淼感到了一丝温暖，并看清了大地的细节。但这个白昼很短暂，太阳在地平线上方划了一道浅浅的弧形就落下了，夜色和寒冷又笼罩了一切。<br /> <br /> <br /> <br /> == Julia Dereżyńska ==<br /> 三人在一棵枯树前停下，周文王和追随者拔出青铜剑来砍柴，汪淼将碎柴收集到一块。追随者拿出火镰，噼啪、噼啪打了好一阵，升起了一堆火。汪淼的感应服的前胸·部分变暖和了，但背后仍然冰冷。<br /> <br /> “烧些脱水者，火才旺呢。”追随者说。<br /> <br /> “住嘴！那是纣王干的事！”<br /> <br /> “反正路上那些散落的，都破成那样，泡不活了。如果你的理论真能行。别说烧一些，吃一些都成，与那理论相比，几条命算什么。”<br /> <br /> “胡说！我们是学者！”<br /> <br /> 篝火燃尽后，三人继续赶路。由于他们之间交谈很少。系统加快了游戏时间的流逝速度。周文王很快将背上的沙漏翻了六下，转眼间两天过去了。<br /> <br /> Three people, Zhou Wen Wang, The Follower and Wang Miao, stopped under a tree. They chopped some wood with their swords and made a fire. The Follower wanted to burn some dehydrated bodies they've seen along the way, but the rest declined, saying that they are scientists. When the fire burned out, they continued their journey.<br /> <br /> == Karol Perka ==<br /> 太阳还没有升起过一次，甚至天边连曙光的影子都没有。<br /> <br /> “看来太阳不会出来了。”汪淼说，同时调出游戏界面来看了一下自己的HP，它正因寒冷而迅速减小。<br /> <br /> “你又冒充伟大的先知了……”追随者说，汪淼和他一起说出了后半句，“这是乱纪元！”<br /> <br /> 这话说完不久，天边真的出现了曙光，并且迅速增强，转眼间太阳就升了起来。汪淼发现这次升起的是一颗大太阳。当它升至一半时，直径占了视野内至少五分之一的地平线。暖流扑面而来，今汪淼心旷神怡，但他看周文王和追随者时，发现他们都一脸惊恐，仿佛魔鬼降临。<br /> <br /> “快，找阴凉地儿！”追随者大喊，汪淼跟着他们飞奔。<br /> <br /> <br /> <br /> == Karolina Englert ==<br /> 跑到了一处低矮的岩石后面蹲下来。岩石的阴影在渐渐缩短，周围的大地像处于白炽状态般刺眼，脚下的冻土迅速融化，由坚硬如铁变成泥泞一片，热浪滚滚。汪淼很快出汗了。当大太阳升到头顶正上方时，三人用兽皮蒙住头，强光仍如利箭般从所有缝隙和孔洞中射进来。三人绕着岩石挪到另一边，躲进那边刚刚出现的阴影中……<br /> 太阳落山后，空气依然异常闷热，大汗淋漓的三人坐在岩石上，追随者沮丧地说：“乱纪元旅行，真是在地狱里走路。我受不了了；再说我也没吃的了，你不分我些鱼干，又不让吃脱水者，唉——”<br /> <br /> “那你只能脱水了。”周文王说，一手用兽皮扇着风。<br /> <br /> <br /> <br /> == Lena Rzeźnikowska ==<br /> “脱水以后，你不会扔下我吧？”<br /> <br /> “当然不会。我保证把你带到朝歌。”<br /> <br /> 追随者脱下了被汗水浸湿的长袍，赤身躺到泥地上。在落日的余晖中，汪淼看到追随者身上的汗水突然增加了，他很快知道那不是出汗，这人身体内的水分正在被彻底排出，这些水在沙地上形成了几条小小的溪流，追随者的整个躯体如一根熔化的蜡烛在变软变薄……十分钟后水排完了，那躯体化为一张人形的软皮一动不动地铺在泥地上，面部的五官都模糊不清了。<br /> <br /> “他死了吗？”汪淼问。他想起来了，一路上不时看到有这样的人形软皮，有的已破损不全，那就是不久前追随者想要用来烧火的脱水者。<br /> <br /> The follower was dehydrated. He said he was concerned about being abandoned. A response assured him that he’ll be taken by Chao Ge. The follower removed his robe and laid naked on the muddy ground. The sun was setting, Wang Miao noticed that he was sweating more and more. Then he realized it’s not his sweat but water form the follower’s body. The expelled water appeared as small streams on the ground. Ten minutes after the follower’s body changed into a lifeless, thin and soft skin lying on the mud, his face was all blurry. Wang Miao questioned if the follower really had died, he also remembered that he had already seen similar dehydrated figures on their journey. Some of them were damaged and used for making fire.<br /> <br /> == Malwina Filipowicz ==<br /> “没有。”周文王说着，将追随者变成的软皮拎起来，拍了拍上面的土，放到岩石上将他（它）卷起来，就像卷一只放了气的皮球一般，“在水里泡一会儿，他就会恢复原状活过来，就像泡干蘑菇那样。”<br /> <br /> “他的骨骼也变软了？”<br /> <br /> “是的，都成了干纤维，这样便于携带。”<br /> <br /> “这个世界中的每个人都能脱水吗？”<br /> <br /> “当然，你也能，要不，在乱纪元是活不下去的。”周文王将卷好的追随者递给汪淼，“你带着他吧，扔到路上不是被人烧了，就是吃了。”<br /> <br /> 汪淼接过软皮，很轻的一小卷，用胳膊夹着倒也没有什么异样的感觉。<br /> <br /> &quot;No&quot; said Zhou Wen Wang. He lifted the skin, dusted off the dirt and mud, then spread it on the rock and wrapped up like a deflated baloon. <br /> &quot;If we soak him in water he will go back his previous form. It's like soaking dried mushrooms&quot;.<br /> &quot;His bones soften too?&quot;<br /> &quot;Yes, it turned into fiber so it's easy to carry.&quot;<br /> &quot;Can everyone in this world be dried up and soaked?&quot;<br /> &quot;Of course, you too. Otherwise we wouldn't survive the era of chaos.&quot; Zhou Wen Wang handed the rolled up follower to the Wang.<br /> &quot;Carry him. If you leave him on the rod he will be burned or eaten.&quot;<br /> Wang took the soft skin, very small roll, and carried it under his arm. It didn't seem weird.<br /> <br /> == Natalia Gloc ==<br /> 汪淼夹着脱水的追随者，周文王背着沙漏，两人继续着艰难的旅程。同前几天一样，这个世界中的太阳运行得完全没有规律，在连续几个严寒的长夜后，可能会突然出现一个酷热的白天，或者相反。两人相依为命，在篝火边抵御严寒，泡在湖水中度过酷热。好在游戏时间可以加快，一个月可以在半小时内过完，这使得乱纪元的旅程还是可以忍受的。<br /> <br /> 这天，漫漫长夜已延续了近一个星期（按沙漏计时），周文王突然指着夜空欢呼起来：“飞星！飞星！两颗飞星！！”<br /> <br /> 其实，汪淼之前就注意到那种奇怪的天体，它比星星大，能显出乒乓球大小的圆盘形状，运行速度很快，肉眼能明显地看到它在星空中移动，只是这次出现了两个。<br /> <br /> <br /> <br /> == Paweł Andraszak ==<br /> 周文王解释说：“两颗飞星出现，恒纪元就要开始了！”<br /> <br /> “以前看到过的。”<br /> <br /> “那只有一个。”<br /> <br /> “最多只有两个吗？”<br /> <br /> “不，有时会有三个，但不会再多了。”<br /> <br /> “三颗飞星出现，是不是预示着更美好的纪元？”<br /> <br /> 周文王用充满恐惧的眼神瞪了汪淼一眼，“你在说什么呀。三颗飞星……祈祷它不要出现吧。”<br /> <br /> 周文王的话没错，他们向往的恒纪元很快开始了，太阳升起落下开始变得有规律，一个昼夜渐渐固定在十八小时左右，日夜有规律的交替使天气变得暖和了一些。<br /> <br /> “恒纪元能持续多长时间？”汪淼问。<br /> <br /> This part is a dialogue between Wang and King Wen. They talk about what a specific number of shooting stars portends. Following the appearance of two shooting stars, an era of stability began. The day and night cycle became more stable, the weather was milder.<br /> <br /> == Wiktoria Wolny ==<br /> “一天或一个世纪，每次多长谁都说不准。”周文王坐在沙漏上，仰头看着正午的太阳，“据记载，西周曾有过长达两个世纪的恒纪元，唉，生在那个时代的人有福啊。”<br /> <br /> “那乱纪元会持续多长时间呢？”<br /> <br /> “不是说过嘛，除了恒纪元都是乱纪元，两者互为对方的间隙。”<br /> <br /> “那就是说，这是一个全无规律的混乱世界？！”<br /> <br /> “是的。文明只能在较长的气候温暖的恒纪元里发展。大部分时间里，人类集体脱水存贮起来，当较长的恒纪元到来时，再集体浸泡复活，生产和建设。”<br /> <br /> <br /> <br /> == Zyta Rydz ==<br /> “那怎样预知每个恒纪元到来的时间和长短呢？”<br /> <br /> “做不到，从来没有做到过。当恒纪元到来时，国家是否浸泡取决于大王的直觉，常常是：浸泡复活了，庄稼种下了，城镇开始修筑，生活刚刚开始，恒纪元就结束了，严寒和酷热就毁灭了一切。”周文王说到这里，一手指向汪淼，双眼变得炯炯有神，“好了，你已经知道了这个游戏的目标：就是运用我们的智力和悟性，分析研究各种现象，掌握太阳运行的规律，文明的生存就维系于此。”<br /> <br /> “在我看来太阳运行根本就没有规律。”<br /> <br /> “那是因为你没能悟出世界的本原。”<br /> <br /> <br /> Zhou Wenwang says predicting Eternal Eras is impossible; prosperity depends on the king's intuition. Understanding the sun's movements is crucial for civilization's survival. Wang Miao disagrees, and Zhou attributes this to a lack of understanding of the world.</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Grandmaster_of_Demonic_Cultivation&diff=158799 2024-02-05T00:20:40Z

<p>Zhang Yuxuan: /* ZYX */</p> <hr /> <div>== Introduction ==<br /> <br /> Author:墨香铜臭 MoXiang TongXiu<br /> <br /> Title:魔道祖师 The Grandmaster of Demonic Cultivation<br /> <br /> Full novel: https://www.zhenhunxiaoshuo.com/modaozushi/<br /> <br /> Presentation:[[Media:The Grandmaster of Cultivation.pptx]]<br /> <br /> == Summary ==<br /> <br /> The Grandmaster of Demonic Cultivation is a web novel written by an anonymous writer with an alias MoXiang TongXiu. It is a fantasy historical novel with many plot lines and twists. It focuses on the story of the main character, Wei Wuxian, who after experiencing war, torture and loss begins his journey with the new cultivation method for which he was in the end killed. The story is divided into two parts: Wei Wuxian’s first and second life. The first one is focused on main character’s journey through moral dilemmas while facing an enemy. This storyline occurs when the main characters are still learning the ways of Cultivation as teenagers, and focuses on the Wen Sect growing in power and trying to control/dominate the other Sects. The second part which occurs after his reincarnation, 16 years after his death, shows the main character (after his reincarnation) along with his partner, Lan Wangji, solving a case of mysterious murder and uncovering sudden political and internal schemes. The novel is quite complex thanks to the huge amount of characters and plotlines, moral dilemmas and compelling villains. <br /> <br /> == Translation==<br /> <br /> <br /> Below there are chapters 1 and 78. Chapter 1 showcases the overall plot from the outsider point of view, Chapter 78 shows the same/close scene from the perspective of the mian character (not ACTUALLY his point of view though).<br /> <br /> Translation help:<br /> <br /> Sects:<br /> Gusu Lan 姑苏蓝氏<br /> Mingshan Wen 岐山温氏<br /> <br /> <br /> Wei WuXian 魏无羡 = Wei Ying 魏婴, Yiling Patriarch 夷陵老祖, Xianxian 羡羡<br /> <br /> Lan Wangji 蓝忘机= Lan Zhan 蓝湛, Hanguang-Jun 含光君 <br /> <br /> <br /> Other:<br /> <br /> Chenqing 陈情 (flute)<br /> <br /> Stygian Tiger Amulet 阴虎符<br /> <br /> == ZYX ==<br /> (第1章 CHAPTER 1)<br /> <br /> <br /> “魏无羡死了。大快人心！”<br /> 乱葬岗大围剿刚刚结束，未及第二日，这个消息便插翅一般飞遍了整个修真界，比之当初战火蔓延的速度有过之而无不及。<br /> 一时之间，无论是世家名门，还是山野散修，人人都在议论此次由四大玄门世家联率、大小百家参与混战的围剿行动。<br /> “好好好，果然是大快人心！手刃这夷陵老祖的是哪位名士英豪？”<br /> “还能是谁。他师弟小江宗主江澄呗，云梦江氏、兰陵金氏、姑苏蓝氏、清河聂氏四大家族打头阵，大义灭亲，把魏无羡那老巢‘乱葬岗’一锅端了。”<br /> “我得说句公道话：杀得好。”<br /> 立即有人抚掌亮声应和：“不错，杀得好！要不是云梦江氏收养他栽培他，他魏婴这辈子就是个混迹乡野市井的庸徒……还谈什么别的。原先的江宗主可是把他当亲儿子在养，他倒好，公然叛逃，与百家为敌，丢尽了云梦江氏的脸，还害得江家几乎满门惨死。什么叫忘恩负义白眼狼？这就是！”<br /> “江澄居然就让这厮嚣张了这么久，换了是我，当初魏某人叛逃时就不是只捅他一刀，而是直接清理门户，否则他也没机会做出后来那些丧心病狂之事。对这种人，还讲什么同门同修青梅竹马的情面。”<br /> “可我听到的不是这样的啊？魏婴不是因为自己修炼邪术遭受反噬、受手下鬼将撕咬蚕食而死的吗？听说活活被咬碎成了齑粉呢。”<br /> <br /> People are happy that Wei Wuxian is dead and they are trying to guess who could have killed him. One of the people suggests that it was Jiang Cheng, who led the Four Great Clans – the Yunmeng Jiang, Lanling Jin, Gusu Lan, and Qinghe Nie and, sacrificing brotherly ties for the sake of a great goal, destroyed the lair of the YiLing Patriarch - The Burial Mounds. People also say that Wei Wuxian’s death is fair, because only thanks to the Yunmeng Jiang Clan he stopped being a tramp, and instead of being grateful, he betrayed the clan and chose the path of darkness.<br /> <br /> == JL ==<br /> <br /> “哈哈哈哈……这就叫现世报。我早就想说了，他养的那批鬼将就像一群没拴好的疯狗到处咬人，最后咬死自己，活该！”<br /> “话虽如此，可此次围剿乱葬岗，若不是小江宗主依夷陵老祖的弱点拟定计划，成功与否还难说呢。你们可别忘了魏无羡手上有什么东西，当初一晚上三千多个成名修士是怎么全军覆没的。”<br /> “不是五千吗？”<br /> “三千五千都差不多。我觉得五千更有可能。”<br /> “果真丧心病狂……”<br /> “他死之前毁掉了阴虎符，倒也算积了点阴德，否则留下那鬼东西继续贻害人间，更加罪孽深重喽。”<br /> “阴虎符”三字一出，忽然一阵静默，似乎都在顾忌着什么。<br /> 片刻之后，一人慨叹道：<br /> “哎……要说这魏无羡，当年也是仙门之中极富盛名的世家公子，并非不曾有过佳迹。年少成名，何等风光恣意……究竟他是怎么走到这一步的……”<br /> 话题转移，议论声又纷纷然起来。<br /> “由此可见，修炼终归是非走正统路子不可。邪魔歪道，一时风光无限，好像很嚣张很了不起？嘿，最后是什么下场？”<br /> 掷地有声：“死无全尸！”<br /> “也不全是修炼之道害的，归根结底还是魏无羡此人人品太差，天怒人怨啊。所谓善恶终有报，天道好轮回……”....<br /> <br /> == AD ==<br /> <br /> 身死之后，盖棺定论。所论内容大同小异，偶有微弱的异声，也会立刻被压了下去。<br /> 只是每个人的心头都还有一缕阴霾挥之不去。<br /> 虽说夷陵老祖魏无羡已身死乱葬岗，但事成之后，却无法召唤他的残魂。<br /> 他的魂魄，也许是在被万鬼吞噬之时一同被分食了，又也许是逃逸了。<br /> <br /> 若是前者，自然皆大欢喜普天同庆。然而，夷陵老祖有翻天灭地、移山倒海之能——至少传闻中是这样的，他若要抗拒召魂，也不是什么难事。一旦他来日元神复位，夺舍重生，届时，玄门百家甚至整个人间必将迎来更加丧心病狂的报复和诅咒，陷入暗无天日和腥风血雨之中。<br /> 因此，将一百二十座镇山石兽压在乱葬岗顶后，各大家族开始进行频繁的召魂仪式，同时严查夺舍，搜集各地异象，全力警戒。<br /> 第一年，风平浪静。<br /> 第二年，风平浪静。<br /> 第三年，风平浪静。<br /> ……<br /> 第十三年，依然风平浪静。<br /> 至此，终于越来越多的人相信，也许魏无羡也没那么了不起，也许他真的神魂俱灭了。<br /> 纵使曾经翻手为云覆手雨，也终归有一日成为被翻覆的那一个。<br /> 没有人会被永远奉在神坛之上，传说也仅仅只是传说而已。<br /> <br /> == AX ==<br /> (第78章 CHAPTER 78)<br /> <br /> 这群人原本以为自己一定会惨死夷陵老祖之手, 然后沦为被他操纵的行尸走肉，个个惊恐万状, 谁知, 魏无羡并没有兴趣和他们多作纠缠，看完告示之后，把这群人扔在地上，这便负手离开了。<br /> 他没有收回那些阴灵, 满地呼痛的继续哀哀呼痛, 哼唧的继续蠕动哼唧，全都爬不起来。<br /> 不知过了多久, 忽然一道蓝色剑光掠过, 众人顿感背上一轻。有人惊呼道：“我能动了！”<br /> 几人率先勉强爬起身，只见那道蓝色剑光飞回, 收入一人鞘中。<br /> 那人是个极为年轻的俊雅男子, 白衣抹额, 面容冷肃, 眉目间似乎带着一缕压抑的忧色, 行来极快, 却分毫不显急态, 连衣袂也未曾翻飞。<br /> 那名摔断了双腿的修士忍痛道：“含……含光君！”纳尼亚传奇小说<br /> 蓝忘机走到他身边, 蹲下来按了按他的腿, 探明了伤势, 并不十分严重，起身还未说话, 那名修士又道：“含光君，您来得迟了，魏无羡刚走！”<br /> 不少人都知道，这几日姑苏蓝氏的含光君在到处追查魏无羡的下落，多半是要拿他算账，讨还姑苏蓝氏那数十条白白折了的人命，忙道：“是啊，他才走了不到半个时辰！”<br /> 蓝忘机道：“他做了什么。去向何处。”<br /> 众人连忙诉苦：“他不分青红皂白，将我们打杀一通，险些把我们当场全部杀死！”<br /> 蓝忘机藏在雪白宽袖之下的手指微微抽动，似乎想握成拳，却很快放开了。<br /> 那名修士连忙又道：“不过他放话了，他现在要去不夜天城，去誓师大会找四大家族算账！”<br /> <br /> == TXL ==<br /> <br /> 岐山温氏覆灭之后，不夜天城的主殿群便沦为了一座华丽而空洞的废墟。<br /> 坐落于整座不夜天城最高处的炎阳烈焰殿前，有一个宽阔无比的广场。从前有三支冲天而起的旗杆立于广场最前端，如今，其中两支都已经折断了，剩下的一支，挂的是一面被撕得破破烂烂，还涂满了鲜血的炎阳烈焰旗。<br /> 此夜，广场上密密麻麻列满了大大小小各家族的方阵，每个家族的家纹锦旗都在夜风中猎猎飘动。断旗杆前是一座临时设立的祭台，各个家族的家主站在自家方阵之前，由金光瑶为他们每人依次送上一杯酒。尽数接过酒盏后，众位家主将之高高举起，再酹于地面。<br /> 酒洒入土，金光善肃然道：“不问何族，不分何姓。这杯酒，祭死去的世家烈士们。”<br /> 聂明玦道：“英魂长存。”<br /> 蓝曦臣道：“愿安息。”<br /> 江澄则是阴沉着面容，倾完了酒也一语不发。<br /> 接下来，金光瑶又从兰陵金氏的方阵之中走出，双手呈上了一只黑色的方形铁盒。金光善单手拿起那只铁盒，高高举起，喝道：“温氏余孽焚灰在此！”<br /> 说完，他运转灵力，将铁盒赤手震裂。黑色铁盒碎为数片，无数白色的灰末纷纷扬扬撒于凄冷的夜风之中。<br /> <br /> == WMF ==<br /> <br /> 挫骨扬灰！<br /> 人群中爆发出一阵欢呼喝彩之声。金光善举起双手，示意众人安静，听他讲话。等到叫好声渐渐平息，他又高声道：“今夜，被挫骨扬灰的，是温党余孽中的两名为首者。而明日！就会是剩下的所有温狗，还有——夷陵老祖，魏婴！”<br /> 忽然，一声低笑打断了他慷慨激昂的陈词。<br /> 这声低笑响起得太不是时候，突兀又刺耳，众人立即刷刷地朝声音传来之处望去。<br /> 炎阳烈焰殿是一座宏伟的大殿，共有十二条屋脊，每条屋脊之末各设有八只神兽。而此时，众人发觉，其中一条屋脊上，竟然有九只，方才那声低笑，就是从那边发出来的！<br /> 那只多出来的脊兽微微一动，下一刻，一只靴子和一片黑色衣角便从屋檐上垂了下来，轻轻晃荡。<br /> 所有人的手都压到了剑柄上，江澄的瞳孔一缩，手背青筋突起。金光善惊恨交加，道：“魏婴！你胆敢出现在此！”<br /> 那人开口说话，果然是魏无羡的声音，听起来很是奇怪：“我为什么不敢出现在此？你们这些人加起来，有三千么？别忘了当年在射日之征里，别说三千，五千人我也单挑过。而且我出现在这里，岂不正合你们的意？省得劳你们明天还要特地找上门去把我挫骨扬灰。”<br /> 清河聂氏也有数名门生丧生于发狂的温宁之手，聂明玦冷冷地道：“竖子嚣张。”<br /> <br /> ==YSY==<br /> <br /> 魏无羡道：“我岂非一直如此嚣张？金宗主，自己打自己的脸，痛快么？说只要温氏姐弟去金麟台给你们请罪这件事便揭过的是谁？刚才口口声声说明天要把我和其他温党余孽挫骨扬灰的又是谁？”<br /> 金光善道：“一码归一码！穷奇道截杀你屠杀我兰陵金氏子弟一百余人，这是一码。你纵温宁金麟台行凶，这又是另……”<br /> 魏无羡道：“那么敢问金宗主，穷奇道截杀，截的是谁？杀的又是谁？主谋者是谁？中计者又是谁？归根结底，先来招惹我的，究竟是谁？！”<br /> 那些站在方阵之中的门生们藏身于人山人海，倍感安全，纷纷壮起了胆子，隔空喊话道：“即便是金子勋先设计截杀你，你也断不应该下这么大狠手，杀伤那么多条人命！”<br /> “哦。”魏无羡替他分析道：“他要杀我，可以不用顾忌下死手，我死了算我倒霉。我自保就必须要顾忌不能伤这个不能伤那个，不能掉他一根头发了？总而言之，就是你们围攻我可以，我反击就不行，对不对？”<br /> 姚宗主扬声道：“反击？那一百多人和金麟台上的三十多人是无辜的，你反击为何要连累他们！”<br /> 魏无羡道：“那乱葬岗上的五十多名温家修士也是无辜的啊，你们又为何要连累他们？”<br /> 另一人啐道：“温狗究竟给了你什么大恩大德？这样向着这群杂碎。”<br /> “我看根本没有甚么大恩大德。只是他自以为是个和全世界作对的英雄，自以为在做一件义举，觉得冒天下之大不韪的自己很伟大罢了！”<br /> <br /> Wei Wuxian and people from sects present at the meeting are arguing about an incidents that happened at the Jinlin Tower and Qiongqi Path. There were a lot of casualties in both incidents and the men are blaming Wei Wuxian for killing a lot of people, while he says that he was defending himself after being ambushed and schemed against. He also brought up 50 cultivators on the Burial Mound. Someone asked him why he's on their side, what virtue and kindness have they shown to him, one of the people replied that they haven't shown any, Wei Wuxian just thinks he's a lone hero fighting against the world, bringing justice and being an impressive person.<br /> <br /> == KMJ ==<br /> <br /> 听了这一句，魏无羡却沉默了。三体小说<br /> 下方众人将他的沉默当作退缩，道：“归根结底，还不是你对金子勋下那种卑鄙阴损的恶咒在先！”<br /> 魏无羡道：“请问你究竟有什么证据，证明恶咒是我下的？”<br /> 发问那人哑口无言，噎了噎，道：“那你又有什么证据，证明不是你下的？”<br /> 魏无羡笑了：“那我再请问，为什么不是你？你不也没证据证明不是你下的恶咒吗？”<br /> 那人又惊又怒：“我？我怎么会和你一样？休要混淆是非胡搅蛮缠！你的嫌疑最大，你以为我们不知道吗，你和金子勋一年多以前就结过怨！”<br /> 魏无羡森然道：“究竟胡搅蛮缠的是谁？对啊，我若想杀他，一年多以前就杀了，用不着留到现在。不然他这种角色，要不了一年，我三天就忘了。”<br /> 姚宗主震惊了：“……魏无羡啊魏无羡，我今天算是长见识了，我真是从未见过你这样无理的恶徒……把人杀死之后，还要言辞侮辱，恶语相向。你莫非就没有半点同情之心、愧疚之情？”<br /> 骂声一片，魏无羡却安然受之。<br /> 唯有愤怒，才能把他心中其他的情绪压下去。<br /> 一名站在方阵较前列的修士痛心疾首道：“魏婴，你太让我失望了。亏我当初还曾经仰慕钦佩过你，还说过你好歹是开宗立派的一代人物。如今想来，真是几欲作呕。从此刻开始起，我与你势不两立！”<br /> Wei Wuxian is being accused of cursing someone. There's a disscussion going back and forth between him and the person asking questions. They argue that there's no proof of that, and if not having a proof of innocence is also a reason to think someone is guilty then aren't they both guilty? Suzerain Yao also thinks Wei Wuxian is guilty and scolds him for not having respect for the dead.<br /> <br /> == AKR ==<br /> <br /> 闻言，魏无羡先是一怔，随即爆发出一阵狂笑：“哈哈哈哈……”<br /> 他笑得几乎喘不过气了，道：“你仰慕我？你说你仰慕我，那为何你仰慕我的时候我没见过你？而我一人人喊打，你就跳出来摇旗呐喊？”<br /> 魏无羡眼角笑出了眼泪，道：“你这仰慕，未免也太廉价了。你说你从此与我势不两立，很好，你的势不两立抑或不共戴天，对我有任何影响吗？你的仰慕和憎恶，都如此微不足道，怎好意思拿出来叫嚣？”<br /> 话音未落，他喉咙忽然一噎，胸口传来一阵突如其来的闷痛。<br /> 低头一看，一只羽箭正正插在他胸口，箭头埋入了两条肋骨之中。<br /> 他朝羽箭射来的方向望去。射出这一箭的，是一个眉清目秀的少年修士，站在一个小家族的方阵之中，兀自维持着姿势，弓弦犹在颤抖。<br /> 魏无羡看得出来，这只箭，原本是直冲他心口致命之处射来的。只是射箭人技艺不精，箭势在半空中衰落，这才偏下了心脏部位，射入了肋骨之中。<br /> 那射箭人身旁的人都目光惊愕、甚至惊恐地看着做出了这种鲁莽举动的这名同门。魏无羡抬起头，脸现煞气，反手拔下这只羽箭，用力掷了回去。只听一声惨呼，那名偷射他的年轻修士，竟然就这样被他徒手掷回的一箭插中了胸口！<br /> 他身旁另一名少年扑到他身上，嚎啕道：“哥！哥！”<br /> <br /> == SSM ==<br /> <br /> 那个家族的方阵瞬间乱了套，家主伸出颤抖的手指着魏无羡道：“你……你……你好狠毒！”<br /> 魏无羡右手随便在胸膛的伤口处按了按，暂时止住血，漠然道：“什么叫狠毒？他既然敢偷袭射我这一箭，就该料到万一没射中会是什么下场。既然都叫我邪魔歪道了，总不至于指望我宽宏大量地不和他计较。”<br /> 金光善呼道：“布阵，布阵！今天绝不能让他活着离开这里！”<br /> 一声令下，对峙局面终于被打破，数名门生御剑持弓，向着大殿上方包抄过去。<br /> 终于先动手了！<br /> 魏无羡冷笑着将腰间陈情取了下来，举到唇边，随着笛子发出尖锐的嘶鸣，不夜天城广场的地面之上，一只只惨白的手臂破土而出！<br /> 一具具尸体顶破白石铺就的细墁地面，从泥土深处爬了出来。有御剑刚刚离地的，立即被他们拖了下来。<br /> 魏无羡站在炎阳烈焰殿的屋脊之上，竹笛横吹，双目在夜色中闪闪发出冷光。俯瞰下方，各家服饰犹如五颜六色沸腾不止的水，翻搅不止，时而四散，时而又聚拢。除了云梦江氏的方阵那边无恙，其他家族尽皆大乱，各个家主都忙着护住自己的门生，一时都无暇去攻击魏无羡。<br /> 正在此时，一道泠泠的琴音扰乱了陈情的笛音。<br /> 魏无羡放下陈情，回头望去。只见一人坐在另一条屋脊上，横琴于前，一袭雪白的衣衫在黑夜中有些刺目。<br /> <br /> The family is in chaos. The head of the family pointed a finger at Wei Wuxian, accusing him of being too strict and heartless. Wei Wuxian was unmoved and responded that his actions were justified since he was attacked first. As the situation escalated, disciples were ordered to surround the hall and confront Wei Wuxian. Taking out his flute, Wei Wuxian summoned reanimated corpses from the ground, causing panic among the other families. In the tragedy, a soothing melody from a distant qin disrupted the flute music. Turning around, Wei Wuxian saw a figure in white clothing sitting on another roof, playing the qin.<br /> <br /> == LML ==<br /> <br /> 魏无羡冷声道：“啊，蓝湛。”<br /> 打完招呼过后，他又将笛子举到唇边，道：“从前你就该知道了，清心音对我没用！”<br /> 蓝忘机翻琴上背，改为抽出避尘，直冲陈情袭去，要斩断这支催生出魔音的鬼笛。魏无羡旋身一错，哈哈大笑道：“好好好，我就知道，终有一天咱们要这样真刀实枪地杀一场。横竖你从来都看我不顺眼，来啊！”<br /> 听了这句话，蓝忘机的动作顿了顿，道：“魏婴！”<br /> 这一声虽然是喝出来的，可是，换了任何一个清醒的人来听，都会听出来，蓝忘机的声音分明在颤抖。然而，魏无羡此刻已经失去判断能力了。他已然半是疯狂，半神智不清，一切恶意都被他无限放大，只觉得世界上所有人都恨他，他也恨所有人。谁来都不怕，谁来都一样，也不过如此。<br /> 忽然，在一片厮杀声中，魏无羡听到了一个细微的声音。<br /> 那声音在喊：“阿羡！”<br /> 这个声音犹如一盆冷水，将他心头狂飙的邪火浇了个透心凉。<br /> 江厌离？<br /> 她是什么时候来了誓师大会的？！<br /> 魏无羡登时魂飞魄散，顾不上再和蓝忘机相斗，放下陈情：“师姐？！”<br /> 江澄也听到了这个声音，刹那间脸色煞白，道：“姐？姐！你在哪里？你在哪里？”<br /> 魏无羡跳下了炎阳烈焰殿的屋脊，和江澄一样声嘶力竭地大喊：“师姐？师姐？你在哪里？你在哪里？我看不到你！”<br /> <br /> == PMJ ==<br /> <br /> 他顾不得数道冲他逼来的刀光剑影，在混乱的人群之中一边掌劈拳打，一边急急奔走，忽然，看到江厌离白色的身影被淹没在人群之后，魏无羡奋力地拨开挡路之人，艰难前行。他们之间还隔着不少距离，隔着无数人，一时半会儿魏无羡根本冲不过去，江澄也冲不过去。更糟的是，恰在此时，两人都忽然发觉，江厌离身后，摇摇晃晃地站起了一具凶尸。<br /> 那凶尸躯体腐烂了一半，手中拖着一把生锈的长剑，正在朝江厌离靠近。<br /> 看到这令人肝胆俱裂的一幕，魏无羡厉声喝道：“滚开！给我滚开！别碰她！”<br /> 江澄也咆哮道：“让它滚！”<br /> 他掷出了三毒，紫色的剑光冲那具凶尸飞去，然而，剑光在半路就被其他修士的剑光干扰了，偏离了方向。魏无羡心神越紊乱，控制能力就越差，那具凶尸无视他的指令，反而扬起了手中长剑，朝江厌离劈去！<br /> 魏无羡疯了，边冲边喊道：“停下来，停下来，给我停下来！”<br /> 现在人人都在忙着对付自己身边纠缠的凶尸，根本没有谁还有心思注意别人是不是危在旦夕。那具凶尸一剑劈下，划开了江厌离的背部！<br /> 江厌离一下子摔倒在了地上。<br /> 那凶尸站在她背后，继续扬起了长剑。正在这时，一道剑光削飞了它的半个身躯！<br /> 蓝忘机落在广场之上，顺手接过回召的避尘，魏无羡和江澄这才冲了过去，连感谢都顾不上对蓝忘机说。江澄抢先抱起江厌离，蓝忘机则截住了魏无羡，抓住他的衣领，提到面前，厉声道：“魏婴！停止催动尸群！”<br /> <br /> ==AHY==<br /> <br /> 魏无羡眼下根本顾不上别的事，眼中也完全没有蓝忘机的脸，更看不到蓝忘机眼中的血丝，也看不到他发红的眼眶，只想去看江厌离有事没有，赤着眼睛拨开他，扑到地上。蓝忘机被他推得身形一晃，站稳了看着他，还没下一步动作，忽听远处又有人惨叫呼救，敛了目光，飞身前去救援。<br /> 江厌离的背都被鲜血浸染了，闭着眼睛，好在还有呼吸。江澄探她脉搏的手颤抖着抽了回来，松了一口气，忽然冲着魏无羡的脸就是一拳，喝道：“怎么回事！你不是说你能控制住的吗？你不是说没问题的吗？！”<br /> 魏无羡跌坐在地上，茫然道：“……我也不知道。”<br /> 他绝望地道：“……我控制不住、我控制不住啊……”<br /> 这时，江厌离动了一下，江澄紧紧抱着她，语无伦次道：“姐姐！没事！没事，你怎么样？还好，只是划了一剑，还好，我马上带你下去……”<br /> 他说着便要把江厌离抱起来，江厌离却忽然道：“……阿羡。”<br /> 魏无羡打了一个哆嗦，忙道：“师姐，我……我在这里。”<br /> 江厌离缓缓睁开那双漆黑的眸子，魏无羡心中一阵恐慌。<br /> 江厌离勉力道：“……阿羡。你之前……怎么跑的那么快……我都没来得及看你一眼，和你说一句话……”<br /> 听着听着，魏无羡的心砰砰狂跳。<br /> 他还是不敢面对江厌离的脸，尤其是此时此刻，这张脸和当时的金子轩一样，沾满了尘土和鲜血。<br /> 他更不敢听她接下来要说的话。<br /> 江厌离道：“我……是来跟你说……”<br /> <br /> == WXT ==<br /> <br /> 说什么？<br /> 没关系？<br /> 我不恨你？<br /> 什么事都没有？<br /> 不怪你杀了金子轩？<br /> 不可能。<br /> 但是完全与之相反的话，她也说不出来。<br /> 所以，她也不知道，此情此景，还能对魏无羡说什么。<br /> 可是，她心中就是觉得，她一定要来见这个弟弟一面。<br /> 叹了一口气，江厌离道：“阿羡，你……你先停下吧。别再，别再……”<br /> 魏无羡忙道：“好，我停下。”<br /> 他拿起陈情，放到唇边，低着头吹奏起来。他费了极大精力才稳住心神，这次，凶尸们终于不再无视他的命令了，一只一只，喉咙里发出咕咕怪声，像是在抱怨一般，缓缓伏了下来。<br /> 蓝忘机微微顿足，远远望向这边，末了，回头继续出剑，救援尚在苦斗的同门和非同门。<br /> 突然，江厌离双目一睁，双手不知从哪里爆发出一阵大力，将魏无羡一推！<br /> 魏无羡被她这一推推得又摔倒了地上，再抬起头时，就见一柄明晃晃的长剑，刺穿了她的喉咙。<br /> 握着剑的那名少年，正是刚才扑到那射箭人身上痛哭的年轻修士。他还在哇哇大哭，泪眼朦胧地道：“魏贼！这一剑代我哥还给你！”<br /> 魏无羡坐在脏兮兮的地面上，不敢置信地看着头已经歪下去、喉咙汩汩冒出大量鲜血的江厌离。<br /> 他刚才还在等着她说话，仿佛是对他下达最后的宣判。<br /> 江澄也是愣愣的，还抱着姐姐的身体，全然没有反应过来。<br /> 半晌，魏无羡才发出一声凄厉的惨叫。<br /> <br /> == WYX ==<br /> <br /> 蓝忘机一剑刺出，猛地回头。<br /> 那名少年这才发现自己错手杀错了人，拔出长剑，带出一串血淋淋的血花，恐慌地连连后退，边退边道：“……不是，不是我，不是……我是要杀魏无羡，我是要给我哥报仇……是她自己扑上来的！”<br /> 魏无羡倏地闪到他身前，掐住了他的脖子，姚宗主挥剑喝道：“邪魔，放开他！”<br /> 蓝忘机什么风度仪态也顾不上了。<br /> 他推开一个又一个的挡路之人，朝魏无羡的方向奔去。然而，还没奔到一半的距离，魏无羡便在众目睽睽之下，徒手捏断了这名少年的喉骨。<br /> 一名白发苍苍的家主怒道：“你！你——当初累死江枫眠夫妇，如今又累死你师姐，你咎由自取，还敢迁怒别人！不知回头，反而继续杀伤人命。魏无羡，你——罪无可恕！”<br /> 可是，再多的谩骂和斥责，此时的魏无羡也听不到了。<br /> 仿佛被另外一个灵魂支配着，他伸出双手，从袖中取出了两样东西，在所有人面前，把它们拼到了一起。<br /> 那两样东西一半上，一半下，合为一体，发出一声森然的铿锵厉响。<br /> 魏无羡将它托在掌心，高高举了起来。<br /> 阴虎符！<br /> <br /> <br /> Lan Wangji mistakenly attacks a young man, who panics and retreats, claiming he meant to kill Wei Wuxian for revenge. Wei Wuxian swiftly intervenes, killing the young man as accusations fly against him for past crimes. Unfazed, Wei Wuxian combines two items into a powerful talisman, the Yin Tiger Seal.</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Maqiao_Cidian&diff=158798 2024-02-04T23:52:05Z

<p>Zhang Yuxuan: /* ZYX ( ͡° ͜ʖ ͡°) */</p> <hr /> <div>== Basic information ==<br /> Title: 马桥词典 (Dictionary of Maqiao)<br /> <br /> Author: 韩少功 (Han Shaogong)<br /> <br /> Original text:https://archive.org/details/maqiaocidian0007hans/page/n7/mode/1up<br /> <br /> Translation (bardzo polecam, książka jest naprawdę dobra): https://archive.org/details/dictionaryofmaqi0000hans/page/n1/mode/1up<br /> <br /> Presentation: [na google doc będzie]<br /> <br /> <br /> == Who is Who ==<br /> Bandit Ma: see Ma Wenjie.<br /> <br /> Benren: Benyi's same-pot brother; fled to Jiangxi during the Great Leap Forward.<br /> <br /> Benyi (also Ma Benyi): Party Branch Secretary in Maqiao.<br /> <br /> Commune Head He: leader of the local commune.<br /> <br /> Fucha: Maqiao's accountant.<br /> <br /> Kuiyan: &quot;lazy&quot; son of Zhaoqing.<br /> <br /> Long Stick Xi: a mysterious outsider who introduced &quot;tincture of iodine&quot; to Maqiao.<br /> <br /> Ma Ming: leader of Maqiao's &quot;Daoist Immortals,&quot; inhabitant of the &quot;House of Immortals.&quot;<br /> <br /> Ma Wenjie: Maqiao's most famous modern historical figure and former County Leader.<br /> <br /> Master Black (also Mou Jisheng): muscular but dim Educated Youth.<br /> <br /> Master Nine Pockets: renowned beggar king of Changle.<br /> <br /> Shuishui: wife of Zhihuang the stonemason, later a &quot;dream-woman.&quot;<br /> <br /> Three Ears: unfilial son of Zhaoqing, one of the &quot;Daoist Immortals,&quot; later lover of Tiexiang.<br /> <br /> Tiexiang: daughter of Master Nine Pockets, later wife of Benyi and lover of Three Ears.<br /> <br /> Uncle Luo: former village leader; Maqiao's oldest cadre.<br /> <br /> Wanyu: Maqiao's singing star.<br /> <br /> Xiongshi: son of Zhihuang and Shui Shui, killed in delayed blast of Japanese bomb.<br /> <br /> Yanwu: talented younger brother of Yanzao.<br /> <br /> Yanzao: &quot;Traitor to the Chinese,&quot; persecuted and bullied for being a landlord's son.<br /> <br /> Zhaoqing: notoriously stingy inhabitant of Maqiao, father of Three Ears.<br /> <br /> Zhihuang: Maqiao's stonemason, famed for his stupidity, married toShuishui.<br /> <br /> Zhongqi: Maqiao's resident gossip and busybody.<br /> <br /> == ATTENTION COMRADES !!!!!!!==<br /> <br /> Due to technical issues (and the fact that I study sinology cause I am a technical dumb-ass that cannot even open a power point without sth catching on fire) the fragments will be given in a form of Google Doc. <br /> After reading them, pretty please upload the summary directly onto the wiki (or to google doc too, if you are feeling generous, i don't give a duck). <br /> Thank you for your attention comrades and God Save the Queen.<br /> <br /> == Fragments to summarize ==<br /> https://docs.google.com/document/d/10WL6Nu4vHXLI87i5EIJqy_SywLchGPhmr4kYevAARqQ/edit?usp=sharing<br /> <br /> <br /> ==YL==<br /> <br /> == ZYX ( ͡° ͜ʖ ͡°)==<br /> <br /> Gruel [浆] <br /> <br /> From the beginning, the author tells us that the word &quot;gang&quot; in the Maciao dialect (pronounced jian in Mandarin). It originated in the poor mountain village of Maciao, where grain was scarce and the word &quot;porridge&quot; was quite commonly used. Also, in the biography of Bao Xuan in the seventy-second chapter of the Han History, there is the phrase &quot;wine into gruel, meat into bean leaves,&quot;, referring to those who live in waste and luxury, treating wine as porridge and meat as bean leaves. From this it is clear how the term &quot;porridge&quot; has since come to refer more generally to the food and drink of the poor. <br /> When educated youth first came to Maciao, they often mistook &quot;eating gang (gruel)&quot; as &quot;eating gan (dry grain),&quot; thus confusing the word with its exact opposite. The people of Maciao always replaced the &quot;j&quot; sound with the hard &quot;g&quot; sound: for example, the word for &quot;river&quot; (jiang) was also pronounced &quot;gang&quot;. Therefore, &quot;eating porridge&quot; sometimes sounded like &quot;eating river&quot;, which symbolized as well as possible that when the harvest was late and there was nothing in the pots in every house but water thickened by a small amount of grain.<br /> <br /> == AD ಠ_ಠ ==<br /> <br /> Standing the Body <br /> [企尸]<br /> <br /> The author describes a ritual that received the name of &quot;standing the body&quot;. After Kuiyuan dies, Fangying refuses to bury his body underground and instead, insists that the coffin stands vertically upright. The standing coffin became a way to express plaint. With this custom, people hoped to attract the attention of the officials. They used rocks to support the sides of the coffin in order to balance its weight. The stones placed around the coffin, tossed into great piles, symbolised that the grievance was as enormous as the mountains. The upright position of the coffin posed as a statement that even the dead have to voice their complaints and until they are heard, they cannot rest in the ground. ⚰️💀<br /> <br /> ==AX (=^ェ^=)==<br /> <br /> == TXL ノ( º _ ºノ) ==<br /> <br /> == WMF (ง’̀-‘́)ง ==<br /> <br /> <br /> ==YSY==<br /> <br /> Confucian [道学]<br /> <br /> Firstly, the narrator gives an example of the word's usage. Then he goes on to explain that the term referes to etiquette, morals and intelect, so it is a rather positive word, but then mentions that because of the hypocrisy of Confucianism over the years it can invoke an uncomfortable feeling. Then he asks philosophical questions, such as &quot;can sympathy and affection exist between humans&quot; and wonders if Maqiao people replaced other words with &quot;Confucian&quot; because they had doubts about human nature and what feelings can these doubts produce.<br /> <br /> == AKR ☉_☉==<br /> <br /> == KMJ (▀̿Ĺ̯▀̿ ̿) ==<br /> Jackal-Fiend [豺猛子]<br /> In the Tianzi Peak was hidden a small stockade, to get to it you had to cross a small, not very deep stream. The narrator crossed it many times on his way to Chazi Bow. One time a companion asked him, if he spotted something unusual about the river. Turns out that the long rock that was previously in the water was actually a jackal-fiend. Maoqiao people said that this fish eats other fish and not plants, it was firece at times but mostly stoic, people would trad over it for months without it moving. After that the narrator started to wonder everytime he was big rocks or big lumps of wood. Will it move this time, become alive and escape or not?<br /> <br /> == SSM ╮ (. ❛ ᴗ ❛.) ╭ ==<br /> <br /> : Each of Maqiao's oxen had its own name. People had lots of different words for oxen: for example, there were oxen that &quot;understood,&quot; meaning oxen with intelligence; there were oxen &quot;born-to-the-pen,&quot; meaning oxen that had been brought up like family, oxen that ox-rustlers found hard to steal away. Although Three-Hairs had something of a foul temper, it was still an ox born-to-the-pen.<br /> Two months before it died, nothing had been seen of it for two days, the team leader had sent people searching everywhere with no result, and everyone thought it'd never be found again, that it'd already been slaughtered or sold by ox-rustlers. But on the evening of the third day, while I was playing chess at Zhihuang's, Zhihuang unexpectedly turned back from relieving himself and said his ox whip was twitching on the wall, there was definitely something up, definitely. Maybe Three-Hairs had come back. No sooner were we out of the door than we heard Three-Hairs' lows and saw a familiar black shadow in front of the oxpen. Right at that moment it was butting the wooden oxpen with its horns-clunk, clunk, clunk-wanting to get inside. Half a length of ox rope was hanging from its nose, its tail had been cut to half its length for some unknown reason, its whole body was covered with dozens of bloody scars, its whiskers were in a real state and it had clearly lost a lot of weight. After escaping from the ox-rustlers it must have meandered all over the mountains on its long, long tramp home.<br /> <br /> == LML ( ͡ᵔ ͜ʖ ͡ᵔ )==<br /> Model Worker<br /> <br /> The texts talks about how commune wanted every team to pick a model worker who would study philosophy and attend special meetings in the commune. Benyi was not present so his uncle Luo took charge. After the breakfast he assigned work to some other workers and made Wanyu a model field worker. The narrator laughed about it and asked why don't they put to a vote who should be a model worker. Luo replied that Wanyu lacks skills and strenght to do anything else and other people agreed. The author notes that the person being the model worker changes depending on the weather conditions, bringing up an example of other worker called Fucha.<br /> <br /> ==PMJ (づ｡◕‿‿◕｡)づ==<br /> <br /> ==AHY==<br /> <br /> Curse-grinding<br /> <br /> The author mentions the unusual habit of curse-grinding. This is a kind of procedure for taking revenge on enemies of the local society. If the visitor makes something very inappropriate, the members of the society covertly circle three times around him. Then they wait for him to go into the nearby woods and they start to call out some complex and often tongue-twisting rhymes. It would often make the victims get lost in the forest, being unable to tell the directions and exposed to some traps, wild animals and insects. The next step in the whole procedure is so-called soul-taking incantation. It would finally make the unhappy victim change into a zombielike creature.<br /> <br /> ==WXT ʕ •ᴥ•ʔ==<br /> <br /> Lax<br /> <br /> To explain this word, the narrator introduces us to the story of Zhaoqing. On one occasion, when the narrator was in danger as he almost fell from a height, Zhaoqing witnessed this and tried to summon some help, crying over the narrator's fate. The situation made a very strong impression on the narrator, but he did not know how he could thank Zhaoqing. It was only after Zhaoqing's death that he returned the favour by bringing him cotton blankets to his coffin, on which he could finally rest in peace and 'relax'.<br /> <br /> The word 'lax' thus means ‘to rest’, ‘to relax’.<br /> <br /> == WYX ~(˘▾˘~) ==<br /> <br /> Yellow-Grass Miasma<br /> <br /> In Maqiao, Zhaoqing warned the speaker not to venture into the mountains early in the morning due to the presence of poisonous miasma, which could cause severe illness or death. Different types of miasma were associated with different seasons. Even during the daytime, caution was necessary when entering the mountains, including abstaining from certain foods and activities. Zhaoqing emphasized the importance of drinking rice wine before mountain expeditions to bolster one's vitality.</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Maqiao_Cidian&diff=158797 2024-02-04T23:50:16Z

<p>Zhang Yuxuan: /* ZYX ( ͡° ͜ʖ ͡°) */</p> <hr /> <div>== Basic information ==<br /> Title: 马桥词典 (Dictionary of Maqiao)<br /> <br /> Author: 韩少功 (Han Shaogong)<br /> <br /> Original text:https://archive.org/details/maqiaocidian0007hans/page/n7/mode/1up<br /> <br /> Translation (bardzo polecam, książka jest naprawdę dobra): https://archive.org/details/dictionaryofmaqi0000hans/page/n1/mode/1up<br /> <br /> Presentation: [na google doc będzie]<br /> <br /> <br /> == Who is Who ==<br /> Bandit Ma: see Ma Wenjie.<br /> <br /> Benren: Benyi's same-pot brother; fled to Jiangxi during the Great Leap Forward.<br /> <br /> Benyi (also Ma Benyi): Party Branch Secretary in Maqiao.<br /> <br /> Commune Head He: leader of the local commune.<br /> <br /> Fucha: Maqiao's accountant.<br /> <br /> Kuiyan: &quot;lazy&quot; son of Zhaoqing.<br /> <br /> Long Stick Xi: a mysterious outsider who introduced &quot;tincture of iodine&quot; to Maqiao.<br /> <br /> Ma Ming: leader of Maqiao's &quot;Daoist Immortals,&quot; inhabitant of the &quot;House of Immortals.&quot;<br /> <br /> Ma Wenjie: Maqiao's most famous modern historical figure and former County Leader.<br /> <br /> Master Black (also Mou Jisheng): muscular but dim Educated Youth.<br /> <br /> Master Nine Pockets: renowned beggar king of Changle.<br /> <br /> Shuishui: wife of Zhihuang the stonemason, later a &quot;dream-woman.&quot;<br /> <br /> Three Ears: unfilial son of Zhaoqing, one of the &quot;Daoist Immortals,&quot; later lover of Tiexiang.<br /> <br /> Tiexiang: daughter of Master Nine Pockets, later wife of Benyi and lover of Three Ears.<br /> <br /> Uncle Luo: former village leader; Maqiao's oldest cadre.<br /> <br /> Wanyu: Maqiao's singing star.<br /> <br /> Xiongshi: son of Zhihuang and Shui Shui, killed in delayed blast of Japanese bomb.<br /> <br /> Yanwu: talented younger brother of Yanzao.<br /> <br /> Yanzao: &quot;Traitor to the Chinese,&quot; persecuted and bullied for being a landlord's son.<br /> <br /> Zhaoqing: notoriously stingy inhabitant of Maqiao, father of Three Ears.<br /> <br /> Zhihuang: Maqiao's stonemason, famed for his stupidity, married toShuishui.<br /> <br /> Zhongqi: Maqiao's resident gossip and busybody.<br /> <br /> == ATTENTION COMRADES !!!!!!!==<br /> <br /> Due to technical issues (and the fact that I study sinology cause I am a technical dumb-ass that cannot even open a power point without sth catching on fire) the fragments will be given in a form of Google Doc. <br /> After reading them, pretty please upload the summary directly onto the wiki (or to google doc too, if you are feeling generous, i don't give a duck). <br /> Thank you for your attention comrades and God Save the Queen.<br /> <br /> == Fragments to summarize ==<br /> https://docs.google.com/document/d/10WL6Nu4vHXLI87i5EIJqy_SywLchGPhmr4kYevAARqQ/edit?usp=sharing<br /> <br /> <br /> ==YL==<br /> <br /> == ZYX ( ͡° ͜ʖ ͡°)==<br /> <br /> Gruel [浆] <br /> <br /> From the beginning, the author tells us that the word gang in the Maciao dialect (pronounced jian in Mandarin). It originated in the poor mountain village of Maciao, where grain was scarce and the word &quot;porridge&quot; was quite commonly used. Also, in the biography of Bao Xuan in the seventy-second chapter of the Han History, there is the phrase &quot;wine into gruel, meat into bean leaves,&quot;, referring to those who live in waste and luxury, treating wine as porridge and meat as bean leaves. From this it is clear how the term &quot;porridge&quot; has since come to refer more generally to the food and drink of the poor. <br /> When educated youth first came to Maciao, they often mistook &quot;eating gang (gruel)&quot; as &quot;eating gan (dry grain),&quot; thus confusing the word with its exact opposite. The people of Maciao always replaced the &quot;j&quot; sound with the hard &quot;g&quot; sound: for example, the word for &quot;river&quot; (jiang) was also pronounced &quot;gang&quot;. Therefore, &quot;eating porridge&quot; sometimes sounded like &quot;eating river&quot;, which symbolized as well as possible that when the harvest was late and there was nothing in the pots in every house but water thickened by a small amount of grain.<br /> <br /> == AD ಠ_ಠ ==<br /> <br /> Standing the Body <br /> [企尸]<br /> <br /> The author describes a ritual that received the name of &quot;standing the body&quot;. After Kuiyuan dies, Fangying refuses to bury his body underground and instead, insists that the coffin stands vertically upright. The standing coffin became a way to express plaint. With this custom, people hoped to attract the attention of the officials. They used rocks to support the sides of the coffin in order to balance its weight. The stones placed around the coffin, tossed into great piles, symbolised that the grievance was as enormous as the mountains. The upright position of the coffin posed as a statement that even the dead have to voice their complaints and until they are heard, they cannot rest in the ground. ⚰️💀<br /> <br /> ==AX (=^ェ^=)==<br /> <br /> == TXL ノ( º _ ºノ) ==<br /> <br /> == WMF (ง’̀-‘́)ง ==<br /> <br /> <br /> ==YSY==<br /> <br /> Confucian [道学]<br /> <br /> Firstly, the narrator gives an example of the word's usage. Then he goes on to explain that the term referes to etiquette, morals and intelect, so it is a rather positive word, but then mentions that because of the hypocrisy of Confucianism over the years it can invoke an uncomfortable feeling. Then he asks philosophical questions, such as &quot;can sympathy and affection exist between humans&quot; and wonders if Maqiao people replaced other words with &quot;Confucian&quot; because they had doubts about human nature and what feelings can these doubts produce.<br /> <br /> == AKR ☉_☉==<br /> <br /> == KMJ (▀̿Ĺ̯▀̿ ̿) ==<br /> Jackal-Fiend [豺猛子]<br /> In the Tianzi Peak was hidden a small stockade, to get to it you had to cross a small, not very deep stream. The narrator crossed it many times on his way to Chazi Bow. One time a companion asked him, if he spotted something unusual about the river. Turns out that the long rock that was previously in the water was actually a jackal-fiend. Maoqiao people said that this fish eats other fish and not plants, it was firece at times but mostly stoic, people would trad over it for months without it moving. After that the narrator started to wonder everytime he was big rocks or big lumps of wood. Will it move this time, become alive and escape or not?<br /> <br /> == SSM ╮ (. ❛ ᴗ ❛.) ╭ ==<br /> <br /> : Each of Maqiao's oxen had its own name. People had lots of different words for oxen: for example, there were oxen that &quot;understood,&quot; meaning oxen with intelligence; there were oxen &quot;born-to-the-pen,&quot; meaning oxen that had been brought up like family, oxen that ox-rustlers found hard to steal away. Although Three-Hairs had something of a foul temper, it was still an ox born-to-the-pen.<br /> Two months before it died, nothing had been seen of it for two days, the team leader had sent people searching everywhere with no result, and everyone thought it'd never be found again, that it'd already been slaughtered or sold by ox-rustlers. But on the evening of the third day, while I was playing chess at Zhihuang's, Zhihuang unexpectedly turned back from relieving himself and said his ox whip was twitching on the wall, there was definitely something up, definitely. Maybe Three-Hairs had come back. No sooner were we out of the door than we heard Three-Hairs' lows and saw a familiar black shadow in front of the oxpen. Right at that moment it was butting the wooden oxpen with its horns-clunk, clunk, clunk-wanting to get inside. Half a length of ox rope was hanging from its nose, its tail had been cut to half its length for some unknown reason, its whole body was covered with dozens of bloody scars, its whiskers were in a real state and it had clearly lost a lot of weight. After escaping from the ox-rustlers it must have meandered all over the mountains on its long, long tramp home.<br /> <br /> == LML ( ͡ᵔ ͜ʖ ͡ᵔ )==<br /> Model Worker<br /> <br /> The texts talks about how commune wanted every team to pick a model worker who would study philosophy and attend special meetings in the commune. Benyi was not present so his uncle Luo took charge. After the breakfast he assigned work to some other workers and made Wanyu a model field worker. The narrator laughed about it and asked why don't they put to a vote who should be a model worker. Luo replied that Wanyu lacks skills and strenght to do anything else and other people agreed. The author notes that the person being the model worker changes depending on the weather conditions, bringing up an example of other worker called Fucha.<br /> <br /> ==PMJ (づ｡◕‿‿◕｡)づ==<br /> <br /> ==AHY==<br /> <br /> Curse-grinding<br /> <br /> The author mentions the unusual habit of curse-grinding. This is a kind of procedure for taking revenge on enemies of the local society. If the visitor makes something very inappropriate, the members of the society covertly circle three times around him. Then they wait for him to go into the nearby woods and they start to call out some complex and often tongue-twisting rhymes. It would often make the victims get lost in the forest, being unable to tell the directions and exposed to some traps, wild animals and insects. The next step in the whole procedure is so-called soul-taking incantation. It would finally make the unhappy victim change into a zombielike creature.<br /> <br /> ==WXT ʕ •ᴥ•ʔ==<br /> <br /> Lax<br /> <br /> To explain this word, the narrator introduces us to the story of Zhaoqing. On one occasion, when the narrator was in danger as he almost fell from a height, Zhaoqing witnessed this and tried to summon some help, crying over the narrator's fate. The situation made a very strong impression on the narrator, but he did not know how he could thank Zhaoqing. It was only after Zhaoqing's death that he returned the favour by bringing him cotton blankets to his coffin, on which he could finally rest in peace and 'relax'.<br /> <br /> The word 'lax' thus means ‘to rest’, ‘to relax’.<br /> <br /> == WYX ~(˘▾˘~) ==<br /> <br /> Yellow-Grass Miasma<br /> <br /> In Maqiao, Zhaoqing warned the speaker not to venture into the mountains early in the morning due to the presence of poisonous miasma, which could cause severe illness or death. Different types of miasma were associated with different seasons. Even during the daytime, caution was necessary when entering the mountains, including abstaining from certain foods and activities. Zhaoqing emphasized the importance of drinking rice wine before mountain expeditions to bolster one's vitality.</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158486 2024-01-26T10:06:17Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> Title:《古船》The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei <br /> <br /> Presentation: [https://docs.google.com/presentation/d/1WB_mzwkKCC9txf3Z_PTKRf6ff9E6UiM7/edit?usp=drive_link&amp;ouid=103541239485723010069&amp;rtpof=true&amp;sd=true] [[Media:Zhang_Wei.pptx|Presentation on Zhang Wei]]<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> This is a description of an elderly woman named Zhang Wangshi. She's entering a large store with her handcrafted products such as clay tigers<br /> and small iron whistles. Despite her age and physical fragility, she is skilled in her craft, particularly in molding clay tigers that reflect her own facial expressions. Zhang Wangshi, over sixty years old, is depicted as a chain-smoker with a weathered appearance. She confidently proposes selling her handcrafted items expressing a willingness to pay a consignment costs. Her decades-long business also involved fortune-telling on the side to earn extra income.<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。<br /> <br /> Jian Su talks casually with the elderly woman called Zhang Wang in her store. The woman smokes a cigarette after a cigarette, examining the young man. She is quite fond of his appearance, noticing that his eyes are full of energy, which sparks her curiosity. However, he calls her an ugly old woman, which is quite justified considering that the woman's teeth are black. She continues to praise him and touches his arms and chest, while he tries to push her away. He contemplates that her face looks just as the expressions of the clay tigers of her handcraft and finds it difficult to refrain from laughter. He buys a few handmade products and after that, leaves. 🐅🚬<br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> Zhang Wangshi continued her story, still smoking cigarettes. She talked about a man named Shi Dixin, who found out about the uncle's behaviour and chased him to the pier. They got in a fight over the piece taken from the boat, as Shi Dixin thought it could destroy their town. Finally, the thing was thrown into the river and the men stopped fighting.<br /> <br /> Jian Su was fascinated by Zhang Wangshi's story.<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> The scene talks about the workers going to the shop in their free time. Old people drank alcohol while the young people ate wild sugar. Jiansu wrapped a long thread of sugar around one girls neck. One day Nao Nao came over and Jiansu walked up to her and wanted to grab Nao Nao's sugar stick but he failed.<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> This paragraph states that Jiansu found the factory more to his liking, and that is the reason why he stayed away from the shop. He would go to the shop only once a month. The name of the factory had changed and those who didn't want to work for Zhao Duoduo had left. The vast majority of those who replaced them were women. Jiansu could check on the work whenever he wanted. He would stare with delight at the women-workers in the slumber during the night-shift. After he would stare at them awhile, the women would wake up yawning.<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> Jiansu sat on a wooden stool and smoked a cigarette, without saying a word. He sat like that for over half an hour. Suddenly, he stood up and walked out of the room without looking back. He rushed towards a concrete platform, gazing at the stars and listening to the flowing river. From there, Jiansu looked at the dimly lit windows along the riverbank, behind one of which would sit Baopu. Jiansu stared at the small window, as if hoping it would suddenly open. Disappointed, he walked down the platform and stopped in front of the building around the corner of the processing room. After standing there for a while, he held his breath and slowly pushed the door open. Once inside, he carefully closed the door behind him and then turned around cautiously.<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158461 2024-01-25T19:09:02Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: https://avidreaders.ru/read-book/the-ancient-ship.html <br /> <br /> Title:《古船》The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei <br /> <br /> Presentation: [https://docs.google.com/presentation/d/1WB_mzwkKCC9txf3Z_PTKRf6ff9E6UiM7/edit?usp=drive_link&amp;ouid=103541239485723010069&amp;rtpof=true&amp;sd=true]<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> This is a description of an elderly woman named Zhang Wangshi. She's entering a large store with her handcrafted products such as clay tigers<br /> and small iron whistles. Despite her age and physical fragility, she is skilled in her craft, particularly in molding clay tigers that reflect her own facial expressions. Zhang Wangshi, over sixty years old, is depicted as a chain-smoker with a weathered appearance. She confidently proposes selling her handcrafted items expressing a willingness to pay a consignment costs. Her decades-long business also involved fortune-telling on the side to earn extra income.<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。<br /> <br /> Jian Su talks casually with the elderly woman called Zhang Wang in her store. The woman smokes a cigarette after a cigarette, examining the young man. She is quite fond of his appearance, noticing that his eyes are full of energy, which sparks her curiosity. However, he calls her an ugly old woman, which is quite justified considering that the woman's teeth are black. She continues to praise him and touches his arms and chest, while he tries to push her away. He contemplates that her face looks just as the expressions of the clay tigers of her handcraft and finds it difficult to refrain from laughter. He buys a few handmade products and after that, leaves. 🐅🚬<br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> The scene talks about the workers going to the shop in their free time. Old people drank alcohol while the young people ate wild sugar. Jiansu wrapped a long thread of sugar around one girls neck. One day Nao Nao came over and Jiansu walked up to her and wanted to grab Nao Nao's sugar stick but he failed.<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> This paragraph states that Jiansu found the factory more to his liking, and that is the reason why he stayed away from the shop. He would go to the shop only once a month. The name of the factory had changed and those who didn't want to work for Zhao Duoduo had left. The vast majority of those who replaced them were women. Jiansu could check on the work whenever he wanted. He would stare with delight at the women-workers in the slumber during the night-shift. After he would stare at them awhile, the women would wake up yawning.<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> Jiansu sat on a wooden stool and smoked a cigarette, without saying a word. He sat like that for over half an hour. Suddenly, he stood up and walked out of the room without looking back. He rushed towards a concrete platform, gazing at the stars and listening to the flowing river. From there, Jiansu looked at the dimly lit windows along the riverbank, behind one of which would sit Baopu. Jiansu stared at the small window, as if hoping it would suddenly open. Disappointed, he walked down the platform and stopped in front of the building around the corner of the processing room. After standing there for a while, he held his breath and slowly pushed the door open. Once inside, he carefully closed the door behind him and then turned around cautiously.<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158460 2024-01-25T19:07:22Z

<p>Zhang Yuxuan: /* Session 10: Thursday Jan 25 8:00-9:30 Contemporary literature I: The Ancient Ship, presented by 张宇璇 */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 26 9:45-11:15 Contemporary literature (Zhang Wei) 张宇璇 Anna Proskura (teacher: Han Han, Xu Zechen)<br /> *11 Jan 30, 2024 8:00-9:30 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska<br /> *12 Jan 30 9:45-11:15 Han Shaogong 金乐 Asia (Joanna) Zawada<br /> *13 Feb 1, 2024 8:00-9:30 Web Literature 晏黎 Aleksandra Urbanska<br /> *14 Feb 1 9:45-11:15 Science fiction I (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan<br /> *15 Feb 2 8:00-9:30 , Science Fiction II (锺馗) 田小龙 Ewa Kopania<br /> *Final Paper (homework) - new submission deadline Feb 8<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for translaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for translation homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Thursday Jan 25 8:00-9:30 Contemporary literature I: The Ancient Ship, presented by 张宇璇=<br /> <br /> <br /> 11 Jan 26 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China during those days.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> ==Grades for translation homework - Contemporary literature I==<br /> <br /> *Gabriela Krukowska<br /> *Ewa Kopania<br /> *Zyta Rydz<br /> *Asia (Joanna) Zawada<br /> *Karol Perka<br /> *Anna Proskura<br /> *Julia Dereżyṅska<br /> *Paweł Andraszak<br /> *Aleksandra Urbanska<br /> *Natalia Gloc<br /> *Edyta Skorupa<br /> *Wiktoria Wolny<br /> *Ada Dan<br /> *Lena Rzeźnikowska<br /> *Malwina Filipowicz<br /> *Karolina Englert<br /> <br /> ==Session 11: Friday Jan 26 9:45-11:15 Contemporary literature II: Maqiao Cidian, presented by 金乐=<br /> 12 TUE Jan 30 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 12: Tuesday Jan 30 9:45-11:15 Web literature, presented by 王美芬, 晏黎=<br /> 13 THU Feb 1 8:00-9:30 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> Short introduction:The Grandmaster of Demonic Cultivation is a web novel written by an anonymous writer with an alias MoXiang TongXiu. It is a fantasy historical novel with many plot lines and twists. It focuses on the story of the main character, Wei Wuxian, who after experiencing war, torture and loss begins his journey with the new cultivation method for which he was in the end killed. The story is divided into two parts: Wei Wuxian’s first and second life. The first one is focused on main character’s journey through moral dilemmas while facing an enemy. This storyline occurs when the main characters are still learning the ways of Cultivation as teenagers, and focuses on the Wen Sect growing in power and trying to control/dominate the other Sects. The second part which occurs after his reincarnation, 16 years after his death, shows the main character (after his reincarnation) along with his partner, Lan Wangji, solving a case of mysterious murder and uncovering sudden political and internal schemes. The novel is quite complex thanks to the huge amount of characters and plotlines, moral dilemmas and compelling villains.<br /> <br /> Presentation and homework: [[I am this type of woman]] by 王美芬 Gabriela Krukowska<br /> <br /> =Session 13: Thursday Feb 1 8:00-9:30 Science Fiction I, presented by 爱答=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan<br /> =Session 14: Friday Feb 2 9:45-11:15 Science Fiction II, presented by 田小龙=<br /> (Liu Cixin: The Three Body Problem, The Wandering Earth) 田小龙 Ewa Kopania<br /> =Session 15: Feb 9 9:45-11:15 Final Paper=<br /> *15 Feb 9 9:45-11:15 Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158459 2024-01-25T19:06:54Z

<p>Zhang Yuxuan: /* Session 10: Thursday Jan 25 8:00-9:30 Contemporary literature I: The Ancient Ship, presented by 张宇璇 */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 26 9:45-11:15 Contemporary literature (Zhang Wei) 张宇璇 Anna Proskura (teacher: Han Han, Xu Zechen)<br /> *11 Jan 30, 2024 8:00-9:30 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska<br /> *12 Jan 30 9:45-11:15 Han Shaogong 金乐 Asia (Joanna) Zawada<br /> *13 Feb 1, 2024 8:00-9:30 Web Literature 晏黎 Aleksandra Urbanska<br /> *14 Feb 1 9:45-11:15 Science fiction I (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan<br /> *15 Feb 2 8:00-9:30 , Science Fiction II (锺馗) 田小龙 Ewa Kopania<br /> *Final Paper (homework) - new submission deadline Feb 8<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for translaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for translation homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Thursday Jan 25 8:00-9:30 Contemporary literature I: The Ancient Ship, presented by 张宇璇=<br /> <br /> 11 Jan 26 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China during those days.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> ==Grades for translation homework - Contemporary literature I==<br /> <br /> *Gabriela Krukowska<br /> *Ewa Kopania<br /> *Zyta Rydz<br /> *Asia (Joanna) Zawada<br /> *Karol Perka<br /> *Anna Proskura<br /> *Julia Dereżyṅska<br /> *Paweł Andraszak<br /> *Aleksandra Urbanska<br /> *Natalia Gloc<br /> *Edyta Skorupa<br /> *Wiktoria Wolny<br /> *Ada Dan<br /> *Lena Rzeźnikowska<br /> *Malwina Filipowicz<br /> *Karolina Englert<br /> <br /> ==Session 11: Friday Jan 26 9:45-11:15 Contemporary literature II: Maqiao Cidian, presented by 金乐=<br /> 12 TUE Jan 30 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 12: Tuesday Jan 30 9:45-11:15 Web literature, presented by 王美芬, 晏黎=<br /> 13 THU Feb 1 8:00-9:30 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> Short introduction:The Grandmaster of Demonic Cultivation is a web novel written by an anonymous writer with an alias MoXiang TongXiu. It is a fantasy historical novel with many plot lines and twists. It focuses on the story of the main character, Wei Wuxian, who after experiencing war, torture and loss begins his journey with the new cultivation method for which he was in the end killed. The story is divided into two parts: Wei Wuxian’s first and second life. The first one is focused on main character’s journey through moral dilemmas while facing an enemy. This storyline occurs when the main characters are still learning the ways of Cultivation as teenagers, and focuses on the Wen Sect growing in power and trying to control/dominate the other Sects. The second part which occurs after his reincarnation, 16 years after his death, shows the main character (after his reincarnation) along with his partner, Lan Wangji, solving a case of mysterious murder and uncovering sudden political and internal schemes. The novel is quite complex thanks to the huge amount of characters and plotlines, moral dilemmas and compelling villains.<br /> <br /> Presentation and homework: [[I am this type of woman]] by 王美芬 Gabriela Krukowska<br /> <br /> =Session 13: Thursday Feb 1 8:00-9:30 Science Fiction I, presented by 爱答=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan<br /> =Session 14: Friday Feb 2 9:45-11:15 Science Fiction II, presented by 田小龙=<br /> (Liu Cixin: The Three Body Problem, The Wandering Earth) 田小龙 Ewa Kopania<br /> =Session 15: Feb 9 9:45-11:15 Final Paper=<br /> *15 Feb 9 9:45-11:15 Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Chinese_Culture&diff=158445 2024-01-25T12:02:27Z

<p>Zhang Yuxuan: /* 第十一周 Session 11 Jan 25 13:15-14:45 - 基督教和佛教之间的差别 The Differences between Christianity and Buddhism */</p> <hr /> <div>'''Kultura chińska'''<br /> <br /> THU 11:30-13:00 sal. 401 Chinese Culture Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan. Shortlink: http://bit.ly/Culture_2023_10 (long link: https://bou.de/u/index.php?title=Chinese_Culture)<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[20240131_cult_finals|final paper]] page.&lt;/span&gt;<br /> <br /> =Session 1=<br /> ==Organizational Things==<br /> ===课程安排 Schedule===<br /> *1 Oct 5, 2023 11:30-13:00 401<br /> *2 Oct 12 11:30-13:00<br /> *3 Oct 26 11:30-13:00<br /> *4 Nov 30 11:30-13:00<br /> *5 Dec 7 11:30-13:00 <br /> *6 Dec 14 11:30-13:00 <br /> *7 Dec 21 11:30-13:00 <br /> *8 Jan 11 11:30-13:00 <br /> *9 Jan 25 11:30-13:00<br /> *10 Jan 25 13:15-14:45<br /> *11 Jan 26? <br /> *12 Feb 1 11:30-13:00<br /> *13 Feb 1 13:15-14:45 <br /> *14 Feb 2? <br /> *15 Feb 8 Final Paper (homework)<br /> <br /> ===Student roll===<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目<br /> <br /> ===Topics===<br /> Please write your names behind the topics you will present with ppt.<br /> <br /> *1 Oct 5, 2023 11:30-13:00 401<br /> Introduction<br /> *2 Oct 12 11:30-13:00<br /> Survey on 5,000 year of Chinese culture narrative and introduction into intercultural communication<br /> *3 Oct 26 11:30-13:00<br /> #地理性质是文化发展的基础 Geographic Nature as a Basis for Cultural Development (2)<br /> #古代和当代的接触方式 Ancient and Contemporary Ways of Contacting (2)<br /> *4 Nov 30 11:30-13:00<br /> #中国的婚姻习俗 Chinese Marriage Customs (3) Jin Yue 金乐 Joanna<br /> #湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (3) Ai Xi 艾希<br /> *5 Dec 7 11:30-13:00 <br /> #土家族的哭嫁 Crying Marriage of Tujia (4) <br /> #中国古代的四大才子 The Four Most Handsome men in Ancient China (4) Li Meilin 李美琳<br /> *6 Dec 14 11:30-13:00 <br /> #建筑：紫禁城 The Forbidden City (6) Pei Mengjiao 裴梦姣<br /> #建筑:中国四大名桥 Architecture: Four Famous Bridges (6)<br /> *7 Dec 21 11:30-13:00 <br /> #熊猫 The Panda (5) 安浩阳<br /> #建筑学 Architecture (5) <br /> *8 Jan 11 11:30-13:00 <br /> #建筑：四大亭子 Four Great Pavilions (7) Wei Yuxin 魏雨昕<br /> #中国产出日式文化出品 (China produces Japanese-style products) (7)<br /> *9 Jan 25 11:30-13:00<br /> #中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals (8) Yan Li 晏黎<br /> #中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People) (8) Kang Mingjie 康明杰<br /> *10 Jan 25 13:15-14:45<br /> #中国摇滚乐的形成 （Development of Chinese Rock Music) (9) Wang Xiaotong 王晓彤<br /> #基督教和佛教之间的差别 (The Differences between Christianity and Buddhism) (9) Zhang Yuxuan 张宇璇<br /> *11 Feb 1 11:30-13:00<br /> #中国饮食文化——中国菜的命名艺术 (Culinary Culture of China: The Art of Naming Chinese Dishes) (10)王美芬<br /> #中国佛教 (Chinese Buddhism) (10) Su Shimei 苏诗美<br /> *12 Feb 1 13:15-14:45 <br /> #缠足 (Foot-binding) (11) Yang Siyi 杨思艺<br /> #鬼怪和辟邪 (Monsters and Exorcism) (11) 田小龍<br /> *13 Feb 2 11:30-13:00 Culture<br /> #中医植物 (Herbs in Traditional Chinese Medicine) (12) 安凱榕<br /> *14 Feb 2 13:15-14:45 Culture<br /> #广东的文化饮食习惯：广东人为何爱吃野味？ (The tradition of eating of wild animals in Guangdong) (12) 爱答<br /> *15 Feb 2 15:00-16:30 Culture, Bring lots of food! (Chinese Spring Festival Event starts at 17:00 in the Upper Hall)<br /> *Feb 8 Extended deadline to submit Final Paper (homework)<br /> <br /> =Topics/Sessions=<br /> '''中国文化————研究生课（研一）''' Kultura chińska | Chinese Culture for first year Master Students<br /> <br /> 直接到期末考试论文网页的链接 Quick Link to Final Exam Papers: [[20240131_cult_finals]]<br /> <br /> 10月6日——1月31日 (30 x 45 分钟) Thursdays 9:45 (30 x 45 min.), 教室 Classroom 4## <br /> <br /> =第一周 Session 1 - 組織方面的事情 Organizational Things=<br /> <br /> 本课程由吴漠汀线下授课。课堂语言为中文，但也会提供一些英语/法语/德语/日语/波兰语的解释。一部分的资料是简体字的，一部分繁体字。你们注意到繁体字的时候，请打招呼。看繁体字慢慢的也要看习惯。<br /> <br /> This class is taught by Martin Woesler in presence. The class language is Chinese, however, some explanations in English/French/German/Japanese/Polish will be given. Some part of the teaching material is in simplified characters, another part in traditional character. If you find traditional characters, please tell the teacher. You should get used to reading traditional characters too.<br /> <br /> 1. 请阅读使用条款：通过注册本维基，您同意将您的数据（姓名、学号、学习方向、电子邮件、设备技术数据、IP地址等）和您在课堂上的贡献（作业、翻译、演讲、讲义、期末考试试卷等）储存起来，用于评分和学术用途（教学和研究用的匿名）。你明确同意你的贡献可以由老师以他的名义使用，例如用于出版，用于改进教材等。<br /> <br /> 1. Please read the terms of Use: By registering for this Wiki, you give your consent that your data (name, study no., study direction, email, technical data of your device, ip address etc.) and your contributions to class (homework, translations, presentations, handouts, final exam papers etc.) is stored for grading, and academic use (teaching and ANONYMIZED for research). You explicitely agree that your contributions can be used by the teacher under his name, e.g. for publication, for improvement of teaching material etc. <br /> <br /> 2. 我们需要一些志愿者。我们的助教是泊语丰(Martyna)她应该给老师发一份学生名册，并将所有作业和测验的成绩以及她从老师那里收到的成绩输入名册，由老师保管。我们还需要1名wiki管理员和5名调查助理，他们要知道如何使用http://wjx.top。如果我们有超过100名学生，我们需要2名教学助理。所有这些人的 &quot;课堂表现 &quot;成绩都会得到加分。注册后（见下面第3点），请在这里直接在角色后面写上你的名字（例如：&quot;教学助理--雷锋&quot;）。要改变维基上的任何内容，请见下面第3点。<br /> <br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> *问卷调查助理1 - [[Survey Assistant]]<br /> <br /> 2. We need volunteers! Our teaching assistant 助教 is #. She should send a student roll to the teacher and enter all grades from homework and quizzes and those she receives from the teacher into the roll to be kept with the teacher. We still need 1 [[wiki admin]] and 5 survey assistants, who know how to use http://wjx.top. If we have more than 100 students, we need 2 teaching assistants. All of them will get extra points for their &quot;performance in class&quot; grade. After registration (see point 3 beneath), please write your names here directly behind the role (e.g. &quot;teaching assistant - Lei Feng&quot;). To change anything on the wiki, please see point 3 beneath.<br /> *Teaching Assistant - ____ [[Teaching assistant]]<br /> *Wiki Admin - ____ [[Wiki admin]]<br /> *Survey Assistant - ____ [[Survey Assistant]] <br /> <br /> 3. 请在本维基上注册。从任何地方你都可以按照这个链接注册：https://bit.ly/WIKIREG。如果您已经在这里，请点击右上角的 &quot;注册（register）&quot;，然后点击 &quot;申请一个（request one）&quot;。然后请在两个名字（用户名和真名）中使用你的拼音真名（姓和名之间留有空白）进行注册，所以要有两次 &quot;雷锋 &quot;和 &quot;雷锋&quot;。请勾选您同意条款和条件的选项。然后输入密码 &quot;wikicaptcha &quot;并点击 &quot;提交&quot;。你会收到一封带有链接的确认邮件。你可以点击该链接，确认你的身份并创建一个密码。然后你需要等待1-2天，直到老师授予你权限。你将会收到另一封邮件，当它发挥作用的时候。有了这个维基的访问权，你就可以直接编辑一切，包括这个页面。如果你想学习如何在Wiki上进行编辑，请阅读这里： [[uvu:Community_Portal]] 。在编辑之后，你会被要求输入密码以保存修改，这次的密码是 &quot;wikicaptcha&quot;。<br /> <br /> 3. Please register on this Wiki. From any place you can register following this link: https://bit.ly/WIKIREG. If you are already here, click on &quot;register&quot; on the top right corner, and then on &quot;request one&quot;. Then please register with your real name in Pinyin (with blank space between the family name and the given name) for the two names (username and real name), so two times &quot;Lei Feng&quot; and &quot;Lei Feng&quot;. Please check the box that you agree to the Terms and Conditions. Then type in the password &quot;wikicaptcha&quot; and click on &quot;submit&quot;. You will receive a confirmation email with a link. You can click on the link, confirm your identity and create a password. Then you need to wait 1-2 days until the teacher grants you access. You will receive another email when it will work. With the access to this wiki, you can directly edit everything, including this page. If you want to learn how to edit on Wiki, please read here: [[uvu:Community_Portal]] After editing, you will be asked for a password to save changes, this time the password is &quot;wikicaptcha&quot;.<br /> <br /> 4. 请在本班的微信群里注册。该微信群将由助教创建。请务必在群里显示你的名字和以下内容： &quot;雷锋20级笔译&quot;。<br /> <br /> 4. Please register on the WeChat Group of this class. The WeChat Group will be created by the Teaching Assistant. Please make sure to display your name in the group with the following details: &quot;Lei Feng 雷锋 20级 笔译&quot;.<br /> <br /> 5. 为了便于交流，请将老师good_old_cathay添加到你的微信联系人中。<br /> <br /> 5. For communication please add the teacher good_old_cathay to your WeChat contacts.<br /> <br /> 6. 请为第二节课准备第一篇课文（课本第12-15页）。<br /> <br /> 6. Please prepare the first text for the Session 2 (text book pages 12-15).<br /> <br /> 7. 请在第二节课前做小测验。<br /> <br /> 7. Please take the quiz before Session 2.<br /> <br /> 8. 请选一个这个学期要用ppt介绍的一个题目，写在下面学生名单的名字后面。<br /> <br /> 8. Please choose a topic to present with ppt and write the topic behind your name in the student roll beneath.<br /> <br /> Here a summary of the most important points in Chinese: <br /> @所有人 <br /> 请各位同学将群聊备注改为姓名拼音 姓名 班级的格式，如 Li Xin 李欣 21级 英语笔译。请各位同学浏览此网站了解本学期的课程要求：https://bou.de/u/wiki/Chinese_Culture_2023 （短一点的是http://bit.ly/ChinCult2023，然后按我们课的链接）. 我们的课程还需要六位同学分别做网站管理员（1位）和调查助手（5位），期末可以得到一定加分，请有意向的同学在今天晚上六点前私聊我。请大家尽快完成以下课程前准备：<br /> <br /> *https://bit.ly/WIKIREG 请在此维基网站上注册，用户名和真实姓名都请填写自己姓名的拼音，像&quot;Li Xin&quot;和&quot;Li Xin&quot;，密码填wikicaptcha，收到邮件确认身份后等待老师通过<br /> <br /> 注：在中国大陆内有的链接可能要用vpn才能进<br /> <br /> ==学生名单 Student Roll== <br /> 请选一个这个学期要用ppt介绍的一个题目。<br /> <br /> #安浩阳, 题目 ppt topic: 熊猫, final exam topic: 中国文化中植物、蔬菜和水果的象征意义<br /> #杨思艺, 题目 ppt topic: 缠足, final exam topic: 中国流行歌曲<br /> #王晓彤, 题目 ppt topic: 中国摇滚乐的形成, final exam topic: 中国金属音乐：历史、发展与评论接受<br /> #裴梦姣, 题目 ppt topic: 紫禁城, final exam topic: 中国的美容标准<br /> #晏黎, 题目 ppt topic: 动物象征, final exam topic: 中国 “四像” 动物<br /> #李美琳, 题目 ppt topic:中国古代的四大才子, final exam topic: 中国民工<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> <br /> ==供下载教师第一周的演示文稿 Teacher presentation of week 1 for download==<br /> <br /> [[Media: 01_Chin_Cult_Intro_2023.pptx]]<br /> <br /> ==课堂上的职责 Duties in Class==<br /> <br /> 1. 请在上课前做好准备。这意味着请阅读书中的章节，在网上搜索更多关于该主题的信息，并提前学习每节课与该主题有关的词汇。这对你自己和其他人都更有好处。同时，课堂上的讨论也可以在一个更复杂的水平上进行。请为每节课保留至少两个小时的准备时间。您已经通过微信群收到了教科书pdf： 《Woesler, Martin. (2023). 中国文化》，波鸿：欧洲大学出版社，1000页。<br /> <br /> 1. Please come to class prepared. This means please read the book chapter, search for more information about the topic online and learn the vocabulary related to the topic for each session in advance. It is much more benefetial for yourself and for the others. Also the discussions in class then can be conducted on a much more sophisticated level. Please reserve at least two hours of preparation for each session. You have received the textbook pdf via the WeChat group: Woesler, Martin. (2023). Chinese Culture, Bochum: European University Press, 1000 pages.<br /> <br /> 2.请每周认真做作业，并在开课前3天在微信群里提交作业，开课前1天提交同学的作业批改。<br /> <br /> 2. Please do your homework seriously every week and submit it in wiki 3 days before the class starts and the corrections of your fellow student's homework 1 day before the class starts. <br /> <br /> 3. 请积极参与到课堂中。这意味着每节课： 请至少提出一个问题或至少参与一次讨论。<br /> <br /> 3. Please participate actively in class. This means for each session: Please ask at least one question or participate with at least one contribution in the discussion.<br /> <br /> 4. 这个学期：每周可以准备15分钟的ppt和10分钟的问卷调查（用mentimeter）和讨论或者表演了。所有的文本已经在网页上。当然可以用更多的资料。最好presention是中文的，ppt写着中英文对照。<br /> <br /> 上一个学期的要求：请在第二节课前选择你将在课堂上做的演讲的主题（如果我们的学生比课程多，那么就建立两个小组，一个做演讲，一个对同一主题写讲义）。请记得提前一周在本网站上传并链接你的演讲和讲义，以便你的同学能够准备。请从下面的列表中挑选，在任何一个主题后面加上你的名字。<br /> <br /> 4. Please select the topic for the presentation you will do in class already until session 2 (if we have more students than sessions, then build groups of two - one doing presentation, one a written handout on the same topic). Please remember to upload and link your presentation and your handout here on this website a week ahead to enable your fellow students to prepare it. Please pick from the following list by adding your name behind any of the topics.<br /> <br /> 5. 请在第三节前选择你的期末考试论文[[20240131_cult_finals]]（1000个中文单词）的题目。<br /> <br /> 5. Please select a topic of your final exam paper[[20240131_cult_finals]] (1,000 Chinese words) until session 3.<br /> <br /> 6. 请在这里参加欧盟调查：http://bit.ly/EU-SURVEY<br /> <br /> 6. Please take the EU survey here: http://bit.ly/EU-SURVEY.<br /> <br /> 7. 请在这里参加100个问题的调查：http://bit.ly/100_questions<br /> <br /> 7. Please take the 100 Questions Questionnaire here: http://bit.ly/100_questions<br /> <br /> ==关于使用课堂内外时间达成共识 Joint agreement on use of time inside and outside the classroom==<br /> 由于在课堂上聚在一起，然后共同开始阅读初级或二级文献是没有意义的，所以请在课前阅读文本，这样我们可以节省宝贵的课堂时间，对文本进行充分的讨论。<br /> <br /> Since it does not make sense to come together in the classroom and then jointly start reading the primary or secondary literature, please read the texts before class so that we can save the precious classroom time for a well informed discussion about the texts.<br /> <br /> ==关于成绩比重达成共识 Joint agreement on weight of grades==<br /> *期末考试试卷： 70%<br /> *Final Exam paper: 70 percent<br /> *课堂表现： 30%（由口头贡献/参与、每学期1次演讲或讲义、参与调查和测验、家庭作业组成）--如果你承担了问卷调查助手等额外的职责，这个成绩会得到加分。<br /> *Performance in class: 30 percent (consisting out of oral contributions/participation, 1 presentation or handout per term, participation in surveys and quizzes, homework) - this grade gets extra points if you take over additional duties like survey assistants.<br /> <br /> 注意：成绩可能需要几个月的时间才能输入成绩系统，因为有时有超过100名学生，老师希望尊重每个学生，并仔细阅读他们的期末考试卷。<br /> <br /> Note: Grades may take months to be entered into the grade system, since sometimes there are more than 100 students and the teachers want to pay respect to each student and read their final exam paper carefully.<br /> <br /> [[File:Example.jpg|200px|thumb|left|Example for inserting pictures.]]<br /> ==为第2节课做准备的课后家庭作业 Homework of Session 1 for Session 2==<br /> <br /> 1. 请在第二节课前做小测验。<br /> <br /> 2. 请选择一个你愿意做5分钟ppt演讲的主题。你可以在这周课的描述下面的相应部分（不是上面）将你的名字写在题目后面，以保留你的题目。请注意：如果该话题没有课件，我们还需要2名学生来做这个话题，1名学生准备课件，另1名学生写 &quot;术语&quot;、&quot;参考文献&quot;、&quot;问题 &quot;和&quot;答案&quot;（请提交给老师和学生助理）。请确保至少提前1周将课文和附录发布在这一周课的描述下方。请务必至少提前1周将问题发给调查的学生，让他们进行问答，并至少提前1周将问题答案发给助教，以便她进行评分。<br /> <br /> 3. 请准备好下节课的所有课文，并在下节课开始前对这些课文进行测验。<br /> <br /> 4. 如果你还没有这样做，请在你的维基主页上添加你的个人信息。你可以在浏览器中直接输入：https://bou.de/u/wiki/User:Wang_Jianguo - 当然，王建国只是一个样本名称，你必须用你自己的用户名代替，并将空格换成下划线。<br /> <br /> Wiki管理员的特别任务： 请在新的网页上设置所有的作业文本（我已经把第24章复制到我们的作业页上，你需要把大约3行文本平均分给每个学生），并在下面的所有会话中链接它们。也请为上传ppt设置假的链接。<br /> <br /> 问卷调查助理学生的特殊家庭作业： 请在wjx.org上为所有题目设置测验，学生需要注明他们的姓名和学生编号。请将测验的链接粘贴在这里，放在相应的会议和主题下面。请告诉助教测验的正确答案，以便助教将测验的成绩转入学生角色成绩表。<br /> <br /> 助教的特殊任务：请把每个学生的成绩写进学生卷的成绩表。一个做了作业（不含拼音）的学生可以得到100分，一个为他的同学做了作业批改的学生又可以得到100分。一个学生做了一个ppt，写了一篇课文或课文的附录，又可以得到100分。<br /> <br /> 总结：我现在已经把学生们选择的题目制作成一个排名表，并公布在我们的课程网站上。每个人现在都应该执行作业。这包括助教、Wiki管理员和问卷调查学生的特殊工作。<br /> <br /> 特别是维基管理员需要把需要翻译的文字分成小部分给每个学生，并标明学生的名字，这样他们就能更容易找到。每个学生都可以选择一个主题来做演讲，并在主题后面写上名字。<br /> <br /> 另外，每个学生都需要阅读下周一的课本课文以做好准备，调查的学生需要为课本课文设置测验，学生需要在每周上课前进行测验。这是一个很大的工作，但它会变得更好，当你们所有人都习惯了它。另外，很多功课，特别是为功课建立网页等，包括演示文稿，在课本上创建缺失的文本等，现在已经可以开始了，所以大家现在已经可以完成整个学期的大部分功课。<br /> <br /> 如果想开始写期末考试论文，也可以早一点开始，如果愿意的话。事情做得越早越好，而且在学期中还有更多的机会来改进事情。<br /> <br /> 1. Please take the quiz before Session 2.<br /> <br /> 2. Please select a topic you want to give a 5-minute ppt presentation on. You can reserve your topic by writing your name behind the topic in the respective section of the Sessions beneath (not above). Please note: If there is no textbook text for the topic, we need 2 more students for this topic, 1 to prepare a textbook text and the 2nd student to write the &quot;terms&quot;, &quot;references&quot;, &quot;questions&quot; and (please submit to teacher and student assistant): &quot;answers&quot;. Please make sure to post the text and appendix at least 1 week ahead of time under the session beneath. Please make sure to send the quiz questions at least 1 week ahead of time to the survey students that they can make a quiz and send the quiz answers at least 1 week ahead of time to the teaching assistant, so that she can grade the quizzes.<br /> <br /> 3. Please prepare all texts for the next session and take the quiz on these texts before the next session starts.<br /> <br /> 4. If you have not yet done so, please add the biographical info on yourself on your wiki homepage. You can find your wiki homepage by typing directly into you browser: https://bou.de/u/wiki/User:Wang_Jianguo - of course Wang Jianguo is just a sample name, you would have to replace it with your own username and exchange the space by an understroke.<br /> <br /> Special homework for [[Wiki admin]]: Please set up all homework texts (I have copied chapter 24 to our homework page and you need to split about 3 lines text in average to each student) on new webpages and link them in all sessions beneath. Please also set up dummy links for [[ppt upload]].<br /> <br /> Special homework for [[Survey Assistant]] Students: Please set up quizzes for all topics on wjx.org, students need to indicate their name and student id. Please paste the link to the quiz here under the respective session and topic beneath. Please tell the teaching assistant the correct answers to the quizzes, so that the teaching assistant can transfer the grades from the quizzes into the student role grade table. Please use <br /> <br /> Special homework for [[Teaching assistant]]: Please write a grade for each student into the student roll grade list. A student who has done the homework (without Pinyin) gets 100 percent for this, a student who has done the correction of a homework of his fellow student gets another 100 percent. A student who has presented a ppt, written a textbook text or a textbook text appendix gets another 100 percent.<br /> <br /> General remarks: I have now created a ranking list of the topics the students selected and published on our course website. Everybody should perform the homework now. This includes special work for the teaching assistant, the wiki admin and the survey students. <br /> <br /> Escpecially the [[Wiki admin]] needs to split the text which needs to be translated into small parts for each student and indicate the students' names so that they can find it easier. Every student can already pick a topic to do a presentation on and write the name behind the topic. <br /> <br /> Also, every student needs to read the textbook texts for coming Monday to be prepared, the survey students need to set up quizzes for the textbook texts and the students need to take the quizzes before class starts on Monday. It is a lot of work, but it will get better, when all of you get used to it. Also, much of the homework, especially setting up webpages for homework etc., including the presentations, creating missing texts in the textbook etc. can be started already now, so that one can do most of the homework for the whole semester already now. <br /> <br /> If people want to start writing their final exam papers, they can also start maybe in March, if they like. The earlier things are done the better and the more chances there are to still improve things during the semester.<br /> <br /> ==作业 Homework: 选主题、参加测试/问卷调查 Choose a topic for presentation, take part in quizzes==<br /> *在wiki上注册 https://bit.ly/WIKIREG<br /> *选“助教”、wiki admin、quiz assistants<br /> *请参加“测试100”。https://bit.ly/100_questions, http://bit.ly/EU-SURVEY<br /> *选主题，看第二周那边，加你的名字（选下个礼拜的主题的同学麻烦准备ppt，课网页上上传）<br /> *准备下个星期的课文（主题1）<br /> *回答关于主题的问题<br /> <br /> ==主题 Topics (still to be updated)==<br /> #地理性质是文化发展的基础 Geographic Nature as a Basis for Cultural Development (3)<br /> #古代和当代的接触方式 Ancient and Contemporary Ways of Contacting (3)<br /> #中国的婚姻习俗 Chinese Marriage Customs (3)<br /> #湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (4)<br /> #土家族的哭嫁 Crying Marriage of Tujia (4)<br /> #中国古代的四大才子 The Four Most Handsome men in Ancient China (4)<br /> #熊猫 The Panda (-)<br /> #建筑学 Architecture (5) <br /> #建筑：紫禁城 The Forbidden City (5)<br /> #建筑：中国四大名桥 Four Famous Bridges (6)<br /> #建筑：四大亭子 Four Great Pavilions (6)<br /> #建筑:中国四大名桥 Architecture: Four Famous Bridges (7)<br /> #中国产出日式文化出品 (China produces Japanese-style products) (7)<br /> #中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals (8)<br /> #中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People) (8) Kang Mingjie 康明杰<br /> #中国摇滚乐的形成 （Development of Chinese Rock Music) (9)<br /> #基督教和佛教之间的差别 (The Differences between Christianity and Buddhism) (9) Zhang Yuxuan 张宇璇<br /> #中国饮食文化——中国菜的命名艺术 (Culinary Culture of China: The Art of Naming Chinese Dishes) (10)<br /> #中国佛教 (Chinese Buddhism) (10)<br /> #缠足 (Foot-binding) (11)<br /> #鬼怪和辟邪 (Monsters and Exorcism) (11)<br /> #中医植物 (Herbs in Traditional Chinese Medicine) (12)<br /> #广东的文化饮食习惯：广东人为何爱吃野味？ (The tradition of eating of wild animals in Guangdong) (12)<br /> <br /> Further ideas:<br /> <br /> 艺术、戏剧（新旧）、话剧（新旧）、美学、高雅文化的概念、绘画（新旧）、书法（新旧）、传统诗歌、传统音乐剧及其在先锋派戏剧中的借鉴、中国古代园林艺术中的空间、线条和戏剧性以及现代城市景观的塑造、时间和空间、中国传统文化中的风格化、惯例化和象征主义、中国古代和当今日常生活的美学化和庆典<br /> <br /> art, theater (old and new), drama (old and new), aesthetics, concept of high culture, painting (old and new), calligraphy (old and new), traditional poetry, traditional musical theater and its reference in avant-garde drama, Space, line and theatricality in ancient Chinese garden art and modern shaping of the urban landscape, time and space, Stylization, conventionality and symbolism in traditional Chinese culture, Aesthetization and celebration of everyday life in ancient China and today<br /> <br /> ==教材 Text book==<br /> 教材书英文版本我发给大家。中文我们只有一些章回，到时候提供。<br /> <br /> =第二周 Session 2 Oct 12 11:30-13:00 Narrative of 5,000 years of unbroken Chinese history and models of intercultural communication=<br /> =第三周 Session 3 Oct 26 11:30-13:00 Part 1: Geographic Nature as a Basis for Cultural Development 地理性质是文化发展的基础=<br /> ==供下载教师第二周的演示文稿 Teacher presentation of week 3 for download==<br /> <br /> [[Media: 02_Chin_Cult_Intro_Geo.pptx]]<br /> <br /> Textbook text:<br /> <br /> Geographic Nature as a Basis for Cultural Development<br /> <br /> 1. 地理性质是文化发展的基础<br /> <br /> China is the largest of all the Asian countries and has the largest population of any country in the world, in the future India will overtake China. She covers an area of 9,560,900 km2 (3,691,000 square miles), which is approximately one-fifteenth of the land area of the world. According to the latest population census, China’s total population by 2005 had reached 1. 35 billion. In both area and population, Europe (excluding Russia) is only half the size of China. <br /> <br /> 中国是所有亚洲国家中最大的国家，是世界上人口最多的国家，将来印度会超过中国。它的面积为9,560,900平方公里（3,691,000平方英里），约为世界陆地面积的十五分之一。根据最新的人口普查，到2005年，中国的总人口已达到13.5亿。无论是面积还是人口，欧洲（不包括俄罗斯）只有中国的一半大。<br /> <br /> Lying in the northern half of the eastern hemisphere, China is situated in East Asia on the west coast of the Pacific Ocean. She stretches for about 5,000 km from east to west and about 5,500 km from north to south. China has a land boundary exceeding 20,000 km in length, and borders 14 countries: Korea in the east; Vietnam, Laos and Burma in the south; India, Bhutan and Nepal in the southwest; Pakistan and Afghanistan in the west; Russia, Kazakstan, Kirghizia and Tajikstan in the northwest; and Mongolia in the north. China faces Japan across the Yellow Sea, and in the southeast she looks toward the Philippines beyond the South China Sea. <br /> <br /> 中国位于东半球的北半部，在东亚的太平洋西海岸。她从东到西绵延约5,000公里，从北到南约5,500公里。中国的陆地边界长度超过20,000公里，与14个国家接壤： 东部是朝鲜；南部是越南、老挝和缅甸；西南部是印度、不丹和尼泊尔；西部是巴基斯坦和阿富汗；西北部是俄罗斯、哈萨克、吉尔吉斯和塔吉克斯坦；北部是蒙古。中国与日本隔着黄海相望，在东南方向，她看向南海外的菲律宾。<br /> <br /> China has one of the longest coastlines in the world along its mainland, running 18, 000 km from the mouth of the Yalu River on the Chinese-Korean border in the north to the mouth of the Beilung River on the Chinese-Vietnamese border in the south. The eastern part of the Chinese mainland is flanked from the north to the south by the Bohai Sea, the Yellow Sea, the East China Sea and the South China Sea, all of which merge with the Pacific Ocean. Over a vast sea area are scattered more than 5, 000 islands. Taiwan is the largest island, followed by Hainan and Chongming. <br /> <br /> 中国大陆拥有世界上最长的海岸线之一，北起中韩边境的鸭绿江口，南至中越边境的北隆河口，全长18000公里。中国大陆东部从北到南依次是渤海、黄海、东海和南海，它们都与太平洋汇合。在广阔的海域中，散布着5000多个岛屿。台湾是最大的岛屿，其次是海南和崇明。<br /> <br /> Because of its location in the southeast of the Eurasian Continent and on the west coast of the Pacific Ocean, China is well known for its monsoon climate caused by the difference in the heat reserves between the world’s largest continent and the world’s biggest ocean. The polar continental air mass, cold and dry, originating in Siberia, dominates a large part of China during the winter, while the tropical Pacific air mass, hot and humid, exerts its influence during the summer. Most regions in China have a distinct continental climate, a climate of large daily range and annual range of temperature. <br /> <br /> 由于位于欧亚大陆的东南部和太平洋的西海岸，中国以其季风气候而闻名，这是由世界上最大的大陆和世界上最大的海洋之间的热储量差异造成的。源自西伯利亚的极地大陆气团，寒冷而干燥，在冬季主导着中国的大部分地区，而热带太平洋气团，炎热而潮湿，在夏季发挥其影响。中国大部分地区都有明显的大陆性气候，这种气候的日温差和年温差都很大。<br /> <br /> The rainfall distribution in China generally decreases from the southeast to the northwest. The annual precipitation of certain places along the southeast coast amounts to over 80 inches. The Yangtze Valley receives about 40 inches. Further north, less than 20 inches are received annually. A grand project of moving water sources from the south to the north (Nanshuibeidiao - “Diversion of Water from the South to the North”) is conceived and planned. <br /> <br /> 中国的降水分布一般由东南向西北递减。东南沿海某些地方的年降水量达80英寸以上。长江流域的降水量约为40英寸。再往北，每年的降水量不到20英寸。一个将水源从南方转移到北方的宏伟工程（南水北調）正在构思和规划中。<br /> <br /> The relief of China is high in the west and low in the east, consequently, the direction of flow of the major rivers is generally eastward. The land surface may be divided from west to east into three steps: plateau, mountain and plain. Basically, China is a mountainous country. Hills, mountains and plateaus cover two-thirds of the country’s total area and are inhabited by one-third of the population. <br /> <br /> 中国的地势西高东低，因此，主要河流的流向一般为东向。陆地表面从西到东可分为三步：高原、山地和平原。基本上，中国是一个多山的国家。山地、山区和高原占全国总面积的三分之二，居住着三分之一的人口。<br /> <br /> Types of natural vegetation and their floristic composition are quite diverse. The total number of seed plants in China is about 30, 000 species, representing 2, 700 genera; more than 200 of these genera are restricted to China. There are about 2, 500 species of forest trees. Many of them are trees of economic importance such as tung oil trees, camphor trees and lacquer trees. Profusion of vegetation and a variety of relief have fostered the development of a great diversity of animal life. The notable animals are the great paddlefish of the Yangtze, the Siberian tiger in the northeast, the giant salamander in the west, the giant panda and the sub-nosed monkey in the southwest. <br /> <br /> 自然植被的类型和它们的植物学组成是相当多样化的。中国的种子植物总数约为30,000种，代表2,700个属；其中有200多个属仅限于中国。有大约2,500种林木。其中许多是具有经济意义的树木，如桐油树、樟树和漆树。丰富的植被和多种多样的地形促进了动物生命的多样性发展。著名的动物有长江的白白鲟，东北的西伯利亚虎，西部的大鲵，西南的大熊猫和亚鼻猴。<br /> <br /> In the light of The Constitution of the People’s Republic of China, China is a socialist state under the people’s democratic dictatorship led by the working class and based on the alliances of workers and peasants. The organs through which the people exercise the state power are the National People’s Congress and the local congresses at different levels. The State Council is the executive body of the highest organ of state administration. <br /> <br /> 根据《中华人民共和国宪法》，中国是一个由工人阶级领导的、以工农联盟为基础的人民民主专政的社会主义国家。人民行使国家权力的机关是全国人民代表大会和地方各级代表大会。国务院是国家最高行政机关的执行机构。<br /> <br /> Peking, the political, cultural and economic center, is the capital of the country. The anthem is “The March of the Volunteers”. The national badge is centered by Tian’anmen Rostrum in the shine of five stars, encircled by grains and a gear, which fully expresses the constitutional category of what the People’s Republic of China is.<br /> <br /> 北京是政治、文化和经济中心，是国家的首都。国歌是《义勇军进行曲》。国徽以天安门城楼为中心，五星闪耀，周围是五谷和齿轮，充分表达了中华人民共和国的宪法范畴。 <br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> hemisphere n. 半球 the Yalu River 鸭绿江<br /> <br /> the Beilung River 北仑河 monsoon n. 季风<br /> <br /> air mass 气团 relief n. 地势<br /> <br /> seed plant 种子植物 genus/genera n. （生物）属<br /> <br /> tung oil 桐油 camphor tree 樟树<br /> <br /> lacquer tree 漆树 great paddlefish 大白鲟<br /> <br /> giant salamander 大鲵（娃娃鱼） Tian’anmen Rostrum 天安门层楼<br /> <br /> <br /> <br /> Questions<br /> <br /> 1. How large is China? <br /> <br /> 2. What are the countries that China borders? <br /> <br /> 3. What do you know about China’s coastline? <br /> <br /> 4. What’s China’s climate like? <br /> <br /> 5. What’s China’s general land surface like? <br /> <br /> 6. What do you know about China’s vegetation and animal life? <br /> <br /> <br /> <br /> 问题<br /> <br /> 1. 中国有多大？<br /> <br /> 2. 中国与哪些国家接壤？<br /> <br /> 3. 你对中国的海岸线了解多少？<br /> <br /> 4. 中国的气候是怎样的？<br /> <br /> 5. 中国的总体地表是什么样的？<br /> <br /> 6. 你对中国的植被和动物有什么了解？<br /> <br /> =第三周 Session 3 Oct 26 11:30-13:00 Part 2: Contacting=<br /> <br /> [[Media:03_Chin_Cult_Marriage.pptx]]<br /> <br /> ==Ancient and Contemporary Ways of Contacting 古代和当代的接触方式==<br /> 1. Pigeon post飞鸽传书<br /> <br /> Pigeon post is a method of communication among ancient people, where letters are tied to the feet of pigeons and delivered to the person who wants to deliver them. In movies, we see people in western countries using crows to deliver letters, but in China, crows are seen as an inauspicious symbol, so people used to use pigeons to deliver letters. Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field, and are particularly home-loving, so they are used to improve the speed of delivering mail. <br /> <br /> 飞鸽传书是古人的一种通信方式，即把信绑在鸽子的脚上，送到要送信的人手中。在电影中，我们看到西方国家的人用乌鸦来送信，但在中国，乌鸦被视为不吉利的象征，所以人们习惯用鸽子来送信。鸽子能飞，而且飞得更快，能辨别方向，对地球磁场有很好的感觉，而且特别爱家，所以用鸽子来提高送信的速度。<br /> <br /> In order to get the ideal pigeon, besides careful selection of good breed and scientific feeding management, the most important thing is training. All three complement each other and are indispensable. The basic principle of training is based on the biological characteristics and physiological features of pigeons and the principle of &quot;conditioned reflex&quot;. <br /> <br /> 要想获得理想的鸽子，除了精心选择优良品种和科学的饲养管理外，最重要的是训练。这三者相辅相成，缺一不可。训练的基本原则是根据鸽子的生物学特性和生理学特点以及 &quot;条件反射 &quot;的原理。<br /> <br /> The fundamental purpose of training is to cultivate, exercise and improve the quality of pigeons, to bring into play their inherent biological characteristics and specialties, so that they have the basic elements and conditions to complete various communication and competition tasks. The basic content of training includes: basic training, flight training, competition training, adaptation training and application training. In principle, the training should start from young pigeons, from simple to complicated, from near to far, from day to night, from basic training to professional training, in short, from easy to difficult. (Baidu Encyclopedia 百度百科：Pigeon Post, 飞鸽传书）<br /> <br /> 训练的根本目的是培养、锻炼和提高鸽子的素质，发挥其固有的生物特性和特长，使其具备完成各种交流和比赛任务的基本要素和条件。训练的基本内容包括：基础训练、飞行训练、竞赛训练、适应训练和应用训练。训练原则上应从幼鸽开始，从简单到复杂，从近到远，从白天到黑夜，从基础训练到专业训练，总之，由易到难。(百度百科：Pigeon Post, 飞鸽传书)<br /> <br /> Historically, Genghis Khan used pigeon posts to keep in touch with distant parts of his empire, and even in ancient Greece, carrier pigeons were used to announce major events, such as the Olympic Games! In the 12th century, a fairly extensive network of homing pigeons was established between Syria and Baghdad. One of the last active carrier pigeon posts was in India, but the carrier pigeons were officially retired in 2008. During the war years, carrier pigeons also played a role that could not be ignored. They were able to cross enemy lines more easily than men on horseback. This earned them the name &quot;war pigeon&quot;. People continued to use carrier pigeons to deliver letters even up to the time of World War II. (scienceabc 19 Oct2019, wiki)<br /> <br /> 历史上，成吉思汗曾用飞鸽传书与他的帝国的遥远地区保持联系，甚至在古希腊，信鸽被用来宣布重大事件，如奥林匹克运动会! 在12世纪，叙利亚和巴格达之间建立了一个相当广泛的信鸽网络。最后一个活跃的信鸽站之一是在印度，但信鸽在2008年正式退役了。在战争年代，信鸽也发挥了不可忽视的作用。它们能够比骑马的人更容易穿越敌人的防线。这为它们赢得了 &quot;战鸽 &quot;的称号。人们继续使用信鸽送信，甚至到了第二次世界大战期间。(scienceabc 19 Oct2019, wiki)<br /> <br /> 2. Paper Letters<br /> <br /> 2. 纸质信件<br /> <br /> The letter is a kind of application document that transmits information and exchanges thoughts and feelings to a specific object. “Letter&quot; in the ancient text with the meaning of audio, news, in addition, &quot;Letter&quot; also has a trustworthy meaning of the words transmitted by the trustee, whether it is a message sent to a person, or through the letter carrier by letter to the specific object of language and writing to convey information and exchange of ideas and feelings of the letter, there must be three elements: one is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver. <br /> <br /> 信是一种向特定对象传递信息、交流思想感情的应用文件。&quot;信&quot;在古文字中具有音讯、消息的含义，此外，&quot;信 &quot;还具有受托人传递话语的含义，无论是向人传递信息，还是通过信的载体向特定对象以语言文字传递信息和交流思想感情的信件，都必须具备三个要素：一是有表达自己思想感情的能力；二是有适当的书写工具；三是有人传递。<br /> <br /> Written letters to relatives and friends, not only can convey their thoughts and feelings, but also can give the recipient of the letter a feeling of intimacy; technology continues to progress, and the emergence of the telephone, telegraph, postal tape, video tape, e-mail and other means of exchange of information, it can be expected e-mail will be used by more and more people, which has actually been proven. <br /> <br /> 给亲戚朋友写信，不仅可以传达自己的思想感情，而且可以给收信人以亲切感；科技不断进步，出现了电话、电报、邮带、录像带、电子邮件等信息交流手段，可以预见电子邮件会被越来越多的人使用，这一点已被实际证明。<br /> <br /> With the development of society, the relationship between people and society is also being reconstructed. In addition to the traditional use of correspondence, i. e. , official letters and private letters, a new development is the use of personal letters to government agencies, enterprises and institutions, famous scholars, and other individuals for personal needs, and the use of this type of correspondence is gradually increasing and noteworthy. We call them personal correspondence. (Baidu Encyclopedia 百度百科：Written Letters, 手写信件）<br /> <br /> 随着社会的发展，人与社会的关系也在重构。除了传统的书信使用方式，即公函和私函外，还有一个新的发展，就是因个人需要而给政府机关、企事业单位、著名学者和其他个人写信，这种书信的使用逐渐增多，值得注意的是。我们称其为个人书信。(Baidu Encyclopedia 百度百科：Written Letters, 手写信件)<br /> <br /> 3. E-mails<br /> <br /> 3. 电子邮件<br /> <br /> E-mail is a way of communication that provides information exchange by electronic means and is the most widely used service of the Internet. Through the network's e-mail system, users can contact network users in any corner of the world at a very low price (no matter where they send it, they only have to pay for the network fee) and in a very fast way (it can be sent to any specified destination in the world within a few seconds). <br /> <br /> 电子邮件是一种通过电子手段提供信息交流的通信方式，是互联网上使用最广泛的服务。通过网络的电子邮件系统，用户可以以非常低廉的价格（无论发送到哪里，只需支付网络费用）和非常快速的方式（可以在几秒钟内发送到世界上任何指定的目的地）与世界任何角落的网络用户联系。<br /> <br /> E-mail can be in many forms such as text, images, sound, etc. At the same time, users can get a large number of free news and feature emails and easily achieve information search. The existence of e-mail greatly facilitates communication and exchange between people and promotes the development of society. <br /> <br /> 电子邮件可以有多种形式，如文字、图像、声音等。同时，用户可以获得大量的免费新闻和专题邮件，轻松实现信息搜索。电子邮件的存在大大方便了人们之间的沟通和交流，促进了社会的发展。<br /> <br /> However, there are many drawbacks in using e-mail. For example, there is a risk of information being stolen and there is a lot of spam on the network. To address these two problems, the following solutions are available. Firstly, from the perspective of network security of the website itself, using hardware firewall devices is definitely the best solution. Second, a full-time network administrator should be assigned to regularly maintain the website. Thirdly, when applying for mailbox, choose a more protective username, such as a combination of English and numbers, which can be less harassed by spam. Fourth, avoid disclosing your email address. Fifth, use good mail management and screening function. outlook express, foxmail and qqmail all have good mail management function, users can screen mails by setting rules of mail domain, mail subject, source, length and so on. <br /> <br /> 但是，使用电子邮件也有很多缺点。例如，信息有被窃取的风险，网络上有大量的垃圾邮件。为了解决这两个问题，可以采取以下解决办法。首先，从网站本身的网络安全角度来看，使用硬件防火墙设备无疑是最好的解决方案。第二，应配备专职网络管理员，定期维护网站。第三，在申请邮箱时，选择一个保护性较强的用户名，如英文和数字的组合，这样可以减少垃圾邮件的骚扰。第四，避免泄露自己的邮箱地址。第五，使用良好的邮件管理和筛选功能。Outlook Express、foxmail和qqmail都有良好的邮件管理功能，用户可以通过设置邮件域名、邮件主题、来源、长度等规则来筛选邮件。<br /> <br /> The format of an e-mail address consists of three parts. The first part &quot;USER&quot; represents the account number of user mailbox, which must be unique for the same mail receiving server; the second part &quot;@&quot; is the separator; the third part is the domain name of mail receiving server of user mailbox, to mark its location. <br /> <br /> 电子邮件地址的格式由三部分组成。第一部分 &quot;USER &quot;代表用户邮箱的帐号，在同一邮件接收服务器上必须是唯一的；第二部分&quot;@&quot;是分隔符；第三部分是用户邮箱的邮件接收服务器的域名，用来标记其位置。<br /> <br /> According to Internet Week, the world's first email was a short message sent by computer scientist Professor Leonard K. to his colleagues (in October 1969, I believe), which consisted of only two letters: &quot;LO&quot;. Professor Leonard K. explained, &quot;Back then I was trying to communicate with a computer at the University of California and another computer at the Stanford Research Center near San Francisco. What we were doing was logging in from one computer to the other. The way to log in at that time was to type L-O-G. So we typed L and asked, 'Do you get L?' The other side replied, 'Yes. ' Before we received a confirmation that the other party had received G, the system went down. So the first online message was 'LO', which means 'Hello!'&quot;<br /> <br /> 根据《互联网周刊》的报道，世界上第一封电子邮件是由计算机科学家Leonard K.教授发给他的同事的一条短消息（1969年10月，我相信），它只由两个字母组成： &quot;LO&quot;。伦纳德-K教授解释说：&quot;那时我正试图与加利福尼亚大学的一台计算机和旧金山附近的斯坦福研究中心的另一台计算机进行通信。我们所做的是在一台计算机上登录到另一台计算机上。当时登录的方法是输入L-O-G。所以我们打了L，然后问：'你收到L了吗？对方回答说：'是的。'在我们收到对方收到G的确认之前，系统就瘫痪了。所以第一条在线信息是'LO'，意思是'你好！'&quot;<br /> <br /> The first e-mail from China on September 20, 1987 was sent by Werner Zorn, the &quot;Father of the German Internet, &quot; and Wang Yunfeng at the Institute of Applied Computer Technology in Peking to the University of Karlsruhe in Germany, in English. Original text: Across the Great Wall we can reach every corner in the world. <br /> <br /> 1987年9月20日，第一封来自中国的电子邮件由 &quot;德国互联网之父 &quot;维纳·佐恩和中国兵器工业计算机应用技术研究所的王运丰教授用英文发给德国卡尔斯鲁厄大学。原文的翻译： 穿过长城，我们可以到达世界上的每一个角落。(研究所名称来源：https://www.acabridge.cn/hr/xueshu/202110/t20211025_2167755.shtml)<br /> <br /> It means “跨越长城, 走向世界。” This is the first email sent from China to the Global Science Network through the network connection between Peking and the University of Karlsruhe in Germany. (Baidu Encyclopedia 百度百科：E-mail 电子邮件）<br /> <br /> 意思是 &quot;跨越长城，走向世界。&quot; 这是中国通过北京和德国卡尔斯鲁厄大学之间的网络连接，向全球科学网发出的第一封电子邮件。(Baidu Encyclopedia 百度百科：E-mail 电子邮件)<br /> <br /> References参考文献<br /> <br /> *Baidu Encyclopedia 百度百科：Pigeon Post, 飞鸽传书 https://baike. baidu. com/item/%E9%A3%9E%E9%B8%BD%E4%BC%A0%E4%B9%A6/7009129?fr=aladdin<br /> *Baidu Encyclopedia 百度百科：Written Letters, 手写信件 https://baike. baidu. com/item/%E4%B9%A6%E4%BF%A1/1095625?fr=aladdin<br /> *Baidu Encyclopedia 百度百科：E-mail 电子邮件 https://baike. baidu. com/item/%E7%94%B5%E5%AD%90%E9%82%AE%E4%BB%B6/111106?fr=aladdin<br /> *scienceabc. How Did the Pigeon Post Work?. https://www. scienceabc. com/19 Oct2019. <br /> <br /> Terms and Expressions<br /> *条件反射conditioned reflex<br /> *成吉思汗 Genghis Khan<br /> *信鸽驿站pigeon post station<br /> *战鸽war pigeon<br /> *分隔符separator<br /> *服务器域名domain name<br /> *互联网周刊Internet Week<br /> <br /> Questions<br /> #What part of pigeon is the letter tied to when you want to send a letter? <br /> #What animals do the western countries use to send letters in spite of pigeons?<br /> #Why pigeons can be used to send letters?<br /> #What are the three elements in writing and sending letters?<br /> #When did the world's first emails appear?<br /> #How to translate China’s first e-mail “Across the Great Wall we can reach every corner in the world.”<br /> <br /> 问题<br /> #当你想寄信的时候，信是绑在鸽子的哪个部位？<br /> #尽管有鸽子，西方国家用什么动物来寄信？<br /> #为什么可以用鸽子来寄信？<br /> #写信和寄信的三个要素是什么？<br /> #世界上第一封电子邮件是什么时候出现的？<br /> #如何翻译中国的第一封电子邮件&quot;越过长城，我们可以到达世界的每一个角落。&quot;？<br /> <br /> =第四周 Session 4 Nov 30 11:30-13:00 - Chinese Marriage Customs 中国的婚姻习俗=<br /> Teacher presentations: <br /> *[[Media:04_Chinese_Marriage_part_1.pptx]]<br /> *[[Media:04_Chinese_Marriage_part_2.pptx]]<br /> ==Homework for 26.10.2023==<br /> Please read previous 2 texts (Geography + Contacting) and &quot;Marriage Customs&quot;! :3<br /> <br /> ==Part 1: Marriage Customs - presented by Joanna Zawada==<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life - marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. (Zhou Dandi, Yue Shufa 2012, 12)<br /> <br /> 中国是一个古老的礼仪之邦。当涉及到一个人一生中最重要的事情--婚姻时，中国人已经形成了一套独特而隆重的仪式。一般来说，中国古代的婚礼需要得到父母的同意，由父母安排。(周丹迪，岳书法 2012, 12)<br /> <br /> Six Procedures<br /> <br /> 六个步骤<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. (Gao Xiaoqian 2017, 235)<br /> <br /> 从提亲到完成结婚有六个议程，即纳采、问名、纳吉、纳征、请期和最后一步亲迎。(高晓倩 2017, 235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts. (Gao Xiaoqian 2017, 235)<br /> <br /> 纳采是所有婚姻程序的开端。它指的是一种做法，如果一个男孩打算娶一个女孩，首先他的家人必须邀请一个媒人到女孩家提亲。在征得女方家庭同意后，男方家庭应委托媒人用一些礼物正式求婚。通常，最常见的礼物是大雁，它代表忠诚。此外，鸳鸯和绵羊也是经常使用的礼物。(高筱倩 2017, 235)<br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment. (Gao Xiaoqian 2017, 235)<br /> <br /> 问名是指男孩的家人要求媒人取女孩的名字和出生日期。这个步骤有两个目的：一是防止同姓近亲结婚；二是确定准新娘和新郎的&quot;生辰八字&quot;是否合拍。(高筱倩 2017, 235)<br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage. (Gao Xiaoqian 2017, 235<br /> <br /> 纳吉发生在媒人取回女方的名字和八字之后。如果占卜到吉兆，男方家庭就会通知女方父母，决定订婚。(高筱倩 2017, 235)<br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. (Gao Xiaoqian 2017, 235)<br /> <br /> 更重要的是，纳征是男孩给女孩送订婚礼物的一个重要步骤，出于礼貌，女孩会送回部分礼物，如食物和一些衣服。（高筱倩 2017, 235）<br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. (Gao Xiaoqian 2017, 235)<br /> <br /> 请期是指男方家庭选择一个黄道吉日举行婚礼，然后派遣媒人告诉女方家庭。(高筱倩 2017, 235)<br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home. (Gao Xiaoqian 2017, 235)<br /> <br /> 亲迎是六礼中的最后一道程序，即新郎到新娘家把新娘接到自己家里。(高筱倩 2017, 235)<br /> <br /> Customs 习俗<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage. (Zhang Yueying 2013, 47-48)<br /> <br /> 除了上面提到的六个步骤外，中国传统的婚礼仪式还有许多其他习俗。一般来说，古代的婚姻是由父母和媒妁之言，许多年轻人不能掌握自己的婚姻。在结婚仪式之前，男女双方是不允许见面的，因为古代人非常保守，大多数女孩都被关在闺房里。如果他们在婚前私下见面，会被认为是女性不忠，父母也会认为这很不吉利。在这种情况下，新婚夫妇只能在结婚前见到对方。(张月莹 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017, 235)<br /> <br /> 在婚礼当天，男孩的家人会在家里举行盛大的宴会。在出发接新娘之前，新郎要先祭拜祖先，以求在接新娘的过程中安全、吉祥。(高筱倩 2017, 235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony - at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017, 235)<br /> <br /> 之后的步骤是整个仪式中最隆重的一步--在黄昏时分，新郎和新娘及其父母以及所有宾客将聚集在堂屋，见证新人的跪拜礼节，其中包括四个步骤： (高筱倩 2017, 235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night. (Gao Xiaoqian 2017, 235)<br /> <br /> 第一步是叩拜天地，表明古人对神灵和大自然为他们创造良好的生活环境的敬畏和感激。第二个叩头面向父母，表达对父母养育之恩的感激之情，真诚地希望父母能够保持健康。然后，新人要向对方磕头（夫妻对拜），这也是对夫妻双方共同生活到老的期望。最后一道程序是入洞房：新娘被送入洞房，新郎与客人喝酒，直到晚上。(高筱倩 2017, 235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming. (Gao Xiaoqian 2017, 235)<br /> <br /> 婚礼仪式结束后，新人必须在第三天一起回到女方家，这叫 &quot;回门 &quot;或 &quot;归宁&quot;。这个礼节是不可缺少的。新郎要带一些礼物以示尊重，并改变对新娘父母的称呼方式，后者也会为新人的到来准备好食物。(高筱倩 2017, 235)<br /> <br /> Development发展<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more. (Zhang Yueying 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel. (Zhou Dandi, Yue Shufa 2012, 15)<br /> <br /> 随着时间的推移，现在有很多关于婚姻的改革。成年人拥有选择配偶的自由，如果可能的话，他们可以每天见面。父母不能再掌控他们的 &quot;人生大事&quot;。(张月莹 2013, 47）此外，许多夫妇会跳过婚礼仪式中的繁琐仪式，他们中的一些人选择在教堂里与一些亲密的亲戚和朋友一起举行仪式，有些人甚至通过旅行完成仪式。(周丹迪, 岳书法 2012，15）。<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics (Zhou Dandi, Yue Shufa 2012, 15).<br /> <br /> 尽管如此，大多数年轻人仍然采用中国传统习俗的主要程序，其中的一些一直流传到今天。订婚礼物和嫁妆仍然存在，许多夫妇选择穿红色服装。新郎要到新娘家去护送她参加婚礼，等等。由此可见，中国的传统婚俗大多深深扎根于中国人的心中，显示出独特的中国特色(周丹迪, 岳书法 2012, 15)。<br /> <br /> References<br /> <br /> Gao Xiaoqian. 高筱倩. (2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235. <br /> <br /> Zhang Yueying. 张月莹. (2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48. <br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法. (2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15. <br /> <br /> Terms and Expressions<br /> <br /> Na Cai 纳彩<br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉<br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 请期<br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门<br /> <br /> Guiling 归宁<br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> Questions<br /> <br /> 1. How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2. Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3. What is the kneeling etiquettes?<br /> <br /> 4. When the couple have to return to the girl’s home?<br /> <br /> 5. What changes have been made nowadays?<br /> <br /> 6. Please list some new wedding customs. <br /> <br /> 问题<br /> <br /> 1. 从提亲到完成结婚需要多少个步骤？<br /> <br /> 2. 古代年轻人是否有权利决定自己的婚姻，为什么？<br /> <br /> 3. 跪拜的礼节是什么？<br /> <br /> 4. 新婚夫妇什么时候要回女方家？<br /> <br /> 5. 如今有什么变化？<br /> <br /> 6. 请列出一些新的婚礼习俗。<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 16-21 and 29-35 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> <br /> #审美理想和社会习俗：中国的婚姻习俗 Aesthetic ideals and social customs: Chinese Marriage Customs: https://ks.wjx.top/vm/YJzn8Fl.aspx#<br /> #审美理想和社会习俗： 湖南的伴嫁歌 Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan: https://ks.wjx.top/vm/mBp0heY.aspx <br /> <br /> 3. Choose a topic for your final exam paper (homework)<br /> <br /> ==展示 Presentation by Joanna Zawada==<br /> Powerpoint presentation for download:<br /> https://docs.google.com/presentation/d/1dhr2DlFtgpwN0jJ1vdPobawrpXkBcI-g/edit?usp=sharing&amp;ouid=104571425763898583902&amp;rtpof=true&amp;sd=true<br /> <br /> ==Part 2: Marriage-accompanying songs in Hunan 湖南的伴嫁歌==<br /> <br /> 湖南的伴嫁歌 Aesthetic ideals and social customs: [[Media:Marriage-Accompanying_Songs_in_Hunan.pptx]] <br /> <br /> ===中国的婚姻习俗===<br /> 审美理想和社会习俗：中国的婚姻习俗 Aesthetic ideals and social customs: [[File:Chinese_Marriage_Customs_2023.pdf]]<br /> <br /> ==Marriage-Accompanying Songs in Hunan 湖南的伴嫁歌==<br /> 1. Introduction<br /> <br /> Hunan folk songs are accumulated in the long-term social labor and life of Hunan people. Custom songs are a type of folk songs that are sung in specific custom activities and directly reflect the basic content and characteristics of the custom activities. Folklore needs folk songs to complete its content, and folklore needs folklore as a carrier to pass on. Weddings and funerals are several very important events in a person's life, and are an important part of folklore. Custom songs about weddings and funerals account for a very large proportion of the total number of folk songs in Hunan. (Wen Qiaofeng, 2018, 1）<br /> <br /> 1. 简介<br /> <br /> 湖南民歌是在湖南人长期的社会劳动和生活中积累起来的。风俗歌是在特定的风俗活动中演唱的一种民歌，它直接反映了风俗活动的基本内容和特点。民俗需要民歌来完成其内容，民俗也需要民歌作为载体来传承。婚礼和葬礼是人一生中非常重要的几件事，也是民俗的重要组成部分。有关婚丧嫁娶的习俗歌曲在湖南民歌总数中占有非常大的比例。(文巧凤，2018，1）。<br /> <br /> The folk custom of crying for marriage is popular in many areas of our country, and the custom of crying for marriage is unique in Hunan. It is called &quot;marriage accompanying&quot; in many places in Hunan, and the marriage lament is an important part of Hunan folk songs. The marriage accompanying songs of Chenzhou and Yongzhou in southern Hunan Province have long been famous for their rich and unique singing. Among them, the marriage accompanying songs of Chenzhou are the most representative. In different regions, there are many different names for this accompanying marriage activity, such as &quot;crying in the singing hall&quot;, &quot;crying in the garden&quot;, etc. The songs sung in this custom activity are called, &quot;Hallsitting Song&quot;, &quot;Gardensitting Song&quot; and so on. （Wen Qiaofeng, 2018, chapter1, 5）<br /> <br /> 哭嫁的民俗在我国许多地区流行，而哭嫁的习俗在湖南是独一无二的。在湖南很多地方被称为 &quot;伴嫁&quot;，伴嫁歌是湖南民歌的一个重要组成部分。湘南郴州、永州等地的伴嫁歌早已以其丰富而独特的唱法而闻名。其中，郴州的伴嫁歌最具代表性。在不同地区，这种陪嫁活动有许多不同的名称，如 &quot;坐歌堂&quot;、&quot;坐花园 &quot;等。在这种习俗活动中演唱的歌曲被称为 &quot;坐堂歌&quot;、&quot;花园歌 &quot;等（文巧风，2018，第1章，第5节）。<br /> <br /> 2. Legend about marriage accompanying songs in Hunan<br /> <br /> There is also a very interesting legend about its origin. According to legend, the king of the Chu Kingdom was named Chu Yidi, and he had a daughter named Chu Yu. One day when Chu yu was traveling, she met Chen Xianyun, a fugitive woman from a county in southern Hunan. After learning about her unfortunate coming marriage, she provided her with many things , gave a lot of help, and then led a group of fairies to Chen Xianyun's home on the eve of her marriage to cheer her up. The two girls sang and sang hundreds of narrative songs in succession. The fairies also sang and danced to the beat. From time to time, they sang a few words in antithesis with the princess and Chen Xianyun. The princess and the fairies didn’t return until dawn was about to show up. （Wen Qiaofeng, 2018, chapter1, 6）<br /> <br /> 2. 关于湖南伴嫁歌的传说<br /> <br /> 关于它的起源，还有一个非常有趣的传说。据传说，楚国的国王叫楚仪狄，他有一个女儿叫楚玉。有一天，当楚玉在旅行时，她遇到了来自湖南南部一个县的逃亡妇女陈先云。在得知她即将结婚的不幸消息后，她为她提供了很多东西，给予了很多帮助，然后在她结婚前夕带领一群仙女到陈仙云家为她打气。两个女孩接连唱了几百首叙事歌曲。仙女们也跟着节拍唱起了歌，跳起了舞。他们不时地与公主和陈先云对唱几句。直到天快亮时，公主和仙女们才回来（文巧风，2018，第1章，6）。<br /> <br /> 3. Significance of marriage accompanying songs<br /> <br /> 3. 伴嫁歌的意义<br /> <br /> Marriage accompanying songs is a kind of farewell activity that female companions do with the girl’s expressions of singing. The most prominent feature is around the bride’s marriage, confiding her feelings of parting, and it also expresses their resentment towards the feudal marriage system and the old ethics. Anger and resistance are dominant. According to incomplete statistics, there are still more than 1, 200 songs about marriage accompanying in southern Hunan. <br /> <br /> 伴嫁歌是女伴以姑娘的表现形式进行的一种告别活动。最突出的特点是围绕新娘的婚姻，倾诉自己的离别之情，也表达了她们对封建婚姻制度和旧有伦理的不满。愤怒和反抗是主流。据不完全统计，湘南地区仍有1200多首陪嫁歌。<br /> <br /> In 1993, Jiahe county in southern Hunan was named the &quot;Hometown of Folk Songs&quot; by the Provincial Department of Culture. After the founding of the People's Republic of China, the southern Hunan wedding lament was protected as an artistic wonder in the national characteristic culture. In 1978, the Provincial Department of Culture held a provincial folk song concert in Chenzhou, Hunan and named Chengguan Town as the &quot;Hometown of Folk Songs&quot; in the province. <br /> <br /> The Central Conservatory of Music, Shanghai Conservatory of Music and other professional colleges also use the county folk songs (namely wedding lament songs) as teaching materials. The original wedding folk songs are used in films such as &quot;Hibiscus Town&quot;, &quot;The Tortuous Mountain Path&quot;, &quot;Gongs and Drums in towns&quot;. On May 24, 2021, the marriage lament declared by Jiahe County, Chenzhou City, Hunan Province, was approved by the State Council to be included in the fifth batch of national intangible cultural heritage representative projects. (Chinese government website, 2021, 06)<br /> <br /> 1993年，湘南的嘉禾县被省文化厅命名为 &quot;民歌之乡&quot;。建国后，湘南伴嫁歌作为民族特色文化中的艺术奇葩得到保护。1978年，省文化厅在湖南郴州召开全省民歌会，命名城关镇为全省 &quot;民歌之乡&quot;。<br /> <br /> 中央音乐学院、上海音乐学院等专业院校也以本县民歌（即婚礼哀歌）为教材。电影《芙蓉镇》、《山路弯弯》、《乡镇锣鼓》等都采用了原生态的婚礼民歌。2021年5月24日，湖南省郴州市嘉禾县申报的婚嫁民歌被国务院批准列入第五批国家级非物质文化遗产代表性项目。(中国政府网, 2021, 06) <br /> <br /> 4. Types of marriage accompanying songs<br /> <br /> 4. 伴嫁歌的类型<br /> <br /> Marriage accompanying songs are not limited to the inherent types. There are long songs, marriage joking songs, and crying songs, as well as teasing bridegroom songs. But accompaniment dances are always performed during singing process . <br /> <br /> 伴嫁歌并不局限于固有的类型。有长歌，耍歌，有哭嫁歌，也有徒歌。但伴嫁舞总是在演唱过程中进行。<br /> <br /> First of all, for long songs, they mainly tell sad stories, express unwilling emotions and sad emotions. Existing long songs mostly focus on marital tragedies. Taking into account the weak rhythm and complex thinking of the songs, they are generally sung by high-level artists and singers. <br /> <br /> 首先，对于长歌来说，它们主要是讲述悲伤的故事，表达不情愿的情绪和悲伤的情感。现有的长歌多以婚姻悲剧为主题。考虑到歌曲的节奏感较弱，思维复杂，一般由高水平的艺术家和歌唱家演唱。<br /> <br /> Secondly, in terms of marriage jokes, this type of songs have a large number, distinctive features, and flexible structure. It is a kind of songs that women prefer. The song has a simple sentence pattern, mostly four sentences, and the artistic expression is rich and diverse. This kind of joking songs can be expressed with the help of multi-section style expressions and single style expressions, which are rich in content and involve not only interesting children's songs but also sad songs. Regarding the crying marriage song, it focuses on expressing emotions in the form of crying. The theme of the song focuses on nostalgia and complaining. Both the crying and the song are played casually, and the artistic characteristics are different from other types of songs. <br /> <br /> 其次，在耍歌方面，这类歌曲数量较多，特点鲜明，结构灵活。这是一种女性比较喜欢的歌曲。歌曲句式简单，多为四句话，艺术表现力丰富多样。这类戏曲歌曲可以借助多段式表达，也可以借助单段式表达，内容丰富，不仅涉及有趣的儿歌，也涉及悲歌。关于哭嫁歌，它主要是以哭的形式来表达情感。这类歌的主题集中在怀旧和抱怨上。哭嫁歌的演奏方式都很随意，艺术特点与其他类型的歌曲不同。<br /> <br /> Thirdly, as far as the teasing bridegroom songs are concerned, this type of song is an important manifestation of folklore and occupies a certain position in the wedding song. It mainly tells the plot of the groom being teased. The structure and sentence pattern are relatively simple. Finally, as for the accompaniment dance, the dance is closely related to marriage joking songs and is a free dance that is not restricted by props. Any daily necessities can be used as dance props, which is the main embodiment of humorous thoughts. (Liao Xinglin, 2020, 08)<br /> <br /> 第三，就徒歌而言，这类歌曲是民俗的重要表现形式，在婚礼歌曲中占有一定地位。它主要讲述的是新郎被戏弄的情节。其结构和句式都比较简单。最后，在伴嫁舞方面，该舞蹈与婚俗戏曲密切相关，是一种不受道具限制的自由舞蹈。任何生活用品都可以作为舞蹈道具，这也是幽默思想的主要体现。(廖星麟, 2020, 08)<br /> <br /> 5. Process of marriage accompanying<br /> <br /> 5. 陪嫁的过程<br /> <br /> Traditional marrying accompanying is divided into two steps. Two nights before the wedding, the bride and her female friends sits in the singing hall to accompany the marriage, mainly singing &quot;marriage joking songs&quot;. This is called &quot;short marriage accompanying &quot;. It starts after dinner and ends in the middle of the night. Sitting in the singing hall on the eve of marriage is called &quot;long marriage accompanying &quot;. It also starts after dinner, but it doesn't stop all night, and it will continue to sing until dawn the next day. <br /> <br /> 传统的陪嫁分为两个步骤。婚礼前两晚，新娘和她的女性朋友坐在歌厅里陪嫁，主要是唱 &quot;婚姻戏曲&quot;。这被称为 &quot;短陪&quot;。从晚饭后开始，到半夜结束。结婚前夕坐在歌厅里，称为 &quot;长陪&quot;。也是晚饭后开始，但整夜不停歇，要一直唱到第二天天亮。<br /> <br /> Girls singing marriage joking songs in the middle of the night, singing a long song in the second half of the night, and performing the accompaniment dances at dawn the next day, then the bride will come out to cry for marriage. <br /> <br /> 姑娘们半夜唱婚姻戏曲，下半夜唱长歌，第二天黎明时分表演伴嫁舞，然后新娘子就会出来哭嫁。<br /> <br /> The word for crying for marriage is to see people crying, improvised, mainly to express the feelings of farewell. The content of the accompaniment songs is very rich, there are those who spread history and production knowledge, some who sing about women's labor life, customs, and astronomy and geography, some who laugh and play, there are guessing songs, love songs, and everything. <br /> <br /> 哭嫁一词是见人就哭，即兴发挥，主要是为了表达离别之情。伴唱的内容非常丰富，有传播历史和生产知识的，有唱妇女劳动生活、风俗习惯、天文地理的，有嬉笑打闹的，有猜拳的，有情歌的，什么都有。<br /> <br /> But the most sung songs are the songs that tell parting and reflect the pain of women. When dancing, everything you encounter can be used as a dance tool, which is very lively and free, and has a strong breath of life. The bride cried and sang farewell to relatives and friends at home and then boarded the sedan chair. The sisters were sent to the pavilion on the way and then returned. The whole marriage process was completed. The bride’s brothers, uncles and cousins (all men) will send the family and guests to the husband’s house. (kekeshici, 2019, 05)<br /> <br /> 但唱得最多的是讲述离别和反映妇女痛苦的歌曲。跳舞时，遇到的一切都可以作为舞蹈工具，非常活泼自由，具有强烈的生命气息。新娘哭着和家里的亲戚朋友唱着歌告别，然后上了轿子。姐妹们在路上被送到亭子里，然后返回。整个结婚过程就这样完成了。新娘的兄弟、叔伯和堂兄弟（都是男性）将家人和客人送到夫家。 (可可诗词网, 2019, 05)<br /> <br /> References<br /> <br /> *廖星麟. 嘉禾伴嫁歌的音乐特征与演唱特征研究[J]. 戏剧之家, 2020(08):56-57. <br /> *文巧风. 论湖南风俗民歌[D]. 湖南师范大学, 2018. <br /> *可可诗词网, 湘南嘉禾伴嫁歌, https://www. kekeshici. com, 2019<br /> *李琴, 李跃忠. 嘉禾“伴嫁歌”研究综述[J]. 文教资料, 2019(31):87-89. <br /> *中国政府网, 国务院关于公布第五批国家级非物质文化遗产代表性项目名录的通知, http://www. gov. cn/zhengce/content/2021-06/10/content_5616457, 2021, 05<br /> <br /> Terms and expressions<br /> *marriage accompanying songs 伴嫁歌<br /> *marriage accompanying 伴嫁<br /> *crying in the singing hall 坐歌堂<br /> *crying in the garden 坐花园<br /> *Zuotang Song 坐堂歌<br /> *Wedding lament songs/crying songs 哭嫁歌<br /> *long songs 长歌<br /> *marriage joking songs耍歌<br /> *teasing bridegroom songs 徒歌<br /> *accompaniment dances 伴嫁舞<br /> *Hibiscus Town 《芙蓉镇》<br /> *The Tortuous Mountain Path 《山路弯弯》<br /> *Gongs and Drums in towns 《乡镇锣鼓》<br /> <br /> Questions<br /> #What kind of songs do the marriage accompanying songs in southern Hunan belong to?<br /> #Who sings the marriage accompanying song?<br /> #List at least 3 themes that marriage accompanying songs would cover. <br /> #What types of marriage accompanying songs are there?<br /> #During the singing activity process, would singers sing for the whole night in the &quot;short marriage accompanying&quot;？<br /> <br /> 问题<br /> #湘南地区的婚姻伴奏歌曲属于什么类型的歌曲？<br /> #谁在唱婚姻伴奏歌曲？<br /> #至少列出3个婚姻伴奏歌曲会涉及的主题。<br /> #有哪些类型的婚姻伴奏歌曲？<br /> #在歌唱活动过程中，歌手们会不会在 &quot;短暂的婚姻伴奏 &quot;中唱上一整晚？<br /> <br /> ==Second Section: Student presentations of the two topics==<br /> ===中国的婚姻习俗 Chinese Marriage Customs (3) Jin Yue 金乐===<br /> Powerpoint for download:<br /> ===湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (3) Ai Xi 艾希===<br /> Powerpoint for download:<br /> [[File:marriage- accompanying songs in Hunan]]<br /> <br /> [[https://docs.google.com/presentation/d/13u86oFVffR0xf37bi_EXrdCo7rmwi-Z7/edit?usp=sharing&amp;ouid=111274360681988563100&amp;rtpof=true&amp;sd=true]]<br /> <br /> ==Grades for the quizzes==<br /> *Gabriela Krukowska 5<br /> *Ewa Kopania 5<br /> *Zyta Rydz 5<br /> *Asia (Joanna) Zawada 5<br /> *Karol Perka 5<br /> *Anna Proskura 5<br /> *Julia Dereżyṅska 5<br /> *Paweł Andraszak 5<br /> *Aleksandra Urbanska 5<br /> *Natalia Gloc 5<br /> *Edyta Skorupa 5<br /> *Wiktoria Wolny 5<br /> *Ada Dan 5<br /> *Lena Rzeźnikowska 5<br /> *Sandra Piechowiak 5<br /> <br /> =第五周 Session 5 Dec 7 11:30-13:00 Part 1: Marriage II, Crying Marriage of Tujia 土家族的哭嫁=<br /> <br /> Teacher presentation [[Media:04_Chin_Cult_Contacting_Tujia.pptx]]<br /> <br /> ==Crying Marriage of Tujia 土家族的哭嫁==<br /> Introduction<br /> <br /> Many ethnic groups in our country have the custom of crying marriage, such as the Yao people and the Miao people in western Hunan, the Yi people in Liangshan, Sichuan, and the Tujia people in western Hubei and western Hunan. When women get married, they all have the ceremony of crying marriage. Among them, Tujia women's crying marriage has the greatest influence, and their crying words are the most abundant and well preserved. In 2005, Tujia wedding laments in Hubei province was identified as one of the first key folk culture protection objects in China (Yin Danping 2009, 126).<br /> <br /> 简介<br /> <br /> 我国许多民族都有哭嫁的习俗，如湘西的瑶族、苗族，四川凉山的彝族，湖北西部和湖南西部的土家族。妇女结婚时，都有哭嫁的仪式。其中，土家族妇女的哭嫁影响最大，其哭词也最丰富，保存最完整。2005年，湖北的土家族哭嫁词被确定为中国首批重点民俗文化保护对象之一（尹旦萍，2009，126）。<br /> <br /> Many Tujia girls learn to cry to marry or learn to participate in crying marriage at an early age, learning how to make crying marriage songful and affecting. It is customary for Tujia girls to cry every night in the first month or half a month before they get married. And they cry for 3-7 consecutive nights before the eve of going out for marriage. When the bride cries for marriage, all the sisters in the village cry for each other. The climax of crying marriage is during the very night before getting married and the next day on the sedan chair (Peng Wulin 2012, 149).<br /> <br /> 很多土家族姑娘在很小的时候就学会了哭嫁，或者学会了参与哭嫁，学会了如何让哭嫁变得有歌声，有影响。土家族女孩在结婚前的第一个月或半个月里，习惯于每晚都要哭。而在出嫁前夕，她们会连续哭上3-7个晚上。新娘哭嫁时，村里所有的姐妹都会为对方哭泣。哭嫁的高潮是在出嫁前的那一夜和第二天的上轿。（彭武麟 2012, 149）。<br /> <br /> First the bride cries with her mother, then with her sister-in-law. After that, the neighbors and other single women come to cry with her, all of them sitting on the bed. While the bride and one of the companions cry aloud, the others weep by the side. The bride cry for her parents and siblings as well as for the relatives and friends, mainly telling her life experience and her sorrow at leaving her loved ones while also expressing her gratitude towards her parents for bringing her up. The women also scold the matchmaker, and encourage the bride. (The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/)<br /> <br /> 首先，新娘和她的母亲一起哭，然后和她的嫂子一起哭。之后，邻居和其他单身女性也来陪她哭，大家都坐在床上。当新娘和其中一个同伴大声哭泣时，其他人则在旁边哭泣。新娘为她的父母和兄弟姐妹以及亲戚朋友哭泣，主要讲述她的生活经历和离开亲人的悲伤，同时也表达了她对父母养育她的感激之情。女方还骂媒人，并鼓励新娘。(The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/)<br /> <br /> Origins of crying marriage哭嫁的由来<br /> <br /> First explanation is, according to a legend, a Tujia girl was sent into a Han family as a daughter-in-law in ancient times. She was crying and her families also were crying and comforting her. <br /> <br /> Second, a Tujia girl quarreled with her brothers and sisters about the distribution of the family property and began to cry on the eve of her marriage. (Chen Tingliang &amp; Peng Nanjun 2005, 171)<br /> <br /> Third, as a special form of farewell, the crying marriage of Tujia girls replaces speech with wedding laments, which have national characteristics and are not sad and mournful. (Chen Tingliang &amp; Peng Nanjun 2005, 172)<br /> <br /> 第一种说明是，根据一个古时代的传说，一位土家族的姑娘被嫁去汉族的家庭作媳妇。她一直在哭，她的家人边哭边安慰她。<br /> <br /> 第二，一位土家族姑娘，在她婚礼的前夜。和她的兄弟姐妹们关于自己家族财产分配而吵起来（陈廷亮&amp;彭南均，2005，171）。<br /> <br /> 第三，一个别的分别仪式，土家姑娘的哭嫁代替了婚礼哀伤致辞，这些是具有民族特色，同时也不是悲伤和遗憾的（陈廷亮&amp;彭南均，2005，172）。<br /> <br /> Reasons for crying marriage<br /> <br /> For themselves<br /> <br /> As individuals in the society, Tujia women's status is relatively low. The arranged marriage made by their parents undoubtedly deepens their dilemma of having no autonomy. In the grand premise, when she sits in the hall, she mainly weeps about her sad fate. The other singers are women, some of them are coming out, and some of them are young girls who are about to meet the same fate. Therefore, They could not help sympathizing with each other when they sigh with sadness for their fates. (Yu Yongyu 2002, 193）<br /> <br /> 哭婚的原因<br /> <br /> 为了自己<br /> <br /> 作为社会中的个体，土家族妇女的地位是比较低的。父母的包办婚姻，无疑加深了她们没有自主权的窘境。在大前提下，当她坐在堂时，她主要是为自己的悲惨命运哭泣。其他歌手都是女性，有的即将出阁，有的则是即将遭遇同样命运的少女。因此，当她们为自己的命运悲叹时，不禁互相同情。(余咏宇 2002, 193)<br /> <br /> For the society<br /> <br /> In addition to the function of satisfying the singer's self-expression and adjusting psychological activities, wedding laments can further consolidate the relationship between the singer and the ethnic group. It also can further consolidate the social status of the individual. Various social functions include: To consolidate ethics: if a Tujia daughter does not cry when she gets married, it shows that she has no filial piety or attachment to her parents. (Yu Yongyu 2002, 198） To evaluate talent: crying to marry is also a measure of a woman's ability. To strengthen collective consciousness: during the marriage ceremony, women walk together spontaneously, complain bitterly about their divorce, and express dissatisfaction with the system of arranged marriage. Women's everyday feelings of unhappy life, expressed through crying, arouse the collective resistance consciousness and give a certain social significance to the collective behavior of crying marriage. (Yu Yongyu 2002, 199）<br /> <br /> 对社会而言<br /> <br /> 除了满足歌者的自我表达和调整心理活动的功能外，婚礼哀乐可以进一步巩固歌者与民族之间的关系。它还可以进一步巩固个人的社会地位。各种社会功能包括： 巩固伦理：如果土家族女儿出嫁时不哭，说明她对父母没有孝心和依恋。(于永玉 2002, 198) 评价才能：哭嫁也是衡量一个女人能力的标准。强化集体意识：在结婚仪式上，妇女自发地走在一起，痛苦地抱怨自己的离婚，并对包办婚姻制度表示不满。妇女通过哭诉表达对生活不幸福的日常感受，唤起了集体的反抗意识，使哭嫁的集体行为具有了一定的社会意义。(余咏宇 2002，199）。<br /> <br /> For religion<br /> <br /> Tujia people see crying marriage as an effective tool to deceive evil spirits and protect the peace of the family house, also as a sign of respect for the ancestors. In the legends of Tujia, there are many evil spirits in the mountains, and they always come to disturb every happy event. In order to ensure safety, the bride pretends to be sad so that the evil spirits will not be aware of the happy event and the happy event will go on smoothly. (Yu Yongyu 2002, 201）<br /> <br /> 对于宗教<br /> <br /> 土家族人将哭嫁视为欺骗邪灵、保护家宅平安的有效手段，也是对祖先的尊重。在土家族的传说中，山里有很多邪灵，每逢喜事，他们总是来捣乱。为了确保安全，新娘要装作很伤心的样子，这样邪灵就不会知道喜事，喜事也就顺利进行了。(余咏宇 2002, 201)<br /> <br /> Relations between Wedding laments and Tujia's music culture<br /> <br /> First, the content of wedding laments mostly expresses brides’ feelings of being parted from their relatives and their worries about the future prospects. Even though bride and groom meet before marriage, they don’t know each other very well. The whole marriage system still has the mark of blind marriage left over from the Qing Dynasty. Therefore, there are some reasons for brides to get married in tears. Second, wedding laments always are improvised with concise music structure and vivid lyrics. Wedding laments contain three elements: crying, song and language, which rise and fall with the change of mood. Its creation and expression are natural, sincere and appealing. Tujia people are used to express their ideas by singing impromptu songs, so wedding laments are in the same line with the characteristics of Tujia folk songs and music culture. Third, wedding laments are actually linked to ceremonies. In the process of ceremonies, the bride will cry and sing according to the content of ceremonies and the identity of the participants, and so does the duet. The combination of the ceremony and wedding laments is flexible and structured. For example, in the same ceremony, the general idea of the lyrics is the same, but the details of the lyrics are arranged by the singer at will, which is mainly controlled by the crying singer without fixed length and time limit. Similar musical phenomena also appear in other Tujia ritual songs. (Yu Yongyu 2002, 225）<br /> <br /> 婚礼哀歌与土家族音乐文化的关系<br /> <br /> 首先，婚礼哀歌的内容大多表达了新娘与亲人分离的心情和对未来前景的担忧。尽管新郎和新娘在婚前相识，但他们并不了解对方。整个婚姻制度仍有清朝遗留下来的盲婚哑嫁的痕迹。因此，新娘哭着结婚是有一定原因的。其次，婚礼哀乐总是即兴创作，音乐结构简明，歌词生动。婚礼哀歌包含三个要素：哭、歌和语言，随着情绪的变化而起伏。它的创作和表达是自然的、真诚的、吸引人的。土家族人习惯于用即兴演唱的方式来表达自己的想法，因此，婚礼赞歌与土家族民歌和音乐文化的特点一脉相承。第三，婚礼赞歌实际上与仪式有关。在仪式过程中，新娘会根据仪式的内容和参与者的身份进行哭唱，对唱也是如此。仪式和婚礼哀乐的结合是灵活而有条理的。例如，在同一仪式中，歌词的大意是一样的，但歌词的细节却由演唱者随意安排，主要由哭唱者控制，没有固定的长度和时间限制。类似的音乐现象也出现在其他土家族祭祀歌曲中。(余咏宇 2002，225）。<br /> <br /> Terms and Expressions<br /> *Yao 瑶族<br /> *Miao 苗族<br /> *Yi 彝族<br /> *Tujia 土家族<br /> *crying marriage 哭嫁<br /> *wedding laments 哭嫁歌<br /> *sedan chair 轿子<br /> *Han 汉族<br /> *For themselves 对己（心理功能）<br /> *For the society 对人（社会功能）<br /> *For religion 对灵（宗教功能）<br /> <br /> References<br /> <br /> ［1］余咏宇 Yu Yongyu 2002 土家族哭嫁歌之音乐特征与社会涵义 [Musical Characteristics and Social Meaning of the Tujia Wedding Laments]<br /> <br /> ［2］陈廷亮、彭南均 Chen Tingliang &amp; Peng Nanjun 2005 土家族婚俗与婚礼歌 [Tujia Wedding Custom and Wedding Songs]<br /> <br /> ［3］彭武麟 Peng Wulin 2012 中国土家族 [Chinese Tujia]<br /> <br /> ［4］尹旦萍 Yin Danping 2009 当代土家族女性婚姻变迁 [Contemporary Tujia women marriage changes]<br /> <br /> ［5］The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/<br /> <br /> Questions<br /> #Which ethnic groups in our country have the custom of crying marriage?<br /> #When was Tujia wedding laments in Hubei province identified as one of the first key folk culture protection objects in China?<br /> #What are origins of crying marriage?<br /> #Why did crying marriage emerged?<br /> <br /> 问题<br /> #我国哪些民族有哭嫁的习俗？<br /> #湖北省的土家族婚礼哭嫁是什么时候被确定为中国首批重点民俗文化保护对象的？<br /> #哭嫁的起源是什么？<br /> #为什么会出现哭嫁？<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 22-29 and 36-42 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> <br /> 审美理想和社会习俗：习惯，接触方式。古代和当代的接触方式 Aesthetic ideals and social customs: Habits, Ways of Contacting https://ks.wjx.top/vm/Pmk7uOt.aspx<br /> <br /> 审美理想和社会习俗：土家族的哭嫁 Aesthetic ideals and social customs: Crying Marriage of Tujia https://ks.wjx.top/vm/mp6jP3P.aspx<br /> <br /> ==展示 Presentations==<br /> <br /> ===古代和当代的接触方式===<br /> <br /> 审美理想和社会习俗：习惯，接触方式。古代和当代的接触方式 Aesthetic ideals and social customs: Habits, Ways of Contacting [[File:Ways_of_contacting.pdf|Aesthetic ideals and social customs: Habits, Ways of Contacting]]<br /> <br /> ===土家族的哭嫁===<br /> <br /> 审美理想和社会习俗：土家族的哭嫁 Aesthetic ideals and social customs: Crying Marriage of Tujia : [[Media:Tujia.pptx|Aesthetic ideals and social customs: Crying Marriage of Tujia]]<br /> <br /> =第五周 Session 5 Dec 7 11:30-13:00 - Part 2: Most handsome men=<br /> 李美琳!!! :3<br /> <br /> 老师的展示 Teacher's presentation<br /> [[Media:05_Chin_Cult_Handsome_Panda.pptx]]<br /> <br /> ==The Four Most Handsome men in Ancient China 中国古代的四大才子==<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time. Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent. <br /> <br /> 据说古代有“四大美女”，与此相对应，值得一提的是，当时有“四大才子”。尽管我们认为这四个男人很有魅力，但这指的不仅仅是他们的外表。他们有一个共同的特点：证明了在他们的外表令人惊叹的同时，他们在文学方面也很出色。也就是说，正如中国的一句话所说，他们既有美貌又有才华。<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie. (Wang Zhenbo 2008, 59-60）<br /> <br /> 这四个人是潘安、兰陵王、嵇康和卫玠。(王真波 2008，59-60）。<br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An [Pan Yue], which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less. &quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> “掷果盈车”的典故源于潘安，这就像现在的影迷看偶像一样。对潘安[潘岳]的外貌有一个评论： &quot;不增不减。&quot;史书上还用三个词来形容潘安：&quot;好看、有气质、有风度&quot;[从英文翻译，不是原文]。虽然这些都没有详细描述潘安的外貌，如眉眼、嘴唇等，但从这些侧面的描述中，我们可以知道潘安的外貌远远高于普通人，甚至他的风格也引得别人的模仿。<br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> 同时，潘安被誉为 &quot;河阳一县之花&quot;[从英文翻译，不是原文]，他也是为数不多的被比作花朵的男人，被赞美为优秀的外表。外表的美丽在这个世界上只能是不能长久的。潘安的才华和气质以及对妻子的奉献精神也常常被人讴歌。潘岳从小就表现出不凡的才华，被乡亲们称为神童。早年，他受到官员的赏识，被推荐为秀才。<br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> 后任河阳（今河南孟县）[从英文翻译，不是原文]县令，勤于政事，倡导百姓多种果木。县内树木葱茏，桃李遍地，被称为 &quot;花县&quot;[从英文翻译，不是原文]。在他执政期间，政绩斐然。此外，潘安在文学史上也有特殊地位。<br /> <br /> He was good at composing verse and odes and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed. (Liu Xixue 2003, 63-64）<br /> <br /> 他善于作诗作赋，善于选词造句，充分体现了太康文学注重形式美的特点。他擅长作《慈禧抒怀》和《谏逐客书》[从英文翻译，不是原文]，目前的作品如《寡妇赋》、《悼亡诗》[从英文翻译，不是原文]等名篇，都以叙事和移情见长。潘安可以说是内外兼修，有福同享。(刘西学2003，63-64）。<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> 高长恭（541-573），人称兰陵王，神武帝高欢之孙，高成帝文襄之第四子。关于兰陵王有一个流传已久的传说。人们认为兰陵王是一个勇敢的、有超强能力的将军。然而，由于他看起来非常甜俊，似乎很难吓到敌人，所以他在战斗时经常戴着半面面具，这听起来很像童话。<br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> 尽管如此，兰陵王的美貌是毋庸置疑的，是超凡脱俗的。《北齐书》中描述，他长相和蔼，精神强健，声音和外表都很美。兰陵王大半生都在处理军事事务，并取得了巨大的成就。这在给他带来荣耀的同时，也带来了厄运。中国有句古话，大量成就带来的下等人的光芒会盖过上等人[从英文翻译，不是原文]。<br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King. (Wang Zhenbo 2008, 59-60）<br /> <br /> 虽然兰陵王并没有篡夺王位的想法，但在位者却因为他的存在本身而感到威胁。最后，一杯毒酒结束了兰陵王的生命。(王真波 2008，59-60）。<br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. <br /> <br /> 宋玉（约公元前322年-公元前298年），据传是屈原的学生，出生在战国时期的宋朝首都（今河南商丘）。宋玉是战国晚期楚国的一位词人，擅长词曲，甚至被誉为屈原之后的大诗人。后人常称其为 &quot;屈宋&quot;。坊间流传着他有很多词，《汉书》记载了约16部作品，但其中很多作品今天已经失传。<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. <br /> <br /> 他的作品包括《九辨》、《风赋》等。他是第一个写秋悲的人，也是第一个写女人的人。他对女性本性的描述对后世曹植等人产生了很大的影响。宋玉的《神女赋》中的神女体现了先秦女性美的精髓，详细叙述了巫山神女的美貌，以至于后人千百年来对其垂涎欲滴。<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times. (Wang Zhenbo 2008, 59-60）<br /> <br /> 有16部作品流传下来，其中《九辨》被认为是真正由他创作的。在中国文学史上，它相当于屈原的《离骚》或《哀<br /> 乐》[从英文翻译，不是原文]。这两位诗人在他们的时代都可以称为慈禧抒情诗[从英文翻译，不是原文]中的两颗璀璨的明珠。(王真波 2008，59-60）。<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly. ”<br /> <br /> 卫玠（286-312年6月20日），晋代玄学家、官员。卫玠是魏晋时期著名的清谈名士和玄学家。他被任命为太子政<br /> 治事务的助手。永嘉四年（公元310年），卫玠去世，年仅27岁。古书和古人都对卫玠的外貌作了评价。王吉认为：&quot;有玉在侧，吾觉无名&quot;；&quot;与九同游，犹如明珠在侧，熠熠生辉。&quot;[从英文翻译，不是原文]<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior. . . &quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> 司马光撰写的《资治通鉴》作为统治者的镜子，详细介绍了： &quot;卫玠有得天独厚的外表，说话和分享时有自己的理解力；常常认为人们如果低人一等，就可以被原谅了。。。 &quot;卫玠不仅有令人赞叹的外表，而且还能从他的角度辨别出形而上学。卫玠的观点总是让有关方面感到惊艳。<br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents. (Wang Zhenbo 2008, 59-60）<br /> <br /> 据说，即使是王家的三个儿子，也不如卫家的长子，而王家的三个儿子都是当时有名的学者，而卫玠在家庭背景、外表和才能方面与三人相比，可以说是无可比拟的。(王真波 2008, 59-60）。<br /> <br /> Terms and Expressions<br /> *Pan An 潘安<br /> *King Lanling 兰陵王<br /> *Ji Kang 嵇康<br /> *Wei Jie 卫玠<br /> *throwing fruit to fill a carriage 掷果盈车<br /> *scholar 秀才<br /> *expatiation 铺陈<br /> *Book of Northern Qi Dynasty 《北齐书》<br /> *the Warring States Period 战国时期<br /> *Book of Han 《汉书》<br /> *Nine Discriminations 《九辨》<br /> *The Fu poetry of Wind 《风赋》<br /> *The Fu poetry of Goddess 《神女赋》<br /> *the goddess of Wushan Mountain 巫山神女<br /> *metaphysician 玄学家<br /> *a noted talker 清谈名士<br /> *History Retold as a Mirror for rulers 《资治通鉴》<br /> *Widow's Fu 《寡妇赋》<br /> *Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体<br /> <br /> Questions<br /> #Who are the four most handsome men at ancient time in China?<br /> #Who is Gao Changgong?<br /> #How did Lanlin King die?<br /> #What works did Song Yu compose?<br /> #Who are the two shining pearls in Ci lyric according to the passage?<br /> #What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> 问题<br /> #中国古代最英俊的四个男人是谁？<br /> #高长恭是谁？<br /> #兰陵王是怎么死的？<br /> #宋玉创作了哪些作品？<br /> #根据这段话，《慈禧》词中的两颗闪亮的珍珠是谁？<br /> #作为统治者的镜子，《史记》对卫玠有什么评价？<br /> <br /> References<br /> <br /> 刘细学. 古代四大美男[J]. 文史天地, 2003(06):63-64. <br /> <br /> 王真波. 四大美男都是怎么死的[J]. 青年文学家, 2008(11):59-60.<br /> <br /> =第6周 Session 6 Dec 14 11:30-13:00 - Part 1: The Panda 熊猫=<br /> <br /> 安浩阳 [[File:Haoyang_powerpoint.pptx]]<br /> <br /> <br /> 1. The origin of giant pandas<br /> <br /> The ancestor of the giant panda is Ailuaractos. The scientific name of the giant panda is actually &quot;cat bear&quot;, which means &quot;a bear like a cat&quot;. The main branch of it continued to evolve in central and southern China. One species of Ailuaractos appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda. (Sun Chengqian, 2006, 163)<br /> <br /> 1. 大熊猫的祖先<br /> <br /> 大熊猫的祖先是Ailuaractos。大熊猫的学名实际上是 &quot;猫熊&quot;，意思是 &quot;像猫一样的熊&quot;。它主要分支在中国中部和南部继续进化。Ailuaractos的一个物种出现在大约300万年前的更新世早期，它的体型比现在的熊猫小。(孙承骞, 2006, 163)<br /> <br /> In the process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500, 000-700, 000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Biological fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengqian, 2006, 163)<br /> <br /> 在这个过程中，大熊猫适应了亚热带竹林的生活，体型逐渐增大，并依靠竹子为生。在更新世中后期，大约500，000-700，000年前，是大熊猫的鼎盛时期。秦岭大熊猫已被确定为大熊猫的一个亚种。生物化石显示，大熊猫的祖先出现在200万至300万年前的早期。 (孙承骞, 2006, 163)<br /> <br /> The habitat of giant pandas once covered most of eastern and southern China, reaching Peking in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as &quot;living fossils&quot;. China calls them &quot;national treasures. &quot;(Sun Chengqian, 2006, 165)<br /> <br /> 大熊猫的栖息地曾经覆盖了中国东部和南部的大部分地区，北至北京，南至缅甸南部和越南北部。大熊猫化石通常在海拔500至700米的温带或亚热带森林中发现。大熊猫存活到现在，保持着原有的古老特征。因此，它们具有很大的科学价值，被称为 &quot;活化石&quot;。中国称它们为 &quot;国宝&quot;。&quot;（孙承骞，2006，165）。<br /> <br /> 2. Appearance features of giant pandas<br /> <br /> Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. The weight is 80-120kg, and its maximum weight can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengqian, 2006, 165)<br /> <br /> 2. 大熊猫的外形特征<br /> <br /> 大熊猫像熊一样胖，丰满，头圆，尾短，头长1200-1800mm，尾长100-120mm。体重为80-120公斤，最大体重可达到180公斤。饲养的大熊猫要重一些，雄性一般比雌性略大。其头部和身体的毛色黑白分明。 (孙成建，2006，165)<br /> <br /> However, it is not pure black, or pure white. It is black with brown through and white with yellow. The pandas in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengqian, 2006, 165)<br /> <br /> 然而，它不是纯黑色，也不是纯白色。它是黑中透棕，白中透黄。秦岭的大熊猫体型比较大，体毛粗糙，腹毛略带褐色。黑白相间的外观有利于隐藏在茂密的林木和白雪覆盖的地面，不容易被天敌发现。相对锋利的爪子、发达而有力的前后肢帮助大熊猫迅速爬上高大的树木。(孙承骞, 2006, 165)<br /> <br /> The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short and shallow. (Sun Chengqian, 2006, 165)<br /> <br /> 大熊猫的皮肤很厚，最厚处可以达到10毫米。身体不同部位的皮肤厚度是不同的。身体的背面比腹面厚，身体的外部比身体的内部要厚。皮肤的平均厚度约为5毫米，它是白色的，有弹性和韧性。大熊猫的视觉极其不发达。这是因为大熊猫长期生活在茂密的竹林中。光线很暗，障碍物很多，使它们的眼睛很短很浅。(孙承骞, 2006, 165)<br /> <br /> In addition, because its pupils are split like cats, they can still do activities when night comes. Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. The climate is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu. (Sun Chengqian, 2006, 165)<br /> <br /> 此外，由于它的瞳孔像猫一样是分裂的，所以当夜晚来临的时候，它们仍然可以进行活动。大熊猫生活在中国长江上游的高山和深谷中，这里是东南季风的迎风面。气候温暖湿润，其湿度常在80%以上。大熊猫喜欢潮湿的环境。大熊猫生活的6个狭长区域，包括岷山、邛崃、凉山、大相岭、小相岭和秦岭，横跨四川、陕西和甘肃3省的45个县（市）。(孙承骞, 2006, 165)<br /> <br /> The land area of their habitats is more than 20, 000 square kilometers, and the population of there is about 1, 600, of which more than 80% are distributed in Sichuan. (Sun Chengqian, 2006, 165)<br /> <br /> 其栖息地的土地面积超过20,000平方公里，人口约1,600，其中80%以上分布在四川。(孙承骞, 2006, 165)<br /> <br /> 3. The diet features of giant pandas<br /> <br /> The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as the &quot;bamboo bear&quot; by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi, 1981, 17)<br /> <br /> 3. 大熊猫的饮食特点<br /> <br /> 大熊猫的食谱非常特别，几乎包括在高山地区可以找到的所有种类的竹子。大熊猫偶尔也吃肉（通常是动物的尸体，有时是根茎类动物的尸体）。大熊猫独特的饮食特点使它被当地人称为 &quot;竹熊&quot;。大熊猫已逐渐进化为食草动物。由于竹子的营养不多，只能提供大熊猫生存所需的基本营养，大熊猫在野外环境中除了睡觉或一些短途活动外，每天进食时间长达14小时。一只大熊猫每天要吃12至38公斤的竹子，这接近其体重的40%。(胡锦矗, 1981, 17)<br /> <br /> They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can choose other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation. (Hu Jinzhi, 1981, 20)<br /> <br /> 它们喜欢吃竹子中营养最丰富、含纤维素最少的部分，即嫩茎、毛刺和竹笋。在大熊猫栖息地，通常至少有两种竹子。当一种竹子开花和死亡时（竹子每30至120年定期开花和死亡），大熊猫可以选择其他竹子。然而，栖息地的持续破碎化增加了只有一种竹子的可能性。当这种竹子变得与众不同时，这个地区的大熊猫将面临饥饿的威胁。(胡锦矗，1981，20)<br /> <br /> Terms and expressions<br /> *Ailuaractos lufengensis 始熊猫<br /> *Pleistocene 更新世<br /> *rhizomys 竹鼠<br /> *cellulose 纤维素<br /> *burgeons 嫩枝<br /> <br /> Questions<br /> #What's the ancestor of giant pandas?<br /> #What are the features of giant pandas' skin?<br /> #Do giant pandas like hot environment?<br /> #What part of bamboo do giant panda eat?<br /> <br /> 问题<br /> #大熊猫的祖先是什么动物？<br /> #大熊猫的皮肤有什么特点？<br /> #大熊猫喜欢高温环境吗？<br /> #大熊猫吃竹子的哪一部分？<br /> <br /> References<br /> <br /> [1]Yan Weiran, Tang Maolin, Chen Zeyuan, Chen Peng, Zhao Qijun, Que Pinjia, Wu Kongju, Hou Rong, Zhang Zhihe. Automatically predicting giant panda mating success based on acoustic features[J]. Global Ecology and Conservation, 2020, 24. <br /> <br /> [2]丛丽, 吴必虎. 基于网络文本分析的野生动物旅游体验研究——以成都大熊猫繁育研究基地为例[J]. 北京大学学报(自然科学版), 2014, 50(06):1087-1094. <br /> <br /> [3]雍严格, 王宽武, 汪铁军. 佛坪大熊猫的移动习性[J]. 兽类学报, 1994(01):9-14. <br /> <br /> [4]胡锦矗. 大熊猫的食性研究[J]. 南充师院学报(自然科学版), 1981(03):17-22. <br /> <br /> [5]孙承骞, 张哲邻, 金学林. 秦岭大熊猫局域种群的划分及数量分布[J]. 陕西师范大学学报(自然科学版), 2006(S1):163-167.<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 42-52 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes https://ks.wjx.top/vm/YyByKqx.aspx https://ks.wjx.top/vm/QjARged.aspx#<br /> <br /> 3. 记得参加100个问题的调查和欧盟调查 remember to complete the EU survey and the 100 questions questionnaire<br /> <br /> http://bit.ly/EU-SURVEY<br /> <br /> http://bit.ly/100_questions<br /> <br /> ==展示 Presentations==<br /> <br /> 中国古代的四大才子<br /> <br /> 审美理想和社会习俗：中国古代的四大才子 Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China [[ Media:Four_Most_Handsome_Men_In_Ancient_China.pptx|The Four Most Handsome Men in Ancient China]]<br /> <br /> ===熊猫===<br /> <br /> 审美理想和社会习俗： 熊猫 Animals: Panda [[ Media:Animal_Panda.pptx|Panda]]<br /> <br /> =第6周 Session 6 Dec 14 11:30-13:00 - Part 2: Architecture 建筑学=<br /> <br /> ==Architecture 建筑==<br /> China has a long history and a rich cultural heritage. Here history has left behind many old and outstanding architectural relics, which are the result of several thousand years of development and form a system unique among the architectural styles of the world. Wooden frames appeared in Chinese architecture as long as 2, 000 years ago. From relics in Han Dynasty tombs and watch-towers built above the ground, early forms of wood structures can be seen. <br /> <br /> 中国有着悠久的历史和丰富的文化遗产。这里的历史留下了许多古老而优秀的建筑遗迹，它们是几千年发展的结果，在世界建筑风格中形成了独特的体系。早在两千年前，中国建筑中就出现了木构架。从汉代墓葬和建在地面上的瞭望塔的遗迹中，可以看到木结构的早期形式。<br /> <br /> Most of the wood-structured buildings fall into 3 categories: the beams-in-tiers structural system, the column and tier-beam structural system, and the log cabin-type system. Among the three, the first was the most commonly used in old Chinese architecture, in large structures like palaces and temples as well as in folk residences in North China. This frame is formed of wood or stone columns standing on the building’s foundation, with beams placed across them in the depth-wise direction. Short vertical posts are then placed on the beams, with additional beams placed across these. The wooden frame is formed of such layers, one upon the other, until they reach the ridge of the roof. These parallel units are connected by square longitudinal beams and round longitudinal posts at the ends of the cross-wise beams and across the spine posts called purlins. Rafters are laid lengthwise across the purlins. <br /> <br /> 大多数木结构建筑分为三类：梁柱式结构体系、柱子和层架式结构体系以及木屋式体系。在这三类中，第一类是中国古建筑中最常用的，用于宫殿和寺庙等大型建筑以及华北地区的民间住宅。这种框架由站在建筑基础上的木柱或石柱组成，横梁沿纵深方向放置。然后在梁上放置短的垂直柱子，并在这些柱子上放置额外的梁。木制框架是由这样的层数组成的，一个接一个，直到它们到达屋顶的脊部。这些平行的单元由方形纵梁和圆形纵柱连接，纵梁的两端和横跨的脊柱称为檩条。椽子是纵向铺设在檩条上的。<br /> <br /> Extremely important in traditional architecture is the dou-gong (corbel brackets). Dou-gong refers to the use in the frame of several layers of short bow-shaped wood arms called gong at the top of the columns where they meet the crossbeams. Between two layers of gong is placed a block of wood called a dou. The unit formed of several layers of dou and gong is called a dou-gong. These are used under the eaves to set the eaves out from the roof in an overhang, support the ends of the beams and reduce their span. <br /> <br /> 传统建筑中极为重要的是斗拱（corbel brackets）。斗拱是指在柱子顶部与横梁相接的地方，在框架中使用几层短的弓形木臂，称为锣。在两层铜锣之间放置一个称为斗的木块。由几层斗和锣组成的单元被称为斗拱。这些都是在屋檐下使用的，使屋檐从屋顶上悬空出来，支撑着梁的两端，减少其跨度。<br /> <br /> The most widespread and numerous residential structures are the “courtyard style” residences in the north. The name derives from the fact that four buildings, set on the foresides of a square area and with connecting halls between them, are made to form a courtyard. Generally the building on the north that faces south was called the “master building”, because it had the best position - warmest in winter and coolest in summer - and was usually used by the head of the household or members of the older generation. The houses on the east and the west were called “side buildings”. The southern building was sometimes called the “building at the other end”, and was used for children and the servants. This arrangement was appropriate to the old Confucian ethics in that it separated old and young, master and servant, and so emphasized the hierarchical relationship of superior and inferior. <br /> <br /> 最广泛和最多的住宅结构是北方的 &quot;四合院式 &quot;住宅。这个名字源于这样一个事实，即四座建筑设置在一个正方形区域的前侧，它们之间有连接的大厅，形成一个院落。一般来说，北面朝南的建筑被称为 &quot;主楼&quot;，因为它有最好的位置--冬暖夏凉--通常由户主或老一辈成员使用。东边和西边的房子被称为 &quot;侧楼&quot;。南边的建筑有时被称为 &quot;另一端的建筑&quot;，供孩子和仆人使用。这种安排适合于古老的儒家伦理，因为它将老人和年轻人、主人和仆人分开，因此强调了上下级的等级关系。<br /> <br /> The size of these houses varied according to the owner’s economic status. Groups of buildings were added in the north-south or east-west directions to form additional courtyards, but the important rooms were arranged along an axis with basic symmetry along it, according to the set arrangement for such a group of buildings. Likewise, large structures, such as palaces and temples, are built of single units grouped together about a courtyard. Generally speaking, Chinese architecture begins with four columns that form a bay; groups of bays form the different types of single buildings; and single buildings form different sizes of architectural complexes around courtyards. In fact, a city itself is just a collection of many complexes of buildings with different functions grouped together. The most representative examples of traditional Chinese architectural skills and attainments are each dynasty’s palaces and halls. Of them, the Ming and Qing palace complex in Peking - the Forbidden City, is the only one remaining and the largest in the whole country. <br /> <br /> 这些房屋的大小因主人的经济地位而异。在南北或东西方向上增加了建筑群，以形成额外的庭院，但重要的房间是沿着一条轴线排列的，沿轴线基本对称，按照这样的建筑群的既定安排。同样，大型建筑，如宫殿和寺庙，也是由单个单元围绕一个院子组合而成的。一般来说，中国建筑从四根柱子开始，形成一个海湾；海湾群形成不同类型的单体建筑；而单体建筑围绕庭院形成不同规模的建筑群。事实上，一个城市本身就是由许多具有不同功能的建筑群组合而成的。中国传统建筑技巧和造诣的最有代表性的例子是每个朝代的宫殿和厅堂。其中，位于北京的明清宫殿群--紫禁城，是全国仅存的、最大的宫殿群。<br /> <br /> Buddhism was one of China’s most important religions in the past. Thus, the construction of temples was an important architectural activity in all dynasties, and temples occupied an important position in Chinese architecture. Buddhist temples acquired a general arrangement specific to their needs. Inside the front gate of a temple are a “hall of celestial guardians”, a “hall of Buddha”, and in the rear is a tower where scriptures were stored. To the left and the right are a meditation hall, a visitors’ hall, monks’ living quarters and so on. Some most important Buddhist halls are of the multi-level tower or pavilion style with high ceilings and spacious interiors, such as the Mahayana Pavilion at Chengde’s Yongning Temple and the Guanyin Pavilion of Jixian’s Dule Temple. Buddhist pagoda, which had its origin in India as a tomb in which the bones of Sakyamuni’s were buried, is also an indispensable part of religious architecture. Through the long history, it evolved and developed together with China’s traditional towers, gradually giving form to a type of pagoda unique to China. The representative pagodas include Peking’s Miaoying Temple Pagoda, which was built in the 13th century during the Yuan Dynasty; Xi’an’s Xuanzhang Pagoda and the pagoda at Xiangji Temple, which was built in the 7th century. <br /> <br /> 佛教在过去是中国最重要的宗教之一。因此，在各个朝代，修建寺庙是一项重要的建筑活动，寺庙在中国建筑中占有重要地位。佛教寺庙根据其需要获得了一种特定的总体安排。寺庙前门内有&quot;天王殿&quot;、&quot;佛殿&quot;，后门是存放经书的塔。左右两边是禅房、客堂、僧人的生活区等。一些最重要的佛教殿堂是多层塔式或亭式，天花板很高，室内很宽敞，如承德永宁寺的大乘阁和蓟县独乐寺[从英文翻译，不是原文]的观音阁。佛教塔，起源于印度，是埋葬释迦牟尼遗骨的坟墓，也是宗教建筑中不可缺少的一部分。在漫长的历史长河中，它与中国的传统塔楼一起演变和发展，逐渐形成了中国特有的塔楼类型。具有代表性的佛塔包括北京的妙应寺塔，它建于13世纪的元朝；西安的玄奘塔和建于7世纪的香积寺塔。<br /> <br /> The unique way in which art is used in old Chinese architecture can be seen in the addition of decorations to the various components of a building, from the entire exterior of a building to a single beam end or tile. The roofs of Chinese buildings appear rather large because of their wooden structure. The early Chinese architects also used unique qualities of the wood structure to create a curved roof, with the eaves turned up slightly at the four corners, and with various interesting animals on top of the ridge; they also created the hipped roof, the hipped and gabled roof, the single- eaved roof and the multi-eaved roof and other styles, giving the roof a special artistic character. A simple method was used to make the beams inside the roof moon-shaped and the ends of the beams into “locust heads”, “sesame leaves” and other interesting shapes. In order to protect the wood, the exposed parts of the wood structure were painted. This proved to be another opportunity to exhibit the decorative abilities and brought about Chinese architecture’s unique “color painting” decoration. <br /> <br /> 艺术在中国古建筑中的独特使用方式，可以从建筑的各个组成部分的装饰品的添加中看出，从整个建筑的外部到一个梁端或瓦片。中国建筑的屋顶因其木质结构而显得相当大。早期的中国建筑师还利用木质结构的独特品质，创造了弧形屋顶，四角的屋檐微微上翻，屋脊顶上有各种有趣的动物；他们还创造了庑殿式屋顶、庑殿式和坡屋顶、单檐屋顶和多檐屋顶等样式，使屋顶具有特殊的艺术特征。他们用简单的方法将屋顶内的横梁做成月牙形，将横梁的两端做成 &quot;槐树头&quot;、&quot;芝麻叶&quot;等有趣的形状。为了保护木材，木结构暴露的部分被涂上了油漆。这被证明是展示装饰能力的另一个机会，带来了中国建筑独特的&quot;彩绘&quot;装饰。<br /> <br /> The decoration of old Chinese buildings was bold and skillful in the use of color, and thick, bright colors became a characteristic of traditional Chinese architecture. Strong contrasts, such as those between red and green, yellow and blue, and black and white, can be used without clashing. Rather, they give the whole building a look of brilliance. Besides being daring in the use of heavy colors, the early carpenters were also skillful with the paintbrush. <br /> <br /> 中国古建筑的装饰在色彩的使用上是大胆而巧妙的，厚重、明亮的色彩成为中国传统建筑的特点。强烈的对比，如红与绿、黄与蓝、黑与白之间的对比，可以不发生冲突。相反，它们使整个建筑看起来很有光彩。除了敢于使用重色，早期的木匠们还善于使用画笔。<br /> <br /> Traditional architecture is a precious part of the cultural heritage of the Chinese people. Today, as we climb to the top of the Great Wall, stand before the Forbidden City, or stroll through the old gardens, we can’t help admiring the wisdom of our ancestors, and the great amount of labor that went into the creation of these buildings. <br /> <br /> 传统建筑是中国人民文化遗产的一个宝贵部分。今天，当我们爬上长城的顶端，站在紫禁城前，或漫步在古老的花园中，我们不禁要赞叹我们祖先的智慧，以及为创造这些建筑所付出的大量劳动。<br /> <br /> Terms and Expressions<br /> *Relic n. 遗址, 遗物 <br /> *Beams-in-tiers 抬梁式<br /> *Column and tier-beam 穿斗式 <br /> *Log cabin-type 井干式<br /> *Column n. 柱子, 檐柱 <br /> *Beam n. 大梁<br /> *Depthwise adj. 纵向的, 进深的 <br /> *Vertical post 童柱<br /> *Ditional beam 额枋, 看枋 <br /> *Longitudinal adj. 纵向的<br /> *Crosswise adj. 横向的, 开间的 <br /> *Spine n. 脊椎, 脊骨<br /> *Purlin n. 檩条 <br /> *Rafter n. 椽<br /> *Corbel bracket 斗拱 <br /> *Master building 正房<br /> *Courtyard style residences 四合院 <br /> *Side building 厢房<br /> *Axis n. 中轴线 <br /> *Front gate 山门<br /> *Hall of Celestial Guardians 天王殿 <br /> *Hall of the Buddha 大雄宝殿<br /> *Meditation hall 禅房 <br /> *Visitor’s Hall 客堂<br /> *Chengde’s Yongning Temple 承德永宁寺 <br /> *Jixian’s Dule Temple 吉县独乐寺<br /> *Pagoda n. 佛塔, 舍利塔 <br /> *The Miaoying Temple 妙应寺<br /> *The Xiangji Temple 香积寺 <br /> *Tile n. 瓦, 瓷砖<br /> *Eave n. 屋檐 <br /> *Ridge n. 屋脊<br /> *Hipped roof 庑殿顶 <br /> *Hipped and gabled roof 歇山顶<br /> *Single-eaved roof 单檐顶 <br /> *Multi-eaved roof 重檐顶<br /> *Color painting 彩绘 <br /> <br /> Questions<br /> #How long is the history of wooden structures in China?<br /> #What are the 3 categories of traditional Chinese wood buildings? <br /> #Which category is the most popular? How is it formed? <br /> #What is dou-gong? What’s its function? <br /> #What is the most widespread residential structure in North China? How is it related to Confucianism? <br /> #What is the general layout of Chinese architectural complex like?<br /> #Is the palace complex in Peking the only one remaining in the whole country? <br /> #Is the construction of buddhist temples important in Chinese architecture? What is the general layout of a buddhist temple like? <br /> #What are buddhist pavilion and pagodas? Could you name some important buddhist pagodas in China?<br /> #What styles do traditional Chinese buildings’s roofs have? <br /> #How are traditional Chinese buildings decorated? <br /> #How are colors used in the decoration of old buildings? <br /> #Have you ever been amazed at an old Chinese building? <br /> <br /> 问题<br /> #木结构建筑在中国的历史有多长？<br /> #中国传统木结构建筑有哪三类？<br /> #哪一类是最受欢迎的？它是如何形成的？<br /> #什么是斗拱？它有什么功能？<br /> #在中国北方最普遍的住宅结构是什么？它与儒家思想有什么关系？<br /> #中国建筑群的总体布局是怎样的？<br /> #北京的宫殿群是全国仅存的宫殿群吗？<br /> #佛教寺庙的建设在中国建筑中是否重要？佛教寺庙的一般布局是怎样的？<br /> #什么是佛教的亭子和佛塔？你能说出中国一些重要的佛教佛塔吗？<br /> #中国传统建筑的屋顶有哪些风格？<br /> #中国的传统建筑是如何装饰的？<br /> #古建筑的装饰中是如何使用色彩的？<br /> #你是否曾对中国的古建筑感到惊奇？<br /> <br /> =第七周 Session 7 Dec 14 11:30-13:00 - Architecture I: The Forbidden City 建筑：紫禁城=<br /> A Panorama view of the Forbidden City 紫禁城全景图<br /> <br /> I. Introduction<br /> <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Peking, China, and with a total area of 720, 000 square meters (180 acres). It lies in the center of Peking's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government. (Barmé, Geremie R 2018, 26)<br /> <br /> I. 简介<br /> <br /> 紫禁城（中文：紫禁城；拼音：Zǐjìnchéng）是位于中国北京东城区的一个宫殿群，总面积为720000平方米（180亩）。它位于北京中轴线的中心位置。今天，紫禁城内有故宫博物院，从明朝（自永乐皇帝起）到清朝末年，从1420年至1924年期间，它是明清两代的皇宫和皇帝的住所。紫禁城是中国皇帝及其家属的住所，也是当时政府的礼仪和政治中心。(Barmé, Geremie R 2018, 26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world. (UNESCO, 2007)<br /> <br /> 故宫是国家AAAAA级旅游景区，1961年被列为第一批国家重点保护文物。更重要的是，它在1987年被宣布为世界文化遗产，并被联合国教科文组织列为世界上最大的古代木结构建筑群保存地。(UNESCO, 2007)<br /> <br /> II. The Name of the Forbidden City<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> II. 紫禁城的名称<br /> <br /> 常用的英文名称 &quot;Forbidden City &quot;是中文名称 &quot;紫禁城 &quot;的译音（中文：紫禁城；拼音：Zǐjìnchéng；英文：Purple Forbidden City）。紫金城这个名字第一次正式出现在嘉靖时期。在中国古代，强调 &quot;天人合一&quot;的规划理念。天上的星星被用来与首都规划相对应，以突出政权的合法性和皇权的至高无上。(李燮平1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> &quot; 紫&quot;，即 &quot;紫微&quot;，指的是北极星，在中国古代被称为紫微星。天上的皇帝住在紫微宫，而人类的皇帝则自称是受命于天的 &quot;天子&quot;。他的住所应该是紫微宫的象征，与天帝相对应。&quot;金 &quot;的意思是，这座富丽堂皇的宫殿象征着最高的权力和皇室的地位。在这种情况下，这座宫殿是禁地，没有皇帝的允许，任何人都不能进出宫殿。城是指城市。(李燮平1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan). <br /> <br /> 今天，该遗址在中文中最常被称为 &quot;故宫&quot;，意思是 &quot;故人的宫殿&quot;。设在这些建筑中的博物馆被称为 &quot;故宫博物院&quot;（中文：故宫博物院；拼音：Gùgōng Bówùyùan）。<br /> <br /> III. The History of the Forbidden City<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanking to Peking, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984, 18)<br /> <br /> III. 紫禁城的历史<br /> <br /> 洪武的儿子朱棣成为永乐皇帝后，将首都从南京迁至北京，并于1406年开始建造后来的紫禁城。建筑工程持续了14年，花费了100多万工人。从1420年到1644年，紫禁城是明朝的所在地。(Yu Zhuoyun 1984, 18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944, 3. 14)<br /> <br /> 1644年4月，它被李自成领导的叛军占领。他在撤退到陕西的过程中放火烧毁了紫禁城的部分建筑。到了10月，满族人在中国北方取得了霸主地位，并在紫禁城举行仪式，宣布顺治皇帝为清朝的全中国统治者。(郭沫若 1944, 3. 14)<br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984, 30)<br /> <br /> 康熙二十二年（1683年），开始重建紫禁城其余被毁建筑，1695年基本完工。在成为24位皇帝--明朝的14位和清朝的10位--的家之后，紫禁城于1912年随着中国最后一位皇帝溥仪的退位而不再是中国的政治中心。(Yu Zhuoyun 1984, 30)<br /> <br /> The layout of the Forbidden City紫禁城俯视图<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city. ( Xie Mengyin &amp; Qu Wanlin 2006, 11. 7)<br /> <br /> 1933年，日本对中国的入侵迫使紫禁城内的国宝撤离。部分藏品在二战结束后被归还，但另一部分在1948年根据蒋介石的命令被撤到了台湾。1949年中华人民共和国成立后，由于国家被革命的热情所笼罩，紫禁城受到了一些破坏。然而，在文化大革命期间，周恩来总理派了一个军营来保卫这座城市，从而防止了进一步的破坏。(谢荫明&amp;瞿宛林，2006，11.7)<br /> <br /> IV. The Structure of the Forbidden City<br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north. (Xie Li 2005, (03)100-102)<br /> <br /> IV. 紫禁城的结构<br /> <br /> 首先，紫禁城是一个长方形，在布局上是对称的。它的宫殿沿着一条南北轴线排列，三座大殿、后三座宫殿和御花园都位于这条轴线上。这条中轴线不仅贯穿了紫禁城甚至整个城市，而且南至永定门，北至鼓楼和钟楼。(谢丽 2005, (03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west. (Xie Li 2005, (03)100-102)<br /> <br /> 其次，紫禁城分为两部分，即外院和内院。外廷是皇帝处理政治事务的地方。主要有三个殿堂：太和殿、中和殿、保和殿。内廷或后宫包括北部各部分，是皇帝及其家人的住所，用于处理日常国家事务。内廷以乾清宫、交泰宫和坤宁宫为中心，东面有六座宫殿，西面有六座宫殿。(谢丽 2005, (03)100-102)<br /> <br /> VI The Collections of the Forbidden City<br /> <br /> 六、紫禁城的藏品<br /> <br /> 韩熙载夜宴图<br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War. (Li Wei &amp; Wang Shuo 2005, 6-22)<br /> <br /> 随后，故宫博物院于1925年在紫禁城内成立，其大量的艺术品和文物收藏都是建立在明清两代的御用收藏之上。该博物馆以前的部分藏品现在在台北的国立故宫博物院。两家博物馆都是同一机构的后代，但在中国内战后分裂。(Li Wei &amp; Wang Shuo 2005, 6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1, 863, 404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> 故宫博物院的藏品以清宫藏品为基础，包括绘画、陶瓷、印章、石碑、雕塑、铭文器、青铜器、珐琅器等。根据最新的审计，它有1863404件艺术品。它们按 &quot;古&quot;、&quot;新&quot;、&quot;蜀 &quot;进行编号。除古籍和文献外，其他藏品均以 &quot;古 &quot;和 &quot;新 &quot;标示。普通文物的编号以 &quot;子 &quot;字开头，陶瓷标本以 &quot;标 &quot;字开头。总目录分为25类，每类的编号由小到大排序。(网站：《故宫博物院藏品》)<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women. (Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1, 000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> 很多藏品曾经流失，后来又被带回了故宫博物院，比如《韩熙载夜宴图》。还有一些精美的藏品，陶彩绘女舞俑、十二生肖镜、画珐琅西洋人物鼻烟壶等。(网站：故宫博物院藏品）此外，故宫博物院是世界上收藏18和19世纪机械钟表最多的博物馆之一，有1,000多件。(孟福霞 2012, (21) 73-74)<br /> <br /> Painted Pottery Figurine of a Female Dance<br /> <br /> 陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems<br /> <br /> 十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women<br /> <br /> 画珐琅西洋人物鼻烟壶<br /> <br /> Terms and Expressions<br /> *palace complex 宫殿群<br /> *central axis 中心轴<br /> *the Palace Museum故宫博物院<br /> *the Yong Le Emperor 永乐皇帝<br /> *key cultural relics under national protection 国家重点文物保护单位<br /> *world cultural heritage 世界文化遗产<br /> *harmony between man and nature 天人合一<br /> *the imperial garden 御花园<br /> *the Hall of Supreme Harmony 太和殿<br /> *the Hall of Central Harmony 中和殿<br /> *the Hall of Preserving Harmony 保和殿<br /> *Palace of Heavenly Purity (乾清宮)<br /> *Hall of Union 交泰宫<br /> *Palace of Earthly Tranquility 坤宁宫<br /> *Han Banquet map 韩熙载夜宴图<br /> *Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> *Mirror with the Twelve Astrological Emblems十二生肖镜<br /> *Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> Questions<br /> #What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> #When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world. <br /> #How many emperors have been lived in the Forbidden City?<br /> #How long did it take to build the Forbidden City?<br /> #Why some parts of national treasures are in the National Palace Museum in Taipei now. <br /> #What two parts can the Forbidden City be divided into?<br /> #When was the Palace Museum established?<br /> <br /> 问题<br /> #中文名字 &quot;紫金城 &quot;中的 &quot;紫 &quot;是什么意思？<br /> #紫禁城是什么时候被联合国教科文组织列为世界上最大的古代木结构建筑群的？<br /> #有多少位皇帝曾在紫禁城居住过？<br /> #建造紫禁城需要多长时间？<br /> #为什么国宝的某些部分现在在台北的故宫博物院？<br /> #紫禁城可以分为哪两部分？<br /> #故宫博物院是什么时候建立的？<br /> <br /> References<br /> *Barmé, Geremie R(2008). The Forbidden City. Harvard University Press. 26. <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Peking and Shenyang&quot;. <br /> *Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31. <br /> *Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press, p18. <br /> *Guo Moruo 郭沫若. (1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3. 19. <br /> *Xie Li 谢丽. (2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Peking]. 紫禁城 Forbidden City, (03)100-102. <br /> *Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Peking - On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> *Li Wei&amp;Wang Shuo 刘薇, 王硕. 2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6. 22 http://www. huaxia. com/wh/gjzt/2005/00333230. html<br /> *The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm. org. cn /Home. html<br /> *Xie Mengyin &amp; Qu Wanlin 谢荫明, 瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ]. 人民网People’s Daily Online, 11, 7. http://history. people. com. cn/n/2014/0811/c372327-25441615. html<br /> <br /> <br /> ppt: [https://docs.google.com/presentation/d/1Wg0B8s7ZzyNQ9QzMgsI49QIzZL4Wsnv8tajGzOKarmY/edit?usp=sharing]<br /> <br /> =第七周 Session 7 Dec 14 11:30-13:00 - Architecture II: Four Famous Bridges 建筑：中国四大名桥=<br /> Introduction<br /> <br /> China is the hometown of bridges, which has been called &quot;the country of bridges&quot;. It was developed in the Sui Dynasty and flourished in the Song Dynasty. The bridges were woven into a traffic network extending in all directions, connecting the motherland in all directions. The architectural arts of ancient Chinese bridges are pioneering works in the history of bridges, which fully demonstrates the extraordinary wisdom of the ancient Chinese. &quot;Guangji Bridge in Chaozhou city, Zhaozhou Bridge in Hebei province, Luoyang Bridge in Quanzhou city and Lugou Bridge in Peking are known as the four ancient bridges in China&quot;. <br /> <br /> 简介<br /> <br /> 中国是桥梁的故乡，被称为 &quot;桥梁之国&quot;[从英文翻译，不是原文]。它发展于隋朝，兴盛于宋朝。桥梁交织成交通网络向四面八方延伸，将祖国的四面八方连接起来。中国古代桥梁的建筑艺术是桥梁史上的开山之作，充分显示了中国古人的非凡智慧。&quot;潮州市的广济桥、河北省的赵州桥、泉州市的洛阳桥和北京的卢沟桥被称为中国四大名桥&quot;。<br /> <br /> Zhaozhou Bridge<br /> <br /> Zhaozhou Bridge, also known as Anji Bridge, is the oldest long-span stone arch bridge in China. The bridge was built on the Xiaohe River, Hebei Province. From a distance, it looks like a bright moon in the clouds and a rainbow after rain hanging in the sky, beautiful and spectacular. It was built by Li Chun, a famous craftsman in the Sui Dynasty. With a length of 64. 40 meters and a span of 37. 02 meters, it is the largest span and the earliest single-span stone arch bridge with open shoulder in the world. (Shen Kun, 2016）<br /> <br /> 赵州桥<br /> <br /> 赵州桥，又称安济桥，是中国最古老的大跨度石拱桥。该桥建在河北省的小河上。从远处看，它就像云中的明月，雨后的彩虹挂在天上，美丽而壮观。它是由隋朝著名工匠李春建造的。它的长度为64. 40米，跨度37.02米，是世界上跨度最大、最早的单跨敞肩石拱桥。(沈坤，2016）。<br /> <br /> Li Chun creatively used the flat arch style, so that the stone arch height was reduced to 7. 23 meters, and the ratio of arch height to span was about 1:5. In this way, the slope of the bridge deck is gentle, which is convenient for vehicles, horses and pedestrians. Moreover, it has the advantages of saving materials, fast construction, and increasing the strength and stability of the bridge. Zhaozhou Bridge has been there 1400 years ago. It has experienced 10 times floods, 8 times wars and many earthquakes, but it has not been damaged. (Shen Kun, 2016）<br /> <br /> 李春创造性地采用了平拱的方式，使石拱的高度降低到7.23米，拱高与跨度的比例约为1：5。这样一来，桥面坡度平缓，便于车辆、马匹和行人通行。此外，它还具有节省材料、快速施工、提高桥梁强度和稳定性等优点。赵州桥在1400年前就已经存在。它经历了10次洪水，8次战争和多次地震，但它没有被破坏。(沈坤，2016）。<br /> <br /> Mao Yisheng, a famous expert in bridges, said that regardless of the internal structure of the bridge, surviving for over 1300 years explains everything. According to records, Zhaozhou Bridge has been repaired eight times since its completion. Two small arches are added at both ends of the main arch, one is to save materials, the other is to reduce the weight of the bridge body, and to increase the discharge of the river. In order to protect Zhaozhou Bridge, at the end of last century, the new bridge built 100 meters away from Zhaozhou Bridge still follows its style. (Shen Kun, 2016）<br /> <br /> 著名的桥梁专家茅以升说，不管桥的内部结构如何，存活了1300多年就说明了一切。根据记录，赵州桥自建成以来已经修缮了八次。在主拱的两端增加了两个小拱，一是为了节省材料，二是为了减轻桥身的重量，增加河水的排放。为了保护赵州桥，上世纪末，在距离赵州桥100米处修建的新桥仍沿袭了赵州桥的风格。(沈坤，2016）。<br /> <br /> In order to increase the flood discharge capacity, Li Chun also showed ingenuity by setting two small arches on each shoulder of the large arch. It can not only save stone and reduce the weight of the bridge body, but also help to discharge the flood, so as to achieve the perfect unity of architecture and art. It has become a great achievement of bridge engineering technology in China, which is more than 1200 years earlier than the similar arch bridge built in Europe in the middle of 19th century. (Shen Kun, 2016）<br /> <br /> 为了增加排洪能力，李春还发挥了聪明才智，在大拱门的两肩各设置了两个小拱门。这不仅可以节省石料，减轻桥体的重量，而且有利于泄洪，从而达到建筑与艺术的完美统一。它成为中国桥梁工程技术的一项伟大成就，比19世纪中期欧洲建造的同类拱桥早了1200多年。(沈坤，2016）。<br /> <br /> Luoyang Bridge<br /> <br /> Quanzhou is a famous city with a history of over 1700 years. As early as the Tang and Song Dynasties, Quanzhou was known as an important trading port. Merchants, scholars and missionaries from all over the world came to Quanzhou, leaving many precious historical and religious relics and classical buildings. Luoyang Bridge, also known as “Wanan bridge”, was built by the governor Cai Xiang in the Northern Song Dynasty and completed in six years. It is difficult to build a bridge at the confluence of the river and the sea, the river is wide and deep, and the project is arduous. (Wei lichun, 2007)<br /> <br /> 洛阳桥<br /> <br /> 泉州是一座拥有1700多年历史的著名城市。早在唐宋时期，泉州就作为一个重要的贸易港口而闻名。来自世界各地的商人、学者和传教士来到泉州，留下了许多珍贵的历史和宗教遗迹以及古典建筑。洛阳桥，又称 &quot;万安桥&quot;，由北宋知府蔡襄所建，历时六年建成。在河海交汇处建桥，河面宽而深，工程十分艰巨。(魏立春, 2007)<br /> <br /> The bridge is 834 meters at length and 7 meters at width. There are Zhaohui temple and Zhenshen temple in the north of the bridge, and Caixiang temple in the south of the bridge. In 1988, it was listed as one of the national key cultural protection units and one of Quanzhou’s world cultural heritage sites. (Wei lichun, 2007)<br /> <br /> 该桥长834米，宽7米。桥北有朝晖寺、振声寺，桥南有采香寺。1988年被列为全国重点文物保护单位和泉州世界文化遗产之一。(魏立春, 2007)<br /> <br /> It was very difficult to build Luoyang Bridge at first. Because the river is wide and the current is swift, sometimes there is wind tide, the water potential is dangerous. Before the construction of the bridge, people came and went by ferries, which often capsized. In order to pray for the safety of the transition, the ferry here was named Wanan Du, so the bridge was also named Wanan Bridge after its completion. Therefore, it was also named Luoyang Bridge because it was built on the Luoyang River. (Wei lichun, 2007)<br /> <br /> 起初，建造洛阳桥是非常困难的。因为河道宽阔，水流湍急，有时还出现风潮，水势险要。在建桥之前，人们来往都是乘坐渡船，经常翻船。为了祈求过渡期的安全，这里的渡船被命名为万安渡，所以桥建成后也被命名为万安桥。因此，它也被命名为洛阳桥，因为它建在洛阳河上。(魏立春, 2007)<br /> <br /> There are many innovations in the construction technology and technology of Luoyang bridge, the raft foundation style, the application and development of wedge pier and the use of oyster to cement bridge pier. After its completion, it has become an important channel of communication between Quanzhou and the mainland. Therefore, Luoyang Bridge has the reputation of “Wan An Ji Zhong”. Under the influence of the completion of Luoyang Bridge, there has been an upsurge of bridge construction in Fujian province, especially in Southern Fujian. Dozens of large and medium-sized stone girder bridges have been built. (Wei lichun, 2007)<br /> <br /> 洛阳桥的施工技术和工艺有很多创新，筏式基础的样式，楔形桥墩的应用和发展，以及使用牡蛎来加固桥墩。建成后，它已成为泉州与内地交流的重要通道。因此，洛阳桥有 &quot;万安吉中 &quot;的美誉。在洛阳桥建成后的影响下，福建省特别是闽南地区掀起了建桥热潮。几十座大、中型石梁桥已经建成。(魏立春, 2007)<br /> <br /> Lugou Bridge<br /> <br /> Lugou Bridge is the oldest stone multi-hole arch bridge in Peking, which has a history of more than 800 years. In the Jin Dynasty, Lugou river was an important transportation point from north to south. There are 11 bridge holes in the whole bridge, and the span and height of each hole are not the same. As early as the Jin Dynasty, this bridge was listed as one of the “Eight Sights of the capital”. (Shen Kun, 2016）<br /> <br /> 卢沟桥<br /> <br /> 卢沟桥是北京最古老的多孔石拱桥，距今已有800多年的历史。在晋代，卢沟河是南北交通要冲。全桥共有11个桥洞，每个桥洞的跨度和高度都不相同。早在晋代，这座桥就被列为 &quot;京城八景 &quot;之一。(沈坤，2016）。<br /> <br /> The bridge deck of Lugou Bridge is slightly curved with lower ends and uplift in the middle. The lower riverbed of the bridge is paved with pebbles and quartz sand. The whole bridge is built on it, which is very solid and stable. The two ends of the bridge are used as drum-shaped stone block. At the east end are two big stone lions and the west are two big stone elephants which are huge and charming. In addition to the stone lion and stone statue on the top of the fence, there is a 4. 65-meter-high ornamental table, which looks like seeing off pedestrians. (Shen Kun, 2016）<br /> <br /> 卢沟桥的桥面略呈弧形，两端较低，中间隆起。桥的下部河床是用鹅卵石和石英砂铺成的。整座桥建在上面，非常坚固和稳定。桥的两端用的是鼓形石块。东端有两只大石狮，西端有两只大石象，巨大而迷人。除了石狮和石像外，围墙顶上还有一个4.65米高的观赏台，看上去就像在送行人。(沈坤，2016）。<br /> <br /> As the oldest stone arch bridge in Peking and the place where the whole nation’s Anti-Japanese war broke out, Lugou bridge is not only an important cultural resource in Fengtai District, but also a memorial place for major national activities. Bearing rich historical resources, it has become important to publicize the revolutionary tradition of the Chinese nation and carry out patriotic education. Standing on the Lugou Bridge, you can see the memorial hall of the Chinese people’s Anti-Japanese War, the Yongdinghe River ferry wharf, the pinghan railway bridge site, and the Anti-Japanese War sculpture garden, which together constitute a spectacular historical and cultural map. (Shen Kun, 2016）<br /> <br /> 作为北京最古老的石拱桥和全国抗日战争的爆发地，卢沟桥不仅是丰台区的重要文化资源，也是国家重大活动的纪念地。它承载着丰富的历史资源，对宣传中华民族的革命传统、开展爱国主义教育具有重要意义。站在卢沟桥上，可以看到中国人民抗日战争纪念馆、永定河轮渡码头、平汉铁路桥遗址、抗日战争雕塑园等，共同构成了一幅壮观的历史文化地图。(沈坤，2016）。<br /> <br /> Guangji Bridge<br /> <br /> Guangji Bridge is located at the east gate of the ancient city of Chaozhou, Guangdong Province. Commonly known as Xiangzi bridge. Crossing the vast Hanjiang River, it is an important transportation hub of Fujian and Guangdong. With its unique style of “18 shuttle boats and 24 continents”, it is praised as “the earliest open-close bridge in the world” by famous bridge expert Mao Yisheng. In particular, on the stone tablet of the imperial stele Pavilion at the east end of the bridge, the inscription “Lugou Xiaoyue” written by Emperor Qianlong is the most famous. (Wei lichun, 2007)<br /> <br /> 广济桥<br /> <br /> 广济桥位于广东省潮州古城的东门。俗称湘子桥。横跨浩瀚的韩江，是福建和广东的重要交通枢纽。它以 &quot;十八梭船二十四洲 &quot;的独特风格，被著名桥梁专家茅以升赞誉为 &quot;世界上最早的开合桥&quot;。特别是在桥东头的御碑亭石碑上，乾隆皇帝写的 &quot;卢沟晓月 &quot;的碑文最为有名。(魏立春, 2007)<br /> <br /> Stone lions and stone pavilions at both ends of the bridge, together with Chinese totem pillar, constitute the bridgehead buildings with national characteristics. Marco Polo, an Italian at the end of the 13th century, praised Lugou Bridge as “a beautiful stone bridge in Hanbali”. It is the oldest existing large-scale double-arch long bridge in northern China. “Lugou Xiaoyue” is also one of the famous “Eight Sights of Yanjing”. (Wei lichun, 2007)<br /> <br /> 桥两端的石狮和石亭，与中国的图腾柱一起，构成了具有民族特色的桥头建筑。13世纪末的意大利人马可-波罗称赞卢沟桥是 &quot;汉巴里的一座美丽的石桥&quot;。它是中国北方现存最古老的大型双拱长桥。&quot;卢沟晓月 &quot;也是著名的 &quot;燕京八景 &quot;之一。(魏立春, 2007)<br /> <br /> There are many folklores about Guangji Bridge. One of the legends is “the immortal Buddha builds the bridge”. That is, after Han Yu came to Chaozhou in the Tang Dynasty, to communicate with the two sides, he asked his nephew Han Xiangzi and other eight immortals to build a bridge with Guangji monk. Due to the failure of his magic power, the middle section could not be connected. Monk Guangji and He Xiangu, one of the eight immortals, were connected with 18 shuttle boats by using lotus flowers as giant cables. Therefore, the bridges were called “Xiangzi bridge” and “Guangji Bridge” respectively. (Wei lichun, 2007)<br /> <br /> 关于广济桥有很多民间传说。其中一个传说是 &quot;仙佛造桥&quot;。即唐代韩愈到潮州后，为沟通两岸，请其侄子韩湘子等八仙与广济和尚搭桥。由于他的法力不济，中间一段无法接通。广济和尚与八仙之一的何仙姑，以莲花为巨缆，用18只梭子船连接起来。因此，这两座桥分别被称为 &quot;湘子桥 &quot;和 &quot;广济桥&quot;。(魏立春, 2007)<br /> <br /> The second legend is that Wang Yuan removed the strange stones. Wang Yuan was the magistrate of Chaozhou who presided over the large-scale bridge repair. He built “24 towers” on the bridge, which was known as “the first bridge in the south of the Yangtze River”. It was said that there were two strange stones on Hulushan mountain, which caused frequent fires and lawsuits in Chaocheng. So, he personally led people up the mountain, leading in smashing down two strange stones. Wang Yuan’s move not only dispelled people’s fear of strange stones, but also solved part of the stone for bridge repair. (Wei lichun, 2007)<br /> <br /> 第二个传说是，王源搬走了这些怪石。王元是潮州的县令，主持大规模的修桥工作。他在桥上建了 &quot;二十四塔&quot;，被称为 &quot;江南第一桥&quot;。据说，葫芦山上有两块怪石，在潮城经常引起火灾和官司。于是，他亲自带人上山，带头砸下了两块怪石。王元此举不仅打消了人们对怪石的恐惧，而且还解决了一部分修桥用的石头。(魏立春, 2007)<br /> <br /> The third legend is “Wu Fu Gong Ji Shui”. The Duke of Wu was the governor of Chaozhou in of Qing Dynasty. One year, because of the flood of Hanjiang River, Chaozhou City was in danger. He offered sacrifices to the water on the east gate and begged for the water to retreat. However, the water did not retreat. So, he indicated that he would live and die with the city. Strange to say, the flood receded at this time. Since then, people have set up his statue sacrifice in the east gate tower, and built a memorial archway in the East Bridge of Xiangzi bridge. (Wei lichun, 2007)<br /> <br /> 第三个传说是 &quot;吴福公治水&quot;。清朝时，吴国公是潮州的总督。有一年，由于韩江发大水，潮州城危在旦夕。他在东门祭祀水，求水退去。但是，水并没有退去。于是，他表示要与这座城市共存亡。说来奇怪，洪水在这个时候退去了。此后，人们在东门城楼上设立了他的塑像祭祀，并在湘子桥东桥头建了纪念牌坊。(魏立春, 2007)<br /> <br /> Many of China’s ancient and modern bridge science and technology have been in the forefront of the world’s bridge construction, and many bridge styles continue to have an impact on the world’s modern bridge construction. At the same time, it is a living treasure of cultural relics, recording a lot of precious information. (Wei lichun, 2007)<br /> <br /> 中国古代和现代的许多桥梁科学技术都走在了世界桥梁建设的前列，许多桥梁样式对世界现代桥梁建设继续产生着影响。同时，它也是一个活的文物宝库，记录了很多珍贵的信息。(魏立春, 2007)<br /> <br /> References<br /> *Shen Kun 沈坤. (2016). 中国古代四大名桥[Four famous bridges in ancient China]. 百姓生活People's life (07) 59-62. <br /> *Wei Wei 薇薇. (2016). 中国人必须知道的国学常识[The common knowledge of Chinese culture that Chinese people must know]. 雷锋 Lei Feng (Z1) 148-149. <br /> *Wei Lichun 魏丽春. (2007). 我国的四大名桥[Four famous bridges in China]. 新长征New Long March (08) 60. <br /> *Huang Jun 黄军. (1996). 我国风景名胜中的四大[Four famous scenic spots in China]. 农家之友 Friends of farmers (03) 46. <br /> <br /> Terms and expressions<br /> *石拱桥 stone arch bridge<br /> *望柱 baluster<br /> *桥基 settlement<br /> *泄洪 flood discharging<br /> *桥墩 pier<br /> *抱鼓石 drum-shaped stone block<br /> *华表 Chinese totem pillar<br /> *栏杆 balustrade<br /> *燕京八景 Eight Sights of Yanjing<br /> *启闭式桥梁 open-close bridge<br /> <br /> Questions<br /> #Which is is the oldest long-span stone arch bridge in China?<br /> #How many folklores are there about Guangji Bridge and what are they?<br /> #How long has Zhaozhou Bridge been there ?<br /> #Why did Li Chun use the flat arch style to build Zhaozhou Bridge?<br /> <br /> 问题<br /> #哪一座是中国最古老的大跨度石拱桥？<br /> #关于广济桥的民间传说有多少，它们是什么？<br /> #赵州桥的历史有多长？<br /> #李春为什么要用平拱的方式来建造赵州桥？<br /> <br /> =第八周 Session 9 Jan 11 11:30-13:00 - Architecture III: Four Great Pavilions 建筑：四大亭子=<br /> <br /> Presentation by Wei Yuxin 魏雨昕.<br /> <br /> A pavilion, a building style with great Chinese characteristics, is not only a place for passers-by to rest their feet, but also an important landscape building with garden art. At the foot of the mountains, by the lakeside and deep in the forest, we can always see pavilions that are half-hidden, and half-exposed, subtly adding colour to the landscape scenery. (Qian Long 2009, 50)<br /> <br /> 亭子，一种极具中国特色的建筑风格，不仅是路人歇脚的地方，也是具有园林艺术的重要景观建筑。在山脚下、湖边、森林深处，我们总能看到半隐半露的亭子，巧妙地给山水景色增添色彩。(钱龙 2009, 50)<br /> <br /> Where there are pavilions, there are stories, and there are four famous pavilions in China - the Old Drunkard Pavilion in Chuzhou, the Tao Ran Pavilion in Peking, the Ai Wan Pavilion in Changsha and the Hu Xin Pavilion in Hangzhou. All of them are famous for their poems and articles written by ancient writers and scholars. (Qian Long 2009, 50)<br /> <br /> 有亭子的地方就有故事，中国有四个著名的亭子--滁州的老醉亭、北平的陶然亭、长沙的爱晚亭和杭州的胡欣亭。所有这些亭子都以古代文人墨客的诗词和文章而闻名。(钱龙 2009, 50)<br /> <br /> The Old Drunkard Pavilion<br /> <br /> Zuiweng Ting, or the Old Drunkard Pavilion is located at the foot of the Langya Mountain in Chuzhou, Anhui Province. The Old Drunkard Pavilion was built in 1046 AD, the sixth year of the Northern Song Dynasty's reign of Emperor Renzong. This pavilion is the subject of a well-known work written by Ouyang Xiu, an essayist of the Song dynasty, called The Story of the Old Drunkard. (Liu Xuan 2012, 21)<br /> <br /> 老醉亭<br /> <br /> 醉翁亭位于安徽省滁州市琅琊山下。醉翁亭建于公元1046年，即北宋仁宗的第六年。这个亭子是宋代散文家欧阳修的著名作品《老酒鬼的故事》的主题。(刘璇 2012, 21)<br /> <br /> It is said that Ouyang Xiu was demoted to Chuzhou to serve as the prefect. Feeling indignant at the time, he devoted his soul into nature. He often came with friends and guests to Langya Mountain for fun, or to Langya Temple to drink wine and express their emotion. In order to give Ouyang Xiu a rest and a drink, the Langya Monastery monk Zhisian built this pavilion halfway up the mountain. The pavilion was named 'the Old Drunkard Pavilion' by Ouyang Xiu, who called himself “ the Old Drunkard”. (Liu Xuan 2012, 21)<br /> <br /> 据说，欧阳修被贬到滁州担任县令。当时他感到很愤慨，就把自己的灵魂投入到大自然中。他经常和朋友、客人一起到琅琊山游玩，或到琅琊寺饮酒，抒发情感。为了让欧阳修休息喝酒，琅琊寺僧人智贤在半山腰上建了这个亭子。欧阳修自称 &quot;老酒鬼&quot;，将此亭命名为 &quot;老酒鬼亭&quot;。(刘璇 2012, 21)<br /> <br /> The pavilion has a compact layout with small, unique pavilions that are characteristic of the gardens of the south of the Yangtze River, and although the total area of the pavilion is less than 1, 000 square metres, there are nine buildings——the Old Drunkard Pavilion, Bao Song Zhai, Feng Gong Ancestral Hall, Ancient Plum Blossom Pavilion, Shadow Fragrance Pavilion, Yi Zai Pavilion, Fear Pavilion, Ancient Plum Blossom Pavilion, and the View Terrace——of different styles, and are known as the “Nine Views of the Old Grunkard Pavilion”. (Liu Xuan 2012, 21)<br /> <br /> 亭子布局紧凑，亭子小巧别致，是江南园林的特色，虽然亭子的总面积不到1，000平方米，但有九座建筑--老醉亭、 宝松斋、冯公祠、古梅亭、影香亭、怡情亭、畏惧亭、古梅亭、观景台这九座风格各异的建筑，被称为 &quot;老醉亭九景&quot;。(Liu Xuan 2012, 21)<br /> <br /> Although the Old Drunkard pavilion has been plundered many times over the centuries, it still inviting to people. Today, the thousand-year old scenery here is even more spectacular and alluring. (Liu Xuan 2012, 21)<br /> <br /> 尽管几百年来，老醉翁亭被掠夺了多次，但它仍然吸引着人们。今天，这里的千年风景更加壮观，更加诱人。(刘璇 2012, 21)<br /> <br /> Tao Ran Pavilion<br /> <br /> The Tao Ran Pavilion in Peking was built in 1695, the 34th year of Emperor Kangxi's reign in the Qing dynasty, by Jiang Zao, who then served in the Ministry of Public Works. Jiang Zao named the pavilion after Bai Juyi's poem, &quot;Waiting for the chrysanthemum to ripen, we get drunk in blitheness&quot;. This small pavilion is quite popular among ancient writers. (Qian Long 2009, 50)<br /> <br /> 陶然亭<br /> <br /> 北京的陶然亭建于清康熙三十四年（1695年），由当时在工部局任职的江藻建造。江藻以白居易的诗句 &quot;静待菊花开，醉卧沙场 &quot;来命名该亭子。这个小亭子在古代文人中颇受欢迎。(钱龙 2009, 50)<br /> <br /> The modern Taoran Pavilion is a new modern urban garden that integrates ancient architecture and modern gardening art, highlighting the Chinese national pavilion culture as its main content. In the garden, there are verdant trees, lush flowers and grasses, jagged buildings and pavilions. On the Mid-lake Island, there are Jinqiu dun, Swallow Head Hill, and Tao Ran pavilion into a tripod. On top of Jinqiu dun there is Jinqiu pavilion, the site of which was the site of the Flower Fairy Shrine. At the southern foot of the pavilion, there is Rose Hill, which is the site of the original incense mound, the parrot mound and the tomb of the golden flower. (Chang Yi 2007, 60)<br /> <br /> 现代陶然亭是一个集古代建筑和现代园林艺术为一体的新型现代城市园林，突出了中国民族亭子文化为主要内容。园内树木葱茏，花草茂盛，楼台参差，亭台楼阁。在半湖岛上，有金秋墩、燕子头山、陶然亭成鼎足之势。金秋墩顶上有金秋亭，其遗址为花仙子祠堂。亭子的南麓有玫瑰山，是原香冢、鹦鹉冢和金花墓的遗址。(Chang Yi 2007, 60)<br /> <br /> In the quiet pine forest at the foot of the northern pavilion, there are the tombs of Gao Junyu and Shi Pingmei, which are famous. At the top of Swallow Head Hill, there is the Green View Pavilion, which is opposite the Jinqiu Pavilion, and at the southwest of the pavilion, there is the Chengguang Pavilion, which is the most suitable place to look at the lake and the mountains. (Qian Long 2009, 50)<br /> <br /> 在北亭脚下幽静的松林里，有高君宇和石评梅的墓，很有名。燕子头山顶有绿景亭，与金秋亭相对，亭西南有承光亭，是最适合看湖光山色的地方。(钱龙 2009, 50)<br /> <br /> Ai Wan Pavilion<br /> <br /> The Ai Wan Pavilion is located in the Qingfeng Gorge at the foot of Mount Yuelu in Hunan Province, and is surrounded by mountains on three sides. The pavilion was built in 1792 by Luo Dian(罗典), Dean of the Yuelu Academy, and was originally called the Red Leaf Pavilion. It was later renamed by Bi Yuan(毕沅), Governor of Hunan and Guangzhou Province, based on a poem by Du Mu(杜牧), a poet of the Tang Dynasty, which reads, &quot;The stone paths of the cold mountains are steep, and there are homes in the depths of the white clouds. Sitting on the Maple Forest in the evening, the frost leaves turn red in the February flowers&quot; (&quot;Mountain Journey&quot;). (Qian Long 2009, 50)<br /> <br /> 爱晚亭<br /> <br /> 爱晚亭位于湖南省岳麓山下的清风峡中，三面环山。该亭由岳麓书院院长罗典建于1792年，原名为红叶亭。后来由湘粤两省总督毕沅根据唐代诗人杜牧的诗句 &quot;寒山石径斜，白云深处有人家。枫林晚坐，霜叶红于二月花&quot;（《山行》）。(钱龙 2009, 50)<br /> <br /> After many major repairs in the reign of Tongzhi, Guangxu, Xuantong, and in Republic of China and after the founding of the People's Republic of China, it comes into its pattern today. The shape of the pavilion is eight columns with heavy eaves, glazed glass and blue tiles, the corner of the pavilion is flying, and it looks like flying from a distance. The inside is pillar in lacquer while the outside are four stone pillars made by granite. (Chang Yi 2007, 60)<br /> <br /> 经过同治、光绪、宣统年间，以及民国时期和建国后的多次大修，才有了今天的格局。亭子的形状是八柱重檐，琉璃青瓦，亭子的一角是飞天的，从远处看就像在飞。里面是漆器的柱子，外面是花岗岩做的四个石柱。(Chang Yi 2007, 60)<br /> <br /> Apart from painted caisson ceiling, there are gilt lettering &quot;Ai Wan Pavilion&quot; on a red background on the east and west sides of the pavilion, which was made by handwriting written by Mao Zedong, at the request of Li Da, the then president of Hunan University. The pavilion is surrounded by hills on three sides, and is open to the east, with a flat vertical and horizontal space of more than 33 metres, with purple and lush greenery and uninterrupted flowing springs. There is a pond in front of the pavilion, with rows of peach and willow trees. There are maple trees all around, with red leaves all over the mountains in late autumn. (Chang Yi 2007, 60)<br /> <br /> 除了彩绘沉箱顶，亭子的东西两侧还有红底鎏金字 &quot;爱晚亭&quot;，这是毛泽东应当时湖南大学校长李达的要求，亲手写的。亭子三面环山，东面开阔，纵横平坦，有33米多的空间，紫气东来，绿意盎然，流泉不息。亭子前面有一个池塘，有一排桃树和柳树。周围都是枫树，深秋时节红叶满山。(张怡 2007, 60)<br /> <br /> Hu Xin Pavilion<br /> <br /> Hu Xin Pavilion, or Mid-lake Pavilion is situated in the centre of the West Lake in Hangzhou, Zhejiang. Initially known as &quot;Zhenlu Pavilion&quot;, and &quot;Qingxi Pavilion&quot;, it was built in the 31st year of Jiajing in the Ming Dynasty (1552 AD) and was renamed “Hu Xin Pavilion” after the Ming Dynasty. (Qian Long 2009, 50)<br /> <br /> 湖心亭<br /> <br /> 湖心亭，或称半湖亭，位于浙江杭州西湖的中心地带。最初被称为 &quot;镇庐阁&quot;、&quot;清溪阁&quot;，建于明朝嘉靖三十一年（公元1552年），明朝以后改称 &quot;湖心亭&quot;。(钱龙 2009, 50)<br /> <br /> The pavilion is built looking like a tower and is surrounded by water on all sides. When you look around, not only does the lake ripple, but also the mountains stand like a screen enveloping it. The west side of the pavilion is the south and north peaks of the West Lake, which is very spectacular. (Qian Long 2009, 50)<br /> <br /> 亭子建成后看起来像一座塔，四面都是水。环顾四周，不仅湖水荡漾，而且群山矗立，如屏风般将其笼罩。亭子的西侧是西湖的南峰和北峰，非常壮观。(钱龙 2009, 50)<br /> <br /> It is one of the 18 scenes of West Lake in Qing Dynasty. Yongzheng wrote in his Records of the West Lake: the pavilion is in the centre of the lake; in the past there was a temple and outside it were three towers, which both were destroyed in the reign of Ming Xiaozong. County said: outside the temple were three towers, while only the north tower conserved, upon which a pavilion was built, that is the Mid-lake Pavilion; the old base of the temple was rebuilt as De Sheng Hall, a place to release. According to this, the old Hu Xin Temple was the current Release Pond, and the present Hu Xin Pavilion was the base of the north tower among the other three. (Chang Yi 2007, 60)<br /> <br /> 这是清代西湖十八景之一。雍正在《西湖记》中写道：亭在湖心，昔有寺，外有三塔，明孝宗时皆毁。县志》说：寺外有三塔，而只有北塔保存下来，在其上建有一亭，即半湖亭；寺的旧基重建为德胜堂，是放生的地方。据此，旧的湖心寺就是现在的放生池，而现在的湖心亭就是其他三座中的北塔基。(Chang Yi 2007, 60)<br /> <br /> The Qing emperor Qianlong once inscribed a plaque on the pavilion with the inscription &quot;Quietly observe the world&quot;(“静观万类”) and the couplet &quot;Waves surge and the lake is far away, the mountains prompt the water is deep&quot;(“波涌湖光远, 山催水色深”). Besides, the inscription on the pavilion's pillars by Hu Laichao(胡来朝) is worth mentioning: “The four seasons are filled with music and songs, and the poor are still grieving over the moon; the six bridges are filled with flowers and willows, and there is no room for mulberry and hemp. ” The meaning is even more profound to the visitor. (Qian Long 2009, 50)<br /> <br /> 清朝乾隆皇帝曾在亭子上题写了 &quot;静观万类 &quot;的匾额和 &quot;波涌湖光远，山催水色深 &quot;的对联。此外，值得一提的是胡来朝在亭子的柱子上的题字： &quot;四时笙歌，穷愁尚月；六桥花柳，桑麻无间。&quot; 对游客来说，其意义更加深远。(钱龙 2009, 50)<br /> <br /> Terms and Expressions<br /> *The Old Drunkard Pavilion 醉翁亭<br /> *Nine Views of the Old Drunkard Pavilion 醉翁九景<br /> *Tao Ran Pavilion 陶然亭<br /> *glazed glass and blue tiles 琉璃碧瓦<br /> *Ai Wan Pavilion 爱晚亭<br /> *Mountain Journey 《山行》<br /> *Hu Xin Pavilion/ Mid-lake Pavilion 湖心亭<br /> *County 《县志》<br /> <br /> Questions<br /> #Which pavilion is named by the poem of Du Mu？<br /> #When Did “Hu Xin Pavilion” well established its name?<br /> #Which pavilion is located in Peking?<br /> #Where can we enjoy maple trees in Autumn among the four pavilions?<br /> #What do you think is the Old Drunkard Pavilion famous for?<br /> <br /> 问题<br /> #哪个亭子是由杜牧的诗命名的？<br /> #&quot;湖心亭 &quot;是什么时候定名的？<br /> #哪个亭子位于北京？<br /> #在四个亭子中，我们在哪里可以欣赏到秋天的枫树？<br /> #你认为老醉翁亭以什么闻名<br /> <br /> References<br /> *千龙. 中国四大名亭[J]. 兵团建设, 2009(14):50. <br /> *刘璇. 醉翁亭以中国“四大”名亭之一天下第一亭大文学家欧阳修《醉翁亭记》名声享誉中华[J]. 中国地名, 2012(09):20-21. <br /> *常翼. 我国的四大名亭[J]. 新长征, 2007(06):60. <br /> *https://mp. weixin. qq. com/s/slU9b2notV9xKekROxCZuw<br /> *https://baike. so. com/doc/6569739-6783501. html<br /> *https://baike. so. com/doc/5632595-5845219. html<br /> <br /> 老师的展示 Teacher's presentation<br /> <br /> [[Media:06_Chin_Cult_Archi.pptx]]<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 read both chapters about architecture (p.53 and 60 of our textbook)<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> https://ks.wjx.top/vm/Pm7huWu.aspx<br /> https://ks.wjx.top/vm/hILIIgT.aspx#<br /> <br /> ==展示 Presentations==<br /> <br /> ===建筑 Architecture===<br /> <br /> 夏颖姗 建筑 Architecture [[ Media:Chinese_Architecture.pdf|Architecture]]<br /> <br /> ===紫禁城 Architecture: The Forbidden City===<br /> <br /> 吴凯庭 紫禁城 Architecture: The Forbidden City [[Media:forbidden_city_architecture.pptx|Architecture:The Forbidden City]]<br /> <br /> 老师的展示 Teacher's presentation<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 read the chapter about bridges (p.69 our textbook)<br /> <br /> 2. 填多选题线上测试 Complete the quiz https://ks.wjx.top/vm/wHNLZyi.aspx#<br /> <br /> ==展示 Presentation==<br /> <br /> ===建筑:中国四大名桥 Architecture: Four Famous Bridges===<br /> <br /> [[Media:four_famous_bridges2.pptx|Architecture: Four Famous Bridges]]<br /> <br /> =第九周 Session 9 Jan 11 11:30-13:00 - 中国产出日式文化出品 (China produces Japanese-style products)=<br /> <br /> Today's topic is presented by the student ......<br /> <br /> ==Abstract==<br /> <br /> 最近几年里，中国有通过越来越受欢迎的电脑游戏类——抽卡游戏——扩大文化影响力。本论文简介该游戏的历史，风格和影响力。<br /> <br /> ==Key words==<br /> <br /> 抽卡游戏，动漫，电脑游戏， 中国文化影响<br /> <br /> ==引言==<br /> <br /> 过去几十年里，中国确实成为了世界上最大的经济强国之一。同时，中国正在努力赢得西方观众的喜爱——与之相邻的国家，尤其是韩国和日本，对其他国家的文化产生了诸多影响。寿司和清酒是在世界范围内广为人知的食物，韩式烤肉和泡菜也越来越受欢迎。围绕日本漫画和动漫，以及韩国流行音乐，都形成了大型亚文化。然而，中国唯一出名的似乎却是越南餐厅，具有讽刺意味。总之，本文将简介中国开始在年轻人中建立影响力的新途径。<br /> <br /> ==中国在电脑游戏产业的成绩==<br /> <br /> 毫无疑问，电子游戏是一个产生数十亿美元收入并吸引数亿消费者的庞大产业。毫不意外的是，中国决定进去这个行业，并且可以预料，中国的作品受到了其他西方作品的很大影响——例如《黑神话：悟空》就模仿了《黑暗之魂》系列，或者《王者荣耀》是《英雄联盟》的手机版本。这两款游戏的主要角色直接基于中国民间传说和古典文学，以吸引中国观众。然而，这两款游戏在海外并未取得太大成功。<br /> <br /> ==抽卡游戏==<br /> <br /> 与此同时，在日本出现了一种蓬勃发展的游戏类型，即所谓的抽卡游戏，最著名的例子包括《命运/冠位指定》、《碧蓝档案》和《白猫Project》。这些游戏的一般前提是游戏玩法相当简单且免费，因此适合休闲玩家。它们的主要卖点通常是通过抽卡系统获得众多角色。玩家可以使用游戏内货币或真实货币购买抽卡，有机会获得随机的角色或装备，而其可获得性通常是有时间限制的。与此同时，抽卡游戏一般拥有每日奖励系统，鼓励玩家每天登录，由此游戏逐渐渗透玩家的平日生活。<br /> <br /> 这些游戏不仅非常赚钱（有的在几年内赚数十亿美元的收入），而且迎合了最大的游戏受众——手机游戏玩家。最初的中国大型游戏作品受到了日本动漫文化的很大启发，例如《碧蓝航线》对此影响最大。新近的作品如《原神》、《崩坏：星穹铁道》或《幻塔》似乎更大胆地融合了不同文化，直接引入了中国元素——角色取名为中国名字，其故事基于中国传说，设计涉及各种中国少数民族的传统服饰。以下是一些很好的例子：《原神》中的云堇是一位中国戏曲歌手，《星穹铁道》中的青雀的游戏机制围绕着麻将展开，以及《幻塔》中的榴火，其战斗风格围绕着书法展开。所有这些角色生活在以独特中国风景为基础的地点，例如《原神》的璃月，《幻塔》的第九区，或《崩坏：星穹铁道》的仙舟罗夫。<br /> <br /> ==中国产生抽卡游戏的特别文化风格==<br /> <br /> 这些游戏仍然面向普通的动漫受众，这导致了一个有趣的文化混合——不仅需要重新诠释和调整中国元素以适应日本动漫审美，甚至连日文配音也被推为最推荐的选择，而非中文配音，即使是针对以中国为基础的角色。事实上，每当在《原神》中介绍一个新角色时，英文媒体都会包括英文和日文配音演员，但没有中文配音演员，即使是针对以中国为基础的角色。这不仅使得这些游戏中对中国的描绘高度扭曲了日本文化，还被重新调整以迎合西方观众的喜好。这样的最终产品既不完全是中国风格，也不是日本风格或西方风格，而是将所有这些文化的一部分融合在一起，以符合那些非常容易受文化影响的人群的口味<br /> <br /> <br /> （泊语丰）在介绍游戏中的各种中国元素时，可以举一些更具体的例子。<br /> <br /> ==结论==<br /> <br /> 总的来说，中国产生抽卡游戏是三个不同的文化的融合。由于这种特别的文化风格闻名于世，并且有效地把中国文化推广到西方关注。虽然对于中国抽卡游戏文化影响的程度还没有确切的数据，但毫无疑问，这是一个值得研究的话题，而这些游戏的商业和媒体成功是不可否认的。<br /> <br /> （泊语丰）结论太简单了，缺少主要的内容。<br /> <br /> ==参考资料==<br /> <br /> Adams Matthew 2022 &quot;Tech Otakus Save The World? Gacha, Genshin Impact, and Cybernesis&quot; British Journal of Chinese Studies, Vol. 12.2, July 2022<br /> Woods Orlando 2022 &quot;The Economy of Time, the Rationalisation of Resources: Discipline, Desire and Deferred Value in the Playing of Gacha Games&quot; Games and Culture, 17(7–8), 1075–1092<br /> Kirkpatrick Graeme 2013 &quot;Computer Games and the Social Imaginary&quot; Cambridge UK: Polity Press; 2013.<br /> <br /> ==问题==<br /> <br /> 1.为什么以前中国版的电脑游戏没有获得海外成功？<br /> 2.抽卡游戏用什么方法吸引大众用户？<br /> 3.中国产抽卡游戏风格的特点是什么？<br /> <br /> =第十周 Session 10 Jan 25 11:30-13:00 - 中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals.=<br /> <br /> Student presentation [[Media:Animal_Symbolism.pptx]] [[Media:Animal_Symbolism_Part2.pptx]] [[Media:Animal_Symbolism_Part3.pptx]] [[Media:Animal_Symbolism_Part4.pptx]] by Yan Li<br /> <br /> Comparison of the Chinese and foreign symbolic meaning of the same animal<br /> ==摘要 Abstract==<br /> <br /> 从古到今，动物是中国文化不可缺少的象征。中国的艺术、神话与小说都包括动物的象征，而且每只动物的含义不同。<br /> <br /> ==关键词 Key Words==<br /> <br /> 中国文化、象征、动物、兔子、猴子、猪<br /> <br /> ==引言 Introduction==<br /> <br /> 中国的文化丰富多彩，难怪很多人都不知道中国文化中隐藏的象征。中国人相信有些象征可以给他们带来幸福，让他们发财，但有的也可以带来厄运。动物是一种中国文化中的象征。在中国的艺术里可以看见很多不同的动物，比如：鱼、鹤、龙等等，而且它们的含义都不一样。古代时，中国人信奉泛灵论， 许多古代人相信不同的动物有不同的神力。另外，中国所谓“四象”包括四个动物：青龙、白虎、朱雀与玄武 （Feng Jinquan 2012）。在中国文化中动物象征占有特别的位置。<br /> <br /> ==兔子 Hare==<br /> <br /> 兔子在中国是具有象征主义的一只动物。因为兔子的样子很可爱，所以在中国人心里它是一只可爱与乖巧的动物。 古代时， 兔子代表月亮。 众所周知，在月亮月兔陪美丽的嫦娥当她的宠物（Li Tingyu 2011，32）。 这个故事让我们意识到中国人以兔子为纯洁、和蔼和吉祥的象征（Bansal Deepika &amp; Mahesh Kumar Mishra 2023，23）。 按照一些文章，在兔子的世界没有雄兔，它们通过舔新发芽的植物芽而怀孕。 它用特别的方式来分娩幼崽 -- 把它们从嘴里吐出来（Eberhard, Wolfram 1986, 166）。 在不同的文化里兔子有不同的象征意义，由于天主教的影响，在西方文化里，它的象征意义是生育力和幸福感，且大多数西方人一想到兔子就会想起来复活节。<br /> <br /> ==猴子 Monkey==<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征。在中国文化里，猴子是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 从前，在中国的南部建设很多崇拜神猴的寺庙，而且它们被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这意味着中国文化中猴子占据较高位置。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。之所以如此搭配，是因为一对同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义 (Li Tingyu 2011, 33) 。<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征的例子。中国文化里猴子就是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 之前，在中国的南部建设很多崇拜神猴的寺庙，而且它被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这就强制中国文化中猴子的高位。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。为了明白这张图片的意思，我们要看同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义 (Li Tingyu 2011, 33) 。(柯之川： 在其他文化中它有什么意义呢？）<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征的例子。中国文化里猴子就是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 旧时，在中国的南部建设很多崇拜神猴的寺庙，而且它被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这就意味着中国文化中猴子的高位。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。为了明白这张图片的意思，我们要看同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义。在西方文化中猴子代表灵活与机智，于是它的含义和中国文化中的含义差不多。<br /> <br /> ==猪 Pig==<br /> <br /> 猪在很多不同的文化中都是一个有负面意义的象征，但在中国文化中它的意义比较中立。从古时起，猪代表着繁荣和吉祥 （Bansal Deepika &amp; Mahesh Kumar Mishra 2023，32），可是猪也可以代表随和。太随和和不太随和都不好，只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）。 不过，在现代中国文化中猪也有负面的意义，而且经常用于骂人懒、丑或笨。《西游记》的猪八戒也是一个既笨又懒的角色，而且它很贪吃，于是它经常被嘲笑（Li Tingyu 2011, 32）。 虽然我们都知道幽默可爱的佩奇，可是对西方人来说猪没有好的意义，相反，它跟污垢有关，于是也可以用作骂人的词。<br /> <br /> <br /> 太随和和不太随和都不好，只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）（柯之川：太随和为什么不好？不太随和为什么不好？）<br /> <br /> 太随和和不太随和都不好，因为不太随和，就太忠诚了，可能会排斥别人。一个人太随和就没有忠诚，而且会比较容易失去原则，所以只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）。<br /> <br /> ==结论 Conclusion==<br /> <br /> 从古至今，中国文化中的动物象征都具备很重要的位置。我们不但可以在艺术中看见它们，而且许多也是有名小说中的角色。每只动物都有不少含义，有的跟其他文化差不多，有的完全不一样。由此，明白象征的含义让我们更了解一个国家的文化，而且也让我们更了解语言中的一些俗语。<br /> <br /> ==参考资料 References==<br /> <br /> 1. Bansal, Deepika &amp; Mahesh Kumar Mishra, 2023. Study of Animals Symbolism of Human Traits in Chinese Zodiac. HANS SHODH SUDHA 3 (3), 23-32.<br /> <br /> 2. Eberhard, Wolfram, 1986. A Dictionary of Chinese Symbols. Hidden Symbols in Chinese Life and Thought. Routledge, 166-234.<br /> <br /> 3. Feng Jinquan 冯金泉, 2012. 中国古代四大神兽. Takungpao 128.<br /> <br /> 4. Li Tingyu 李婷玉, 2011. 汉语动植物词汇文化内涵浅析. 文学语言学研究, 32-33.<br /> <br /> 5. Suhardi, 2018. 中国印尼吉祥动物喻体对比浅析. 首届东南亚“汉语+”国际研讨会, 96.<br /> <br /> ==生词 Terms and Expressions==<br /> <br /> 四象 The Four Symbols<br /> <br /> 泛灵论 Animism<br /> <br /> 雄性 male<br /> <br /> 分娩 (of animals) give birth to the young<br /> <br /> 幼崽 young (of an animal)<br /> <br /> ==问题 Questions==<br /> <br /> 1. 中国文化中的四象包括哪些动物？<br /> <br /> 2. 按照有些文章，兔子如何怀孕？<br /> <br /> 3. 在中国文化中哪个角色把自己称呼“齐天大圣”？<br /> <br /> 4. “马上疯猴”的意思是什么？<br /> <br /> 5. 哪个动物负面的意义可以用作骂人？<br /> <br /> =第十周 Session 10 Jan 25 11:30-13:00 - Part 2： 中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People)=<br /> <br /> Student presentation [[Media:Lucky_numbers.pptx]] by Kang Mingjie<br /> <br /> ==摘要 (Abstract)==<br /> <br /> 在中国人信仰中有些数字可以给他们带来幸运或者不好运。这种迷信跟同音有关，而且我们可以看到数字对生活的不同方面的影响。<br /> <br /> ==关键词 (Key words)==<br /> <br /> 数字，幸运，吉利，迷信，电话号码，车牌号，同音。<br /> ==引言 (Introduction)==<br /> <br /> 世界充满许多神秘的事情。人们的能力是有限的，因此有一些事情的存在我们就无法解释。人喜欢或者害怕数字就是难以解释现象之一。数字对人们生活的各个方面有绝对的影响。值得注意的是全球不同地方的人有自己吉利和不吉利的数字，比如西方人最怕的数字就是13，而中国人认为4会带来厄运。说到吉利的数字，欧洲人除了13以外，其他的都喜欢，同时中国人最喜欢的数字为8。人们为何给这几个数字特殊的意义？下面我会介绍中国人喜欢和避免的数字，而且其对中国人生活的影响。<br /> <br /> ==四 (Number four)==<br /> <br /> 对人类来说，最可怕的事情就是死亡。避免4的现象，就跟这个事实有关。说普通话时，4同音“死”（Dong Xiawei &amp; Lu Kewen 2013, 100)，粤语中14的发音跟“要死”一样，而且24的发音就像“易死”差不多（Tse Andrew Yau Hau 2015, 6)。既然死亡不算愉快的事，在中国人的信仰中，4也应该是吸引厄运的，所以他们不仅不愿意自己的电话号码包含4，而且也不愿意4月4日结婚（Dong Xiawei &amp; Lu Kewen 2013,101）。中国的航空，比如属于海南航空机队的所有飞机里没有第4和第14的座位（海南航空网站）。中国城市里的高楼通常没有第4层和其他包括4数字的层（ Tse Andrew Yau Hau 2015, 9)。如果在第4层有房子，中国人常常不会租或者买这种房子。<br /> <br /> == 八 (Number eight)==<br /> <br /> 在中国人信仰中，8是最吉利的数字。中国人之所以喜欢8，因为8同音“发”，“发财”的“发”(Dong Xiawei &amp; Lu Kewen 2013, 100)。谁都愿意发财，所以越多8越好。2008年的奥林匹克运动开幕式8月8日晚上8:08:08开始了（Tse Andrew Yau Hau 2015, 9)。这的确给中国带来了好运，因为中国运动员得了最多金牌。中国人选择车牌号或者电话号码的时候，总是看里面有多少“8”。有许多证据证明这种情况，比如按照纽约时报(May Tiffany 2020)的报告，2020年为了买包含五个“8”的电话号码，一个人花了大概3万25千美元，而且根据统计，北京大部分的车辆有包含“8”或者别的吉利的数字的车牌号（Jaffe Eric 2015）。除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比其他的房子贵235元每平米 (Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116)。<br /> <br /> 除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比贵 （麻亮：多少？）（Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116)。<br /> <br /> 除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比贵 (Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116), 比如在成都这样的房子比其他的房子贵235元每平米。<br /> <br /> == 六与九(Numbers six and nine)==<br /> <br /> 除了8以外，还有6和9这两个幸运数字。6同音“流”，这意味着一切都会很顺利，而9同音“久”（Na Sun &amp; Schneider Thomas 2010:3)。许多新婚夫妇会9月9日（或者别的包括9的日期）结婚。2009年9月9日在北京大约18千对夫妇结婚了（May Tiffany 2020)。有时候为了增加幸运人们会使用幸运数字的结合。2014年在纽约证券交易所阿里巴巴集团的首次公开募股为68美元，因为他们相信这可以带来两倍大的幸运（Cnbc 2014)。<br /> <br /> <br /> 除了8以外，还有6和9这两个幸运数字。6同音“流”，这意味着一切都会很顺利，而9同音“久”（Na Sun &amp; Schneider Thomas 2010:3)。许多新婚夫妇会9月9日（或者别的包括9的日期）结婚。(麻亮：为什么？）<br /> <br /> 许多新婚夫妇会9月9日（或者别的包括9的日期）结婚，因为他们相信如果婚礼的日子中有“9”，他们肯定会永远在一起。<br /> <br /> == 结论 (Conclusion)==<br /> <br /> 相信数字的力量是否属于传统文化还是迷信，也是有争议的一点，但无论如何，上面这几个例子让我们看到了数字对人类的生活有多大的影响，甚至我们也常常意识不到数字能成为那么多事情的决定因素。<br /> <br /> ==参考资料 References==<br /> <br /> Dong, Xiawei [&amp;] Kewen Lu (2013). Lucky Number Effect on Chinese Marriage. Conference: Proceedings of The First Summit Forum of China's Cultural Psychology, 100-105. <br /> <br /> Jaffe, Eric (2015.09.28). How Chinese Superstition About the Number 4 Makes Beijing Traffic Worse. Bloomberg [Online]. &lt; https://www.bloomberg.com/news/articles/2015-09-28/chinese-superstition-about-the-unlucky-number-4-makes-beijing-traffic-congestion-worse&gt; [03.07.2023].<br /> <br /> May, Tiffany (2020.08.17). Defendant’s Luck Runs Out. But the Lucky Phone Number Fetches $325,000. The New York Times [Online]. &lt; https://www.nytimes.com/2020/08/17/world/asia/china-lucky-phone-number.html&gt; [03.07.2023].<br /> <br /> Na, Sun [&amp;] Thomas Schneider (2010). The use of ‚lucky’ numbers in the pricing of Chinese A-share initial public offerings. SSRN Electronic Journal, 1-52. <br /> <br /> Shum, Matthew, Wei Sun [&amp;] Guangliang Ye (2013). Superstition and ’lucky’ apartments: Evidence from transaction-level data. Journal of Comparative Economics 24, 109-117. <br /> <br /> Tse, Andrew Yau Hau Tse (2015). To Be or Not to Be Superstitious—That’s the Question. Procedia - Social and Behavioral Sciences 208, 5-12. <br /> Why Alibaba’s $68 is a lucky number. (2014.09.18). CNBC [Online]. &lt; https://www.cnbc.com/2014/09/18/why-alibabas-68-is-a-lucky-number.html&gt; [03.07.2023].<br /> <br /> ==生词 (Terms and Expressions)==<br /> <br /> 幸运数字 auspicious numbers<br /> <br /> 同音 be homonymic<br /> <br /> 首次公开募股 IPO (Initial Public Offering)<br /> <br /> 车牌号 number of license plate<br /> <br /> 迷信 superstition<br /> <br /> ==问题 (Questions)==<br /> <br /> 1. 2014年在纽约证券交易所阿里巴巴集团的首次公开募股为什么是$68？<br /> <br /> 2. 为什么中国人喜欢8？<br /> <br /> 3. 为什么中国人避免4？<br /> <br /> 4. 2020年为了买包含五个“8”的电话号码，有人花了多少钱？<br /> =第十一周 Session 11 Jan 25 11:30-13:00 - Part 3: 中国摇滚乐的形成 Development of Chinese Rock Music=<br /> ==摘要 Abstract==<br /> 文化大革命之后，中国的艺术，包括音乐，经过了大量变化。新的流派出现了，音乐家找到新的方法发挥自己的创造性。摇滚乐在80年代后半叶非常流行，属于这些流派其中之一。我想介绍中国摇滚乐是怎么出现的，以及摇滚乐与其他音乐流派的区别是什么。<br /> <br /> ==关键词 (Key words)==<br /> 中国音乐，通俗音乐，摇滚乐，崔健<br /> <br /> ==前言 (Introduction)==<br /> 1976年，毛泽东去世之后，文化大革命结束了。这一事件标志着迅速变化的开始。这些变化不仅涉及政治，经济等方面，而且还对文化，艺术各个领域产生了重大的影响。从那时候开始，艺术家可以享受的创作自由比以前更多，因而出现了许多绘画，摄影以及音乐的新趋势。我想介绍的话题就是中国现代音乐，特别是摇滚乐，它的起源和发展。<br /> <br /> ==中国流行音乐 (Chinese popular music)==<br /> <br /> 按照 Timothy Lane Brace (1992) 的论文，中国人使用三个术语来定义民众当中最普及的音乐风格。这些术语包括：“流行音乐”，“通俗音乐”以及“轻音乐”。它们都表示从西方音乐中汲取一些元素的中国音乐，但同时也有一些区别。“轻音乐”界定中国民间音乐或者传统音乐，配以西方流行音乐的伴奏，而“流行音乐”和“通俗音乐”是被年轻人使用的词，定义于 20世纪在中国出现的音乐风格。“流行音乐”这个术语从 30年代到 40年代最常使用，描述毛泽东时期之前创造的风格，而“通俗音乐”指的是文化大革命结束后创造的风格。“通俗音乐”可以分为三个最主要的流派：“港台乐”，“西北风”以及“摇滚乐”。“港台乐”起源于香港和台湾，70. 年代末传到中国大陆。它的旋律即平稳又简单，歌词的主题一般是浪漫的爱情，很像西方的流行歌 (Brace 1992: 137-138)。“西北风”跟寻根现象有关：80年代中期，在艺术界出现了寻找中国文化根源的倾向，因为大革命的时候，中国文化的根源遭到了很严重的损失。“西北风”音乐家的灵感来自中国西北地区的传统民歌，他们用中国的传统乐器，歌词会提起对家乡的爱的话题 (Brace 1992: 147-149)。不过与此同时，在这种音乐中可以听到许多西方摇滚乐的特点，比如：很快的节奏，猛烈的旋律和强劲的低音线 (Zhao 2010: 44). 但是我们可不可以把“西北风”当作中国摇滚乐的原型？<br /> <br /> （吴凯庭 - Timothy Lane Brace （1992，？）没有准确的参考。）<br /> <br /> 按照 Timothy Lane Brace (1992: 134) 的论文，中国人使用三个术语来定义民众当中最普及的音乐风格。这些术语包括：“流行音乐”，“通俗音乐”以及“轻音乐”。它们都描述从西方音乐中汲取一些元素的中国音乐，但同时也有一些区别。“轻音乐”界定中国民间音乐或者传统音乐，配以西方流行音乐的伴奏，而“流行音乐”和“通俗音乐”是被年轻人使用的词，定义于 20世纪在中国出现的音乐风格。“流行音乐”这个术语从 30年代到 40年代最常使用，描述毛泽东时期之前创造的风格，而“通俗音乐”指的是文化大革命结束后创造的风格。“通俗音乐”可以分为三个最主要的流派：“港台乐”，“西北风”以及“摇滚乐”。“港台乐”起源于香港和台湾，70. 年代末传到中国大陆。它的旋律即平稳又简单，歌词的主题一般是浪漫的爱情，很像西方的流行歌 (Brace 1992: 137-138)。“西北风”跟寻根现象有关：80年代中期，在艺术界出现了寻找中国文化根源的倾向，因为大革命的时候，中国文化的根源遭到了很严重的损失。“西北风”音乐家的灵感来自中国西北地区的传统民歌，他们用中国的传统乐器，歌词提起对家乡的爱情的话题, (Brace 1992: 147-149)。不过与此同时，在这种音乐中可以听到许多西方摇滚乐的特点，比如：很快的节奏，猛烈的旋律和强劲的低音线 (Zhao 2010: 44). 但是我们可不可以把“西北风”当作中国摇滚乐的原型？<br /> <br /> ==西北风和摇滚乐的区别 (Differences between xibeifeng music and rock music)==<br /> <br /> T. Brace (1992: 162) 指出，西北风和摇滚乐出现的时间大致相同。刚听的时候，人们往往把摇滚乐与西北风混为一谈，因为它们的声音即使不完全相同，也确实非常相似。中国摇滚乐的起源可以追溯到 1985 年：当时，一位叫崔健的音乐家，被誉为中国摇滚乐的先驱，发行了第一张唱片 (Zhao 2010: 35)。因为他走的旋律很类似北方的民谣，他被听众视为西北风的音乐家，然而自己强烈反对这样的说法，自称创作纯粹的摇滚乐。那这两种流派有什么区别？最主要的区别不是涉声音的，是涉及意识形态的。那是不是政治的参与作中国摇滚乐的特点？大多人认为崔健最有名的一首歌，《一无所有》，包蕴政治的内涵，不过崔健本人表明，虽然他的歌包括一些抗议的元素，但跟政治没有什么关系，因为如果把自己音乐的范围限于政治的批评，就会限制自己的创作自由 (Brace 1992: 164-166)。因此，摇滚音乐家所遵循的意识形态不是一种政治意识形态，而是一种更广泛的自由意识形态，包括思想的自由，创作的自由以及生活方式的自由 (Brace 1992: 173)。遵循个人自由的理念就是摇滚音乐创作者与其他音乐流派创作者最重要的区别。<br /> <br /> ==80年代以后摇滚乐的情况 (Rock music after the 80s)==<br /> <br /> 正如之前所述，80年代中期就是中国摇滚乐的发端。80. 年代后半叶就是这一流派最流行的时间。这就是因为文化大革命的恐怖以后，在社会里个人的自由成为了最重要的价值观念之一。1989 年之后，摇滚乐的知名度开始减少。Hao Huang (2003: 189-191) 提出，天安门屠杀之后，当局再次限制了公民的人身自由，包括艺术家的创作自由。因而，社会对精神理想的追求逐渐冷却了，人们开始转向消费主义。虽然摇滚乐并没有完全消失 （90年代，代表中国摇滚乐的乐队仍然被建立，比如叫《唐朝》的乐队）(De Kloet 2005: 237)，但从 1989 年开始，这种流派确实处于流行的边缘。<br /> <br /> (吴凯庭 - 最后一个句子应该是：这种流行派确实处于流行“的”边缘。）<br /> <br /> 正如之前所述，80. 年代中期就是中国摇滚乐的发端。80年代后半叶就是这一流派最流行的时间。这就是因为文化大革命的恐怖以后，在社会里个人的自由成为了最重要的价值观念之一。1989 年之后，摇滚乐的知名度开始减少。Hao Huang (2003: 189-191) 提出，天安门屠杀之后，当局再次限制了公民的人身自由，包括艺术家的创作自由。因而，社会对精神理想的兴起逐渐冷却了，人们开始转向消费主义。虽然摇滚乐并没有完全消失 （90. 年代，代表中国摇滚乐的乐队仍然被建立，比如叫《唐朝》的乐队）(De Kloet 2005: 237)，但从 1989 年开始，这种流派确实处于流行的边缘。<br /> <br /> ==结论 (Conclusion)==<br /> 对中国摇滚乐的创作，意识形态是最重要的因素。随着社会心态的变化，它的知名度减少了，但崔健等等的摇滚乐家的成就并没被遗忘，为当代的摇滚乐家奠定了基础。<br /> <br /> ==参考资料 (References)==<br /> Brace, Timothy Lane 1992. Modernization and Music in Contemporary China: Crisis, Identity, and the Politics of Style. Austin: The University of Texas at Austin.<br /> <br /> De Kloet, Jeroen 2005. “Authenticating Geographies and Temporalities: Representations of Chinese Rock in China”. Visual Antrophology, 18, 237.<br /> <br /> Hao, Huang 2003. “Voices from Chinese Rock, Past and Present Tense: Social Commentary and Construction of Identity in 《Yaogun Yinyue》, from Tiananmen to the Present”. Popular Music and Society 26, 189-191.<br /> <br /> Zhao, Yue 2010. The Musicality of C-Pop. A Study of Chinese Popular Music from 1985-2010. Sheffield: <br /> Department of Music The University of Sheffield.<br /> <br /> ==Terms and Expressions==<br /> <br /> 音乐流派 - music genre<br /> <br /> 旋律 - melody<br /> <br /> 灵感 - inspiration<br /> <br /> 节奏 - rhythm<br /> <br /> 低音 - bass<br /> <br /> 内涵 - implication<br /> <br /> 意识形态 - ideology<br /> <br /> ==Questions==<br /> <br /> 1. 摇滚乐跟什么音乐流派经常被混为一谈？<br /> <br /> 2. 在中国，摇滚乐是什么时候最流行的？<br /> <br /> 3. 哪位音乐家被誉为中国摇滚乐的先驱？<br /> <br /> 4. 他最有名的一首歌的题目是什么？<br /> =第十一周 Session 11 Jan 25 13:15-14:45 - 基督教和佛教之间的差别 The Differences between Christianity and Buddhism=<br /> <br /> presented by Anna Proskura (张宇璇) <br /> <br /> presentation: [[https://docs.google.com/presentation/d/1nwgs5VKepzghfg_MLrm6HlzOXxJF2Tq-/edit?usp=drive_link&amp;ouid=103541239485723010069&amp;rtpof=true&amp;sd=true]]<br /> <br /> ===摘要 (Abstract)===<br /> <br /> 基督教和佛教都不是源自中国的宗教。它们在中国的出现和发展之间存在着显著的差异。<br /> <br /> ===引言 (Introduction)===<br /> <br /> 在宗教方面，中国数百年来主要以中国的宗教为主：儒教、道教以及起源于印度并且在中国经历了深度中国化的佛教。基督教公元7世纪左右才出现。<br /> <br /> ===佛教和基督教在中国的出现 (The Appearance of Buddhism and Christianity in China)===<br /> <br /> 佛教于公元1世纪中叶从印度传入中国 (Zotz 2007, 171)，当时道教和儒教已经在社会中获得了知名度和地位。在翻译过程中，佛教与道教紧密联系在一起，随后逐渐偏离了原始教义，慢慢演变成了中国佛教。<br /> <br /> 基督教在中国的传教历史可以追溯到公元7世纪左右。根据最早的传教史，基督徒从一开始就面临着适应中国宗教现实的压力，其中包括在翻译中借鉴了佛教和道教的哲学思想。对于意大利的耶稣会士来说，16世纪末的耶稣教士的活动成为进一步传教中国的必要基础。<br /> <br /> 唐代的传教士将他们所宣扬的信仰真理与儒家、道家和佛教的元素进行了融合。在他们的著作中，上帝被认为是一切事物的起源和阴阳的创造者，也被称为佛教术语“佛陀”。除了信仰真理外，基督徒还宣扬对天的敬仰、对皇帝、官员和学者的尊敬，从而适应了中国现有的社会等级制度。<br /> <br /> ===在宗教信仰上的差异 (Differences between Religious Beliefs)===<br /> <br /> 佛教和基督教在宗教信仰上存在根本性的差异。基督徒相信唯一、全能和无所不在的上帝，是世界的创造者，而佛教则排斥任何神的存在 (姚 2004, 1)。佛陀虽然有人们为他建立塑像并尊崇他，但他并不是神。根据基督教观念,苦难是由人类的罪恶所导致，而根据佛教的观念苦难是生活的固有部分。对于人死后发生的事情，两者的观点也完全不同。在这两种情况下，这是个体在生前行动的结果。基督教徒相信为善良的人所承诺的天堂，那里可以享受永恒的幸福，以及为罪人而设的地狱，他们将遭受永恒的痛苦。佛教徒相信轮回的循环。只有通过达到涅槃（开悟）并进入“非存在”的状态，才能解脱。这两种宗教涉及类似的问题，但以不同的方式处理。它们的共同点是佛教和基督教都不是在中国形成的，因此对中国人来说是陌生的。<br /> <br /> ===耶稣会士传教士对佛教的态度 (Attitude of the Jesuit Missionaries towards Buddhism)===<br /> <br /> 16世纪末时，耶稣会士有意地努力与佛教传统建立联系，这可从他们穿着的僧袍中得到证实。他们想避免因其与欧洲人不同的外貌而被排斥。然而，与佛教的联系过于深远。两种宗教都谈论了尘世中的苦难，并提供了死后更好的选择，因此有时将基督教视为佛教的一个分支。传教士们意识到，以佛教僧侣的打扮，他们可以更容易地接触到社会底层，但他们无法在知识精英中获得尊重。耶稣会士们当时采取了不同的策略 - 他们计划从社会的顶层进行福音传教。耶稣会士在16世纪末的主要目标是进入北京并使皇帝皈依基督教信仰。为了实现这一目标，传教士们采纳了儒家的风尚，并开始与佛教或道教等联系疏远 (Charbonnier 2007, 155)。<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 虽然基督教和佛教好像有许多共同的地方，虽然实际上两个宗教的观念不一样，还有它们在中国的历史有很多差别。<br /> <br /> ===参考资料 (References)===<br /> <br /> 1. Charbonnier, Jean 2007, Christians in China: A.D. 600 to 2000, San Francisco: Ignatius Press<br /> 2. 陈登 2001, 佛教与基督教的儒学化比较 [In:] „湖南大学学报（社会科学版）”，Vol.15, No.3<br /> 3. 姚卫群 2004, 佛教与基督教的“神”观念比较 [In:] “陕西师范大学(哲学社会科学版)”, Vol.33, No.2<br /> 4. Youlan, Feng 2001, Short history of Chinese Philosophy, Warszawa: Wydawnictwo Naukowe PWN<br /> 5. Zotz, Volker 2007, Geschichte der buddhistischen Philosophie, Kraków: Wydawnictwo WAM<br /> <br /> ===关键词 (Key words)===<br /> <br /> 基督教；佛教；宗教；中国；传教士；耶稣会士；宗教信仰；宗教差异<br /> <br /> ===生词 (Terms and Expressions)===<br /> <br /> 基督教 Christianity;<br /> 佛教 Buddhism;<br /> 耶稣会士 Jesuit;<br /> 宗教信仰 religious belief;<br /> 传教士 a missionary<br /> <br /> ===问题 (Questions)===<br /> <br /> 1. 基督教什么时候在中国出现？<br /> 2. 基督教和佛教对苦难的看法有什么差别？<br /> 3. 基督教的上帝和佛教的佛陀是一样的吗？<br /> 4. 对中国人来说，为什么基督教和佛教都是陌生的？<br /> <br /> =第十二周 Session 12 Jan 25 11:30-13:00 - 中国饮食文化——中国菜的命名艺术 Culinary Culture of China: The Art of Naming Chinese Dishes=<br /> <br /> ===摘要 (Abstract)===<br /> 中国饮食文化与汉语的关系非常密切，在塑造人们对食物的认知方面发挥了巨大的作用。 它也极大地影响了中国菜肴的命名方式，无论是过去还是现在。<br /> <br /> ===关键词 (Key Words)===<br /> 中国饮食文化；中文；汉语；传统；语言分析；菜肴名称；菜的命名<br /> <br /> ===引言 (Introduction)===<br /> <br /> 中国多样而复杂的饮食文化不仅体现在居民的日常生活中，也体现在中国数百年来创作的小说和其他书面作品中。 我们在其中看到的中国菜名大多寓意深刻，命名方式考究，文化背景深厚，文化历史内涵丰富。 汉语由于其与文化的密切关系，在塑造人们对食物的认知方面发挥了巨大的作用，并极大地影响了中国菜肴的命名。 在下一部分中，我将讨论为中国菜命名的话题。<br /> <br /> ===中国菜的命名艺术 (The Art of Naming Chinese Dishes)===<br /> <br /> 中国是一个非常重视命名的国家。这适用于重要地点、重大事件、各类机构、艺术领域、习俗和传统或精神和仪式的各个方面，也适用于与衣、住、行和食品有关的小问题。在秦汉时期，菜肴的命名艺术主要是根据食材和食品的加工方法来命名，但在南北朝之后，这方面出现了许多新的命名方法。普通的菜肴常常有极其优雅和美丽的名字，有时是深思熟虑的，非常令人惊讶。一个精心挑选的名字很容易引起人们的兴趣，从而在用餐时创造出一种愉快的气氛，鼓励宴客者品尝新的菜肴（王学泰 1997：226）。<br /> <br /> 中国菜肴的名称具有丰富的艺术性，其创作灵感有时来源自自然现象、自然物体以及任何可能引起审美联想的事物。菜名中还反映出强调菜肴的味道、颜色、香味和形状的倾向，因为这些因素决定了菜肴的质量（Pimpaneau 2001: 57）。名称中使用的颜色主要是红色、黄色、白色和绿色。根据心理学，这些颜色可以刺激食欲，而蓝色和青色则有可能导致生病。此外，明亮、闪亮和清澈的颜色会唤起愉悦感，而深色则产生相反的效果。 菜肴的命名也遵循这一原则：通常使用贵重且闪亮的物品来代替颜色，以增添菜肴的精致感。其中一些词汇包括&quot;金&quot;、&quot;玉&quot;、&quot;翡翠&quot;、&quot;琥珀&quot;、&quot;水晶&quot;、&quot;珍珠&quot;和&quot;锦&quot;。即使菜肴的颜色较深，也更常见地使用&quot;乌&quot;而不是&quot;黑&quot;，因为&quot;乌&quot;具有更高尚的意义并带有更积极的内涵（王学泰 1997：227-228）。<br /> <br /> ===中国菜肴的命名方法 (Methods of Naming Chinese Dishes)===<br /> <br /> 中国菜的命名是一门艺术，反映不同地区居民的各种文化传统、习俗和审美趣味。中国人喜欢诗意的隐喻，这也是给菜肴起精致名称的原因之一。这些名称不仅与菜肴本身有关，还指戏剧或中国传统文学作品中的神话、传说和历史故事。一些美食的起源可能包括丰富多彩的比喻或流行故事，而基于这些故事的名称使菜肴成为人们关注的对象（Kajdański 2011: 147）。这种命名方式不仅能刺激食欲，还能激发人们的好奇心，并使食物本身获得新的象征意义。 常敬宇（常敬宇 1998: 139-140）指出了以下几种命名新菜肴的方式：<br /> <br /> – 以人名、姓氏或头衔命名菜肴（“宫保鸡丁”、“麻婆豆腐”等）；<br /> <br /> – 以城市或地理区域命名菜肴（“北京烤鸭”、“西湖醋鱼”等）；<br /> <br /> – 根据食物的形态或形状来命名（“猫耳朵”、“龙须面”等）；<br /> <br /> – 根据菜肴的颜色或食材的颜色来命名（“红白豆腐”、“雪衣鱼条”等）；<br /> <br /> – 根据菜肴中的主要味道或香气来命名（“香酥鸡”、“麻辣烫”等）；<br /> <br /> – 根据菜肴中使用的油或酱来命名（“红油豆腐”、“蚝油牛肉”等）；<br /> <br /> – 根据烹制菜肴的容器来命名（“瓦罐面”、“火锅肉”等）；<br /> <br /> – 根据菜肴中使用的调料来命名（“糖醋鱼”、“红糟鱼片”等）；<br /> <br /> – 根据菜肴的烹制方法来命名（“炸大虾”、“红烧鲤鱼”等）；<br /> <br /> – 以神话、传说、信仰或历史故事命名菜肴（“过桥米线”、“佛跳墙”等）。<br /> <br /> 评论：在解释每个翻译方式中，你应该举几个例子<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 饮食在中国文化中占有非常重要的地位，而中国菜名不仅反映所用食材的多样性、烹调方法或菜肴的色、香、味、貌，还包含相关人物事件、重要地点和历史时期、文学作品和传说的提及等诸多文化元素。而且，许多食品的名称和与食品有关的词语都远远超出了字面的范畴，隐藏着丰富的象征意义、隐喻性和广泛的内涵，涉及人类生活的各个领域。<br /> <br /> ===参考资料 (References)===<br /> <br /> 常敬宇 1998. 汉语词汇与文化. 北京: 北京大学出版社.<br /> <br /> Kajdański, Edward 2011. Chiny: leksykon. Warszawa: Spółdzielnia Wydawniczo-Handlowa &quot;Książka i Wiedza”.<br /> <br /> Pimpaneau, Jacques 2001. Chiny: kultura i tradycje. Tłum. Irena Kałużyńska. Warszawa: Wydawnictwo Akademickie DIALOG.<br /> <br /> 杨德峰 2001. 汉语与文化交际. 北京: 北京大学出版社.<br /> <br /> 王学泰 1997. 华夏饮食文化. 北京: 中华书局.<br /> <br /> ===Questions===<br /> <br /> 1. 中国菜的许多新命名方式是什么时候出现的？<br /> <br /> 2. 中国菜肴的命名常使用哪些颜色？<br /> <br /> 3. 为什么中国菜肴的命名常常使用贵重且闪亮的物品来代替颜色？<br /> <br /> 4. 中国菜肴的命名方法有哪些？<br /> ==第十二周 Session 12 Jan 25 11:30-13:00 - 中国佛教 (Chinese Buddhism)= 苏诗美<br /> ===摘要 (Abstract)===<br /> 从公元一世纪起，佛教对中国文化的影响十分明显。在本土与外来高僧的努力下，大部分佛典被翻译成中文，助于形成中国佛教学派。这样，就出现了独特的中国佛教。<br /> <br /> ===关键词 (Key Words)===<br /> 中国佛教；禅宗；天台宗；净土宗；华严宗；白莲教；高僧；佛典<br /> <br /> ===引言 (Introduction)===<br /> 佛教是世界上最有名的宗教之一。佛教的教义也影响到了中国的文化。<br /> <br /> ===中国佛教史 (History of Buddhism in China)===<br /> 佛教于公元一世纪由印度传入中国，这主要得益于中国在西域扩展其影响力。这样才能跟印度建立联系。在这种情况下，东汉的第二位皇帝汉明帝（28-75年）公元64年派遣了第一批使节前往印度，为的是寻找佛教教义的发源地。三年后，当他们与两位高僧一起返回洛阳时，明帝非常高兴，并下令在首都修建白马寺。寺庙的名字与使者们骑的白色的马有关。这不但是中国最早建立的佛教寺庙，而且是翻译带来的经典的地方（Sang 2004：59）。从那时起，早期汉译佛典使佛教教义在中国得到快速的传播。中国本地与外来高僧对所取得的成就发挥了关键的作用。由于他们的努力，僧伽得以获得独立并成为文化教育机关。不过在东汉倒台后，佛教才得到快速的传播，尤其是在普通人中。从221年至589年，中国处于政治不稳定和冲突之中。在这种情况下，中国居民渴望逃离沉重的现实。佛教给予他们在来世获得更美好生活的希望（Zürcher 2007：2-5）。直到第六世纪，大部分重要的佛典被高僧从梵文翻译成中文。汉译佛典有助于形成中国佛教流派。研究者经常提到四个最著名的中国佛教学派，包括禅宗、天台宗、华严宗、净土宗，还提起白莲教（Snelling 1990：31-32）。<br /> <br /> ===中国佛教学派：净土宗、白莲教 (Chinese Buddhist Schools: Pure Land School, The White Lotus)===<br /> 402年一个叫释慧远的高僧（334-416年）创立了白莲教，与此同时，他创立了净土宗的大乘佛教传统，该学派延续了他的教诲。白莲教的成员承诺相互帮助，并履行自己的责任，以期在西方极乐世界中重生。白莲教的主要修行法门是念佛，特指修行人一心忆念阿弥陀佛的名号以及祈求死时升入佛国净土（Zürcher 2007：219-221）。<br /> <br /> ===中国佛教学派：华严宗 (Chinese Buddhist Schools: Huayan School)===<br /> 在公元6世纪初，在中国出现了华严宗，该学派也属于大乘佛教传统，其教义和修行基于《华严经》。华严宗的一个显著的特点是其教义和修行都受到本土道教的影响，因为华严宗涉及到道教的关键概念，宇宙真理——道（Harvey 2013：145-148）。 <br /> <br /> ===中国佛教学派：禅宗 (Chinese Buddhist Schools: Chan School)===<br /> 华严宗和道教都对禅宗的发展产生了重要影响。传统上，半传奇般的印度高僧叫菩提达摩（5-6世纪)于公元6世纪创建了禅宗。该学派的名称由坐禅而来。禅宗的信徒相信，只有修心养性，才能得到开悟。信徒也深信每个人都具有佛性，即成佛的潜力。因此，禅宗特别注重实践，同时将佛经视为精神成长的一种限制形式（Sang 2004：62）。<br /> <br /> '''(请加菩提达摩的出生日期，舒然）'''<br /> <br /> ===中国佛教学派：天台宗 (Chinese Buddhist Schools: Tiantai School)===<br /> <br /> 公元6世纪还出现了天台宗，由智顗（538-597）创立，该学派的名称取自位于浙江省的天台山。天台山上也是天台宗的主要总部——国清寺。天台宗信徒认为教义和冥想是宗教生活中同等重要的要素。天台宗的教义基于《妙法莲华经》，强调佛陀的永恒和智慧。由于其内容，《妙法莲华经》很快就成为最重要的中国佛教经典（Chen 2006：9）。<br /> <br /> '''(请加智顗的出生日期，舒然）'''<br /> <br /> ===结论 (Conclusion)===<br /> 总而言之，中国佛教学派与高僧的翻译事务的发展推动了与众不同的中国佛教。因此，一直到现在，在中国，佛教仍是最重要的宗教之一。<br /> <br /> ===参考资料 (References)===<br /> Chen Jian 陈坚 2006. “Chanzong: Shenghuo zhong yu jiaoyì, shenmei gao yu xinyang” 禅宗: 生活重于教义, 审美高于信仰 [Chan School: Life is more important than doctrine, aesthetics is more important than faith]. Xinyang shifan xueyuan xuebao 信阳师范学院学报 1, 9-13. <br /> <br /> Harvey, Peter 2013. An Introduction to Buddhism. Teachings, History and Practices. New York: Cambridge University Press.<br /> <br /> Sang Ji 2004. Religions and Religious Life in China. Translated by Li Zhurun. Beijing: China Intercontinental Press.<br /> <br /> Snelling, John 1990. The Elements of Buddhism. Shaftesbury: Element.<br /> <br /> Zürcher, E. 2007. The Buddhist Conquest of China. The Spread and Adaptation of Buddhism in Early Medieval China. Leiden: Brill.<br /> <br /> ===生词 (Terms and Expressions)===<br /> 西域：the Western Regions<br /> 高僧：eminent monk<br /> 大乘：Mahayana, the Great Vehicle<br /> 西方极乐世界：Western Pure Land of Ultimate Bliss<br /> 阿弥陀佛：Amitabha, Buddha of infinite light <br /> 开悟：to become enlightened <br /> 坐禅：to meditate<br /> 佛性：Buddhata<br /> <br /> ===Questions===<br /> 1. 哪位皇帝使佛教传入中国？<br /> 2. 第一座中国佛教寺庙叫什么？<br /> 3. 禅宗的修行法门“念佛”是什么？<br /> 4. “佛性”是什么意思？<br /> =第十三周 Session 13 Jan 25 13:15-14:45 - 缠足 (Foot-binding)=<br /> ==摘要 (Abstract)==<br /> 在中国传统社会，女人美丽的主要特征之一就是小脚。 于是，缠足的习俗出现了——一种极其痛苦的习俗，将脚上的骨头折断，然后用绷带包扎，使其尽可能小。<br /> <br /> ==引言 (Introduction)==<br /> <br /> '''中国传统社会的缠足习俗''' <br /> <br /> 在传统中国，有一种习俗被称为&quot;缠足&quot;，它在近现代已成为中国女性权益方面的巨大反面教材。这是一种从公元十世纪开始的极其痛苦的实践，目的是使脚尽可能地小。为了进行这个仪式，人们会为女孩准备特殊的饮食，以软化骨头，以便更容易裹绑。实践本身以将脚浸泡在加入不同草药和尿液的水中开始。然后，母亲会用明矾擦拭脚部，以收缩组织并减少出血。接下来，她会修剪指甲并浸湿绷带，当绷带干燥时，会更加紧缩脚部。她会从脚弓开始裹绑，弯曲四个小脚趾并用力旋转。然后，她会用绷带绕过脚后跟，并以一个小环收尾。这个过程需要每四天进行一次，以使脚部更加纤细，绑得更紧。在这个过程中，还需要使用绣花鞋作为必要的工具，其中有专门用于开始和结束过程的不同款式。（杨思蒙 2022, 46-48) <br /> <br /> ==起源及后果 (Orgins and Consequences)==<br /> <br /> 在行走过程中，脚弓和骨骼会断裂。如果这种情况没有发生，人们就会将小石块绑在女孩脚上，直到骨骼断裂为止。如果即使这样做也没有成功，或者女孩太小以至于无法行走，母亲会亲自用大石头折断骨骼。毋庸置疑，这个仪式给女性带来了难以形容的痛苦：极大地阻碍了行走，并导致许多健康并发症，甚至死亡。据估计，高达10％的女孩因为这种实践而丧生。在脚被绑好之初，母亲会照料，而成年女性则自己负责。这种习俗的起源并不完全清楚。据说它起源于关于姚宁的传说——她是李后主宫廷的皇妃。（杨兴梅，罗志田1999, 2） <br /> <br /> ==缠足的目的 ( The Aim of Foot-binding Practice)==<br /> <br /> <br /> 整个痛苦的仪式旨在确保女性将来嫁给一个好丈夫，从而实现社会晋升。被称为&quot;三寸金莲&quot;（因为绑脚的被称为&quot;三寸金莲&quot;）被认为代表女性的品格和价值，似乎证明了她的内在纪律和忍耐痛苦的能力，显示她适合成为一个好母亲。选择潜在配偶时，不会考虑脚大的女性。小脚成为性感的象征，也是男性的恋物对象。此外，绷带和鞋子本身也成为&quot;黄金莲&quot;的情趣元素。（Li Fajun 2022, 674-678) <br /> <br /> ==缠足的结束 (The End of Foot-binding Practice)==<br /> <br /> <br /> 在1672年的康熙皇帝和1902年的慈禧太后的敕令下，这种实践受到了限制。然而，这个根深蒂固的传统习俗一直延续到20世纪30年代。直到全国范围内进行了&quot;放足&quot;运动后，才停止了这种实践。尽管如此，在农村地区仍有一段时间束缚着女孩们的脚。即使在今天，仍然有极少数女性保留着&quot;三寸金莲&quot;。 (Błaszczyk, Sikora 2015, 123)<br /> <br /> ==参考资料 References==<br /> <br /> A. Błaszczyk, M. Sikora, Kilka uwag o prawno-społecznym statusie kobiet w Chińskiej Republice Ludowej, „Kobieta w prawie i polityce” 2015, nr 9, s. 233<br /> <br /> 杨思蒙, 从缠足看宋代以后的大众审美观, 今古文创. 2022(32) Page:46-48<br /> <br /> 杨兴梅，罗志田，近代中国人对女性小脚美的否定 1999, Page: 2<br /> <br /> == 生词 Terms and Experessions==<br /> <br /> 缠足 - foot-binding<br /> <br /> &quot;三寸金莲&quot; - lotus feet<br /> <br /> 绑 - bind,tie<br /> <br /> &quot;放足&quot;运动 - Free-foot Movement<br /> <br /> ==Questions==<br /> <br /> 1.中国古代缠足的过程是怎样的？<br /> 2. 缠足的习俗源自什么传说？<br /> 3、什么是“三寸金莲”？<br /> 4. 缠足是哪一年开始禁止的？<br /> =第十三周 Session 13 Jan 25 13:15-14:45 - 鬼怪和辟邪 (Monsters and Exorcism)=<br /> ===摘要 （Abstract）===<br /> 鬼怪在中国文化中扮演着非常重要的角色。 人们别无选择，只能寻找各种方法来辟邪他们。<br /> ===关键词 （Key Words）===<br /> 鬼怪，辟邪，文化，恶意， 中元节<br /> === 引言 （Introduction） ===<br /> 在台湾或中国文化和历史中，有很多关于鬼怪的提及。绝大多数的恶魔生物都对人类怀有恶意。通常鬼怪总想要附身受害者，吞噬他或者给他带来不幸的生活。鬼怪在旧时代的人对世界的看法中有很重要的影响。人们总喜欢用鬼怪来解释不祥现象，不过更有趣是他们发明辟邪的方式。<br /> === 过年 ===<br /> 在中国人的文化有很多提到鬼怪的地方。比如说以前的人们过年的时候做桃符是为了辟开不好的事情，带来家的平安跟好运，还有据说桃木有镇邪驱邪的功效。但是它们很难做，也很贵，并非所有家庭都能负担得起，所以人们开始用纸作的红色春联，现在中国人贴春联在门窗上，作为装饰品，为了给家庭带来幸福和大好运。红色不但表示吉利，而且人们相信红色会帮助辟邪不好的事情。以前在过年的时候人们放鞭炮，目的是赶走山臊，这是一种像猴子一样的怪物。放鞭炮的传统也跟一个叫“年”的怪物有关。每年这个时候这个怪物都会袭击村庄，然后绑架人们的孩子。他们相信这个鬼怪除了鞭炮的响声音什么都不怕。现在人们不再相信鬼怪，但是放鞭炮仍然是华人新年庆祝活动的传统象征。另一个很有趣的是压岁钱的习俗，压岁钱是压制邪祟的钱。人们相信可以贿赂鬼怪，如果他们放钱在孩子床上，有鬼怪来，鬼怪就会只拿钱，不会靠近和伤害孩子，而是自行离开。现在，红包意味家庭成员的繁荣和善意。<br /> === 插艾草 ===<br /> 植物在文化中也发挥了重要的作用。比如说插艾草的习俗。实行这个习俗是为了辟邪和顺便驱蚊子。夏天，尤其是五月，因为天气非常热，所以蚊子很多。以前蚊子带来了很多疾病，医疗不发达，因此古代人们用鬼怪来解释疾病。鬼怪做恶事会影响人们的健康，所以如果人生病，都是鬼怪害的。如果一个人经常生病，他们就认为被鬼怪附体了。因为蚊子不喜欢艾草的味道，插艾草不让蚊子靠近，这样会驱逐蛟虫。现在也有插艾草的习俗，但是没有那么大的附加意义，只是一种习俗。<br /> === 戴香包 ===<br /> 别的一种辟邪鬼怪的方法是戴香包。里面有各种各样的草药，除了艾草，人们还用雄黄和菖蒲的植物，认为这种味道会让鬼怪不靠近。以前的人平常戴香包，妻子送给丈夫（及孩子），希望他平安，比如说他去很远的地方。香包确保辟邪，保护健康。第二个的原因是一般的人不会天天洗澡，所以他们味道真不好，戴香包让味道变得更好。人们感觉非常不方便，所以这是以前的常见的作法。<br /> === 喝午时水 ===<br /> 古代人认为从井拿水来喝是最好的水因为能祛除百病。于是，喝午时水的习俗就产生了。这个习俗跟华人道教和阴阳有关系。夏天来了，太阳表示阳。人类的时间是阳，鬼怪的时间是阴。不同的地方可能被阳气或阴气影响。对古代人来说不能去墓园散步因为在那里阴气很大。如果阳气比较多，鬼怪不会来，身体会健康。如果阴气比较多，一定会发生不好的事情或带来疾病。端午节是一年之中白天最长，晚上最短的时间，阳气最重的，所以从井喝午时水去除不好的影响，让人健康和辟邪鬼怪。<br /> === 中元节 ===<br /> 中元节跟道教有关，是超度亡灵的节日。普渡是农历七月十五号，传统上七月是鬼月。中元节不同的是祭拜的对象是鬼，不是神。祭拜灵鬼的原因是让过世的人去他们应该去的地方，超度他们。佛教认为每个人都一样，都可以接受这种普渡。在华人的观点，吃饱非常重要。饿鬼对人类一定会做不好的事情。饿鬼吃饱满足以后就会很开心，对给他们吃的主家不会做不好的事情。普渡的目的就是超度亡灵，祈求平安。现在普渡只是个习俗，没有人真的相信。<br /> === 结论 Conclusion ===<br /> 在过去，当人们遇到不好的事情时，他们常常责怪鬼怪。在医学还不够发达的时代，人们在寻找解决办法来解释没有明显答案的事情。驱邪的方法多种多样，从放鞭炮到在窗户上挂气味浓烈的植物，现在对现代人来说似乎很遥远的事情对古代人来说却有道理和深刻的意义。<br /> === 参考资料 References ===<br /> Zwoliński A. Satanizm. Polskie Wydawnictwo Encyklopedyczne Polwen, 2007.<br /> <br /> Eliade M. Aspekty mitu. Wydawnictwo KR, Warszawa 1998.<br /> <br /> Pimpaaneau J., Chine. Culture et traditions, Chiny, kultura i tradycje. Tłum. I. Kałużyńska, Dialog , Warszawa, 2000.<br /> <br /> Wasiliew L ., Kulty religie i tradycje Chin, przekł. A . Bogdański, PIW, Warszawa 1974.<br /> <br /> == 问题 (Questions) ==<br /> 1. 为什么人们想出各种方法来消灭蚊子？<br /> 2. 蚊子害怕什么气味？<br /> 3. 为什么人们要在中午喝井里的水？<br /> 4. 中元节是什么时候？<br /> <br /> =第十四周 Session 14 Feb 1 11:30-13:00 - 中医植物 (Herbs in Traditional Chinese Medicine)=<br /> === 摘要（Abstract）===<br /> 本文是关于中药的，植物在中药中起着非常重要的作用。尽管现代医学已经发展出许多先进的治疗方法，但中药植物仍在许多地方广泛使用，并在一些领域得到了科学研究的支持。本章选取了几种常见的中药植物，并对它们的用途进行了说明。<br /> === 关键词（Key Words）===<br /> 中医植物，中医，中医学，中药，药物，传统医药学<br /> === 引言（Introduction）===<br /> 中药是在中医理论指导下应用的药物。由于其来源包括植物、动物和矿物，椬物类药比例最多，使用也最普遍。中药涵义广泛，主要分为中药材（中草药和中药饮片）和中药制剂，包含传统临床制剂（丸、散、膏、丹、汤等）、中成药、供配伍用中药颗粒等。中药传统称为本草、生药等。目前，日韩等地仍称中药为汉药或汉方药。<br /> === 植物 —— 发展 (Plants - Development) ===<br /> 中医学是中国传统医学的重要组成部分，其中植物在中医疗法中扮演着重要的角色。中医植物指的是用于中医治疗的各种植物材料，包括根、茎、叶、花、果实、种子等。中医将人体看成是形、神、气的统一体，并且按照这一理念进行治疗，这是其与西医的一个重要区别。这种治疗方法已在中国使用了数千年。在药物之中，药草类（药用的植物）占绝大多数，人类在寻找食物的同时，发现了许多具有治疗作用的植物。各味药多遵循中医药理论组成各种方剂来应用和验证，加以总结，逐渐形成中国的传统医药学，也同时形成中国对药用植物使用的特点和优势。<br /> <br /> 中医学是中国传统医学的重要组成部分，其中植物在中医疗法中扮演着重要的角色。中医植物指的是用于中医治疗的各种植物材料，包括根、茎、叶、花、果实、种子等。中医将人体看成是形、神、气的统一体，并且按照这一理念进行治疗，这是其与西医的一个重要区别。这种治疗方法已在中国使用了数千年。药物之中因草类（药用植物 &lt;---去掉“的” Świeboda）占绝大多数，人类在寻找食物的同时，发现了许多具有治疗作用的植物。各味药多遵循中医药理论组成各种方剂来应用和验证，加以总结，逐渐形成中国的传统医药学，也同时形成中国对药用植物使用的特点和优势。<br /> <br /> === 植物 —— 化合物 (Plants - Compounds) ===<br /> 所有植物都产生化学化合物，这些化合物具有进化优势。这些植物化学物质具有作为药物的潜力，如科学证实，这些物质在药用植物中的含量和已知的药理活性是它们在现代医学中使用的科学依据。例如，水仙（Narcissus）含有九组生物碱，包括加兰他敏，许可用于治疗阿尔茨海默症，此外，生物碱是苦味和有毒的，并且浓缩在植物的部分，例如最容易被食草动物吃掉的茎，它们也可以防止寄生虫。虽然现代医学已经发展了许多先进的治疗方法，但中医植物在许多地方仍然被广泛使用，并且在一些领域中得到了科学研究的支持。<br /> <br /> 所有植物都产生化学化合物，这些化合物具有进化优势。这些植物化学物质具有作为药物的潜力，如果科学证实，这些物质在药用植物中的含量和已知的药理活性是他们（它们 Świeboda）在现代医学中使用的科学依据。例如，水仙（Narcissus）含有九组生物碱，包括加兰他敏，许可用于治疗阿尔茨海默症，再加上，生物碱是苦味和有毒的，并且浓缩在植物的部分，例如最容易被食草动物吃掉的茎，他们（它们）也可以防止寄生虫。虽然现代医学已经发展了许多先进的治疗方法，但中医植物在许多地方仍然被广泛使用，并且在一些领域中得到了科学研究的支持。<br /> <br /> === 植物 —— 使用（例子) (Plants - use (examples)) ===<br /> 与西方一样，也有许多标准混合物和药物可供使用。以下是一些常见的中医植物及其应用：<br /> <br /> 1. 人参（Panax ginseng）：人参是最著名的中药之一，被用于提高体力、增强免疫力、改善记忆和注意力等方面。<br /> <br /> 2. 田七（Panax notoginseng）：田七具有活血化瘀、止血、消肿等功效，常用于中医治疗创伤、出血以及心脑血管疾病等。<br /> <br /> 3. 黄芪（Astragalus membranaceus）：黄芪被广泛应用于中医药领域，具有补气、提升免疫力、益气补阳的作用, 改善疲劳等功效。<br /> <br /> 4. 当归（Angelica sinensis）：当归常用于妇科疾病的治疗，如调理月经、缓解经痛等，也常用于补血、活血的方剂中。<br /> <br /> 5. 丹参（Salvia miltiorrhiza）：丹参具有活血化瘀、消肿止痛等作用，常用于中医治疗心脑血管疾病、炎症等。<br /> <br /> 6. 五味子（Schisandra chinensis）：五味子被用作中药调剂剂型的重要成分，常用于增强肝脏功能、改善睡眠和抗衰老。<br /> <br /> 7. 党参（Codonopsis pilosula）：党参具有益气健脾、提升免疫力等功效，常用于中医治疗脾胃虚弱、疲劳等症状。<br /> <br /> 8. 白芍（Alba peony）：白芍具有活血化瘀、调经止痛的作用，常被用于妇科问题和痛经的治疗。<br /> <br /> === 结论（Conclusion）===<br /> 这只是一小部分现代中医常用的植物，还有许多其他植物在中医实践中被广泛应用。重要的是要理解，中医植物的使用需要经过专业的中医医生的指导和判断，以确保安全和有效性。在考虑使用中医植物进行治疗时，建议咨询专业的中医医生。<br /> <br /> 这只是一小部分现代中医常用的植物，还有许多其他植物在中医（应该是“在中医中” Świeboda）实践中被广泛应用。重要的是要理解，中医植物的使用需要经过专业的中医医生的指导和判断，以确保安全和有效性。在考虑使用中医植物进行治疗时，建议咨询专业的中医医生。<br /> <br /> === 参考资料（References）===<br /> <br /> Kierzkowski, K. Poszukiwanie nowych sposobów leczenia wobec zagrożeń cywilizacyjnych. O współczesnej wartości tradycyjnej medycyny chińskiej.<br /> <br /> Park, H. Tradycyjna medycyna chińska: wiosenne przebudzenie.<br /> <br /> Fibich, K. (2012). Tradycyjna Medycyna Chińska oczami Europejczyków. Studium recepcji nowości kulturowych.<br /> <br /> Hong Kong Baptist University 2022, Medicinal Plant Database URL: https://libproject.hkbu.edu.hk/was40/outline?lang=ch&amp;page=2&amp;channelid=1288&amp;ispage=yes&amp;trslc=50332160.1688399549.1<br /> <br /> === 问题 (Questions) ===<br /> 1. 中药涵义广泛是什么？<br /> <br /> 2. 中医是如何治疗人体的？<br /> <br /> 3. 哪种植物被批准用于治疗阿尔茨海默病？<br /> <br /> 4. 白芍是用来做什么的？<br /> =第十四周 Session 14 Feb 1 11:30-13:00 - 广东的文化饮食习惯：广东人为何爱吃野味？ The tradition of eating wild animals in Guangdong=<br /> <br /> ===摘要 (Abstract)===<br /> <br /> 食用野生动物是广州传统饮食文化的重要组成部分。本文分析了导致这一习俗普及的文化和社会因素。 <br /> <br /> ===引言 (Introduction)===<br /> <br /> 传统饮食习俗是广州文化遗产的重要组成部分，这一被称为“美食之地”的南方省份的美食闻名于全国。广州烹饪传统的一个重要元素是野生动物的肉。然而，随着人们逐渐意识到食用野生动物的危害，广东人对野味的喜爱引起了很大争议。本文将探讨野味在广东流行的文化和社会原因。 <br /> <br /> ===传统中医药文化 (The Culture of Traditional Chinese Medicine)===<br /> <br /> 在许多亚洲社会，特别是在偏远贫困的农村地区，中国传统医学的理论与实践仍然是日常生活中不可或缺的一部分（周珺 2013）。中医的坚定支持者认为可以通过人的内力和中草药、补品等来平衡人体健康。许多种治疗方法采用活的与死的野生动物，包含稀有濒危动植物的成分。中医在广州地区的广泛流行与其热带气候紧密相关。在炎热潮湿的气候下，极易传播疾病，过去生活比在其它地方更不容易。因此，土生的广东人惯于通过传统药物和食物来调节人体健康，治疗及预防疾病，包括有野生动物制成的药物 （宋雪梅 2004）。<br /> <br /> ===野味有营养价值的误解 (Misconceptions about the nutritional value of wild animals)===<br /> <br /> 许多野味爱好者认为，野生动物的肉是一种对身体更加健康、更加有营养的养殖动物肉的代替。不过，这个观点至今尚未得到证实。与此相反，专家们称，目前尚无证据表明野味比饲料喂养的肉类动物更有营养或滋补功效。华南理工大学食品学院教授、博士生导师郑健仙认为，“野味并不像想象中那么神秘，它也只是一种动物性食品，营养含量无非是蛋白质、脂肪等，在营养上并不比普通的饲养动物更有优势。” （宋雪梅 2004）几项研究证实了几乎所有的野生动物都携带大量寄生虫与病毒，这是众所周知的事实 。当野物肉一进入人体，就会易引发各类严重疾病，甚至可导致死亡。为了保住肉的鲜美和营养，不少广东人爱吃半生不熟的，有些做法甚至就是生吃，其结果是将微生物、病毒和寄生虫都引入体内（中历史网 2018）。<br /> <br /> 半部分还是宋雪梅说的吧？需要补充<br /> 黄旭明<br /> <br /> ===展示高地和财富 (Showing high position and wealth)===<br /> <br /> 专家们认为，在广州食野味逐渐成为人们摆阔的方式之一。吃野肉，请别人吃野肉都是公开展示财富和高地位的一种常用方法。以前广东地区曾经很贫困，当地百姓只能 “逮到什么吃什么”。随着社会经济的迅速发展和科学技术的全面进步，野生动物的肉在人们的意识中成为了高档的美味。省社科院经济学专家刘毅称道，“野味在过去可能并不值钱，但因为吃的人多了，加上生态环境受到严重破坏，野味变得越来越贵，最初人们可能比较重视它的滋补效果和口感，到后来，它开始成为人们显阔的方式之一。（宋雪梅 2004）” 除了以上的传统文化的因素以外，几位记者的调查显示， 提供野味菜肴的政府宴会是常见的。 在公务接待中，不乏有政府部门知法犯法，请人吃禾花雀、穿山甲等野生动物的行为（周珺 2013）。<br /> <br /> 语法出了一些问题 （...素以外，几位记者的调查， 提供野...）<br /> 黄旭明<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 吃野生动物深深植根于广州文化中，而伴随着文化的进化，变成为一种保持健康，显示身份的方式。人们对野肉的营养和健康特性的误解尤其在农村地区是很普遍的。农村人主要依靠中医治愈疾病，他们认为以野生动物肉可以治疗许多疾病和健康问题。此外，在过去的几十年里，野生动物的肉已经成为了一种奢侈的食品，可以用来展示一个人的社会地位和财富。上述例子表明，野味在广东的流行主要是由文化因素和社会对潜在的损害和威胁的认识不足所决定的。 <br /> <br /> ===参考资料 (References)===<br /> <br /> 宋雪梅 2004. 探源：广东人为何嗜吃野味 专家学者众说纷纭 [online] https://www.chinanews.com.cn/n/2004-01-07/26/389066.html<br /> <br /> 周珺 2013. 专家称吃野味成为人们显身份摆阔方式之一 [online] https://news.jxnews.com.cn/system/2013/02/09/012286286.shtml<br /> <br /> 中历史网 2018. 广东人为什么爱吃野味？[online] https://www.y5000.com/shbt/dcsh/28025.html<br /> <br /> <br /> ===关键词 (Key words)===<br /> <br /> 野味，中医，广东，饮食文化<br /> <br /> ===生词 (Terms and Expressions)===<br /> <br /> 野味 bush meat<br /> 稀有濒危动植物 rare and endangered animals and plants<br /> 显阔 show off wealth and status<br /> 寄生虫 parasites<br /> <br /> ===问题 (Questions)===<br /> <br /> 1.对传统中医来说，怎样可以平衡人体健康？<br /> 2.根据目前的科学知识，野生动物肉比养殖动物肉对身体更有营养吗？<br /> 3.吃野味对身体有什么危害？<br /> 4.为什么野味成为了奢侈的食品？<br /> <br /> =第十五周 Session 15 Feb 15 11:30-13:00 - Final Paper=<br /> The deadline to submit the final exam paper is January 31. The papers will be graded until Feb 15. Please follow this link to the [[20240131_cult_finals|final paper]] page.<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> &lt;h1&gt;Basic information&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.23K.03201.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Hsiu-Ting Yu&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Hsiu-Ting Yu&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_002.png&quot;<br /> width=&quot;681&quot; height=&quot;55&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> 2&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_003.png&quot;<br /> width=&quot;681&quot; height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 2&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Exam&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_004.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 6&lt;/p&gt;<br /> &lt;h1&gt;Goals&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Presentation and discussion on selected topics<br /> in the field of traditional Chinese culture, art and<br /> theater - from the Zhou Dynasty to the end of the Qing<br /> Dynasty - in relation to the phenomena in contemporary<br /> Chinese culture, art and theater.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Developing the ability to independently read<br /> and analyse selected texts, understand discussed issues,<br /> deepen individual knowledge and compare distant phenomena<br /> in time.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_005.png&quot;<br /> width=&quot;6&quot; height=&quot;5&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> Completed courses in the history of China and the history of<br /> Chinese literature.&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_006.png&quot;<br /> width=&quot;6&quot; height=&quot;5&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> Fluent reading comprehension of Chinese texts at the B2 level of<br /> the Common European Framework of Reference for&lt;br&gt;<br /> Languages.&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has knowledge of selected aspects of Chinese<br /> culture, art, theater, drama and aesthetics&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;recognizes connections between culture, art,<br /> theater and drama of ancient and present China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;understands the idea of continuity of<br /> tradition and its modern interpretations and continuations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;performs critical analyzes of cultural texts<br /> in Chinese&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;participates in discussions on topics related<br /> to Chinese culture, presents own views and correctly<br /> arguing&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;them&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U06&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;understands the meaning of high culture and<br /> the need to promote the development of international<br /> cultural exchange&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K05, SNL_K2_K08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Categories of time and space in ancient<br /> Chinese culture&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_007.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 6&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Traditional Chinese painting and its<br /> contemporary continuations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Traditional Chinese calligraphy and modern<br /> calligraphy&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetics of Chinese traditional poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetics of Chinese traditional musical<br /> theater and its reference in avant-garde drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Space, line and theatricality in ancient<br /> Chinese garden art and modern shaping of the urban<br /> landscape&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Stylization, conventionality and symbolism in<br /> traditional Chinese culture&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetization and celebration of everyday<br /> life in ancient China and today&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;h2&gt;Semester 1&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Audio and/or video demonstrations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Attendance at classes is mandatory. The first<br /> semester of the course is passed on the basis of a written<br /> test.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Semester 2&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Audio and/or video demonstrations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The second semester of the course is passed on<br /> the basis of preparation of a multimedia presentation and<br /> a written exam.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_008.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 6&lt;/p&gt;<br /> &lt;h1&gt;Literature&lt;/h1&gt;<br /> &lt;h2&gt;Obligatory&lt;/h2&gt;<br /> &lt;p&gt;1. Chinese texts on culture, fine arts and aesthetics are provided<br /> during classes by the teacher.&lt;/p&gt;<br /> &lt;h2&gt;Optional&lt;/h2&gt;<br /> &lt;p&gt;1.&lt;br&gt;<br /> 2.&lt;br&gt;<br /> 3.&lt;br&gt;<br /> 4.&lt;br&gt;<br /> 5.&lt;br&gt;<br /> 6.&lt;br&gt;<br /> 7.&lt;br&gt;<br /> 8.&lt;br&gt;<br /> 9.&lt;br&gt;<br /> 10.&lt;br&gt;<br /> 11.&lt;br&gt;<br /> 12.&lt;br&gt;<br /> 13.&lt;br&gt;<br /> 14.&lt;br&gt;<br /> 15.&lt;br&gt;<br /> 16.&lt;br&gt;<br /> Witold Rodziński, Historia Chin, Wrocław 1974 – rozdziały<br /> poświęcone kulturze, literaturze, nauce chińskiej od dyn. Zhou do<br /> Qing.&lt;br&gt;<br /> John King Fairbank, Historia Chin. Nowe spojrzenie, Gdańsk 1996.<br /> Patricia Buckley Ebrey , Ilustrowana historia Chin, Warszawa 2002.&lt;br&gt;<br /> Laurence Sickman, Aleksander Soper, Sztuka i architektura w<br /> Chinach, Warszawa 1984. Craig Clunas, Art In China, Oxford 1997.&lt;br&gt;<br /> 5000 lat sztuki chińskiej [album], Warszawa 2014.&lt;br&gt;<br /> Adina Zemanek (red.), Estetyka chińska . Antologia, Kraków 2007,<br /> Universitas. JeeLoo Liu, Wprowadzenie do filozofii chińskiej, Kraków<br /> 2010.&lt;br&gt;<br /> Hajime Nakamura, Systemy myślenia ludów Wschodu, Kraków 2003.<br /> Benjamin I. Schwartz, Starożytna myśl chińska, Kraków 2009.&lt;br&gt;<br /> Livia Kohn, Taoizm. Wprowadzenie, Kraków 2012.&lt;br&gt;<br /> Xinzhong Yao, Konfucjanizm. Wprowadzenie, Kraków 2000. Francois<br /> Jullien, Drogą okrężną i wprost do celu, Kraków 2006. Francois<br /> Jullien, Pochwała nieokreśloności, Kraków 2006.&lt;br&gt;<br /> William Dolby, A History of Chinese Drama, London 1976, Paul Elek.&lt;br&gt;<br /> Izabella Łabędzka, Obrzędowy teatr Dalekiego Wschodu, Poznań 1999,<br /> Wyd. UAM.&lt;/p&gt;<br /> &lt;h1&gt;Calculation of ECTS points&lt;/h1&gt;<br /> &lt;h2&gt;Semester 1&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;60&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;/p&gt;<br /> &lt;h2&gt;Semester 2&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_009.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 6&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;15&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the exam&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;15&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_010.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;5 / 6&lt;/p&gt;<br /> &lt;h1&gt;Learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to aktywnego działania w<br /> społecznościach wielokulturowych i międzynarodowych na<br /> rzecz rozwoju wymiany kulturalnej w interesie publicznym w<br /> stopniu zaawansowanym.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to doceniania dorobku<br /> sinologii w zakresie zachowania dziedzictwa kulturowego<br /> Azji&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Wschodniej i uczestnictwo w działaniach na<br /> rzecz jego rozwoju.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can dobierać odpowiednie źródła i<br /> udostępniane przez nie informacje, dokonywać ich oceny,<br /> krytycznej analizy, syntezy i wykorzystywać w optymalny<br /> sposób.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U06&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can komunikować się w języku<br /> chińskim na tematy specjalistyczne ze zróżnicowanymi<br /> kręgami odbiorców przy użyciu różnych kanałów i technik<br /> komunikacyjnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Chinese_Culture&diff=158444 2024-01-25T12:01:44Z

<p>Zhang Yuxuan: /* 第十一周 Session 11 Jan 25 13:15-14:45 - 基督教和佛教之间的差别 The Differences between Christianity and Buddhism */</p> <hr /> <div>'''Kultura chińska'''<br /> <br /> THU 11:30-13:00 sal. 401 Chinese Culture Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan. Shortlink: http://bit.ly/Culture_2023_10 (long link: https://bou.de/u/index.php?title=Chinese_Culture)<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[20240131_cult_finals|final paper]] page.&lt;/span&gt;<br /> <br /> =Session 1=<br /> ==Organizational Things==<br /> ===课程安排 Schedule===<br /> *1 Oct 5, 2023 11:30-13:00 401<br /> *2 Oct 12 11:30-13:00<br /> *3 Oct 26 11:30-13:00<br /> *4 Nov 30 11:30-13:00<br /> *5 Dec 7 11:30-13:00 <br /> *6 Dec 14 11:30-13:00 <br /> *7 Dec 21 11:30-13:00 <br /> *8 Jan 11 11:30-13:00 <br /> *9 Jan 25 11:30-13:00<br /> *10 Jan 25 13:15-14:45<br /> *11 Jan 26? <br /> *12 Feb 1 11:30-13:00<br /> *13 Feb 1 13:15-14:45 <br /> *14 Feb 2? <br /> *15 Feb 8 Final Paper (homework)<br /> <br /> ===Student roll===<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目<br /> <br /> ===Topics===<br /> Please write your names behind the topics you will present with ppt.<br /> <br /> *1 Oct 5, 2023 11:30-13:00 401<br /> Introduction<br /> *2 Oct 12 11:30-13:00<br /> Survey on 5,000 year of Chinese culture narrative and introduction into intercultural communication<br /> *3 Oct 26 11:30-13:00<br /> #地理性质是文化发展的基础 Geographic Nature as a Basis for Cultural Development (2)<br /> #古代和当代的接触方式 Ancient and Contemporary Ways of Contacting (2)<br /> *4 Nov 30 11:30-13:00<br /> #中国的婚姻习俗 Chinese Marriage Customs (3) Jin Yue 金乐 Joanna<br /> #湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (3) Ai Xi 艾希<br /> *5 Dec 7 11:30-13:00 <br /> #土家族的哭嫁 Crying Marriage of Tujia (4) <br /> #中国古代的四大才子 The Four Most Handsome men in Ancient China (4) Li Meilin 李美琳<br /> *6 Dec 14 11:30-13:00 <br /> #建筑：紫禁城 The Forbidden City (6) Pei Mengjiao 裴梦姣<br /> #建筑:中国四大名桥 Architecture: Four Famous Bridges (6)<br /> *7 Dec 21 11:30-13:00 <br /> #熊猫 The Panda (5) 安浩阳<br /> #建筑学 Architecture (5) <br /> *8 Jan 11 11:30-13:00 <br /> #建筑：四大亭子 Four Great Pavilions (7) Wei Yuxin 魏雨昕<br /> #中国产出日式文化出品 (China produces Japanese-style products) (7)<br /> *9 Jan 25 11:30-13:00<br /> #中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals (8) Yan Li 晏黎<br /> #中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People) (8) Kang Mingjie 康明杰<br /> *10 Jan 25 13:15-14:45<br /> #中国摇滚乐的形成 （Development of Chinese Rock Music) (9) Wang Xiaotong 王晓彤<br /> #基督教和佛教之间的差别 (The Differences between Christianity and Buddhism) (9) Zhang Yuxuan 张宇璇<br /> *11 Feb 1 11:30-13:00<br /> #中国饮食文化——中国菜的命名艺术 (Culinary Culture of China: The Art of Naming Chinese Dishes) (10)王美芬<br /> #中国佛教 (Chinese Buddhism) (10) Su Shimei 苏诗美<br /> *12 Feb 1 13:15-14:45 <br /> #缠足 (Foot-binding) (11) Yang Siyi 杨思艺<br /> #鬼怪和辟邪 (Monsters and Exorcism) (11) 田小龍<br /> *13 Feb 2 11:30-13:00 Culture<br /> #中医植物 (Herbs in Traditional Chinese Medicine) (12) 安凱榕<br /> *14 Feb 2 13:15-14:45 Culture<br /> #广东的文化饮食习惯：广东人为何爱吃野味？ (The tradition of eating of wild animals in Guangdong) (12) 爱答<br /> *15 Feb 2 15:00-16:30 Culture, Bring lots of food! (Chinese Spring Festival Event starts at 17:00 in the Upper Hall)<br /> *Feb 8 Extended deadline to submit Final Paper (homework)<br /> <br /> =Topics/Sessions=<br /> '''中国文化————研究生课（研一）''' Kultura chińska | Chinese Culture for first year Master Students<br /> <br /> 直接到期末考试论文网页的链接 Quick Link to Final Exam Papers: [[20240131_cult_finals]]<br /> <br /> 10月6日——1月31日 (30 x 45 分钟) Thursdays 9:45 (30 x 45 min.), 教室 Classroom 4## <br /> <br /> =第一周 Session 1 - 組織方面的事情 Organizational Things=<br /> <br /> 本课程由吴漠汀线下授课。课堂语言为中文，但也会提供一些英语/法语/德语/日语/波兰语的解释。一部分的资料是简体字的，一部分繁体字。你们注意到繁体字的时候，请打招呼。看繁体字慢慢的也要看习惯。<br /> <br /> This class is taught by Martin Woesler in presence. The class language is Chinese, however, some explanations in English/French/German/Japanese/Polish will be given. Some part of the teaching material is in simplified characters, another part in traditional character. If you find traditional characters, please tell the teacher. You should get used to reading traditional characters too.<br /> <br /> 1. 请阅读使用条款：通过注册本维基，您同意将您的数据（姓名、学号、学习方向、电子邮件、设备技术数据、IP地址等）和您在课堂上的贡献（作业、翻译、演讲、讲义、期末考试试卷等）储存起来，用于评分和学术用途（教学和研究用的匿名）。你明确同意你的贡献可以由老师以他的名义使用，例如用于出版，用于改进教材等。<br /> <br /> 1. Please read the terms of Use: By registering for this Wiki, you give your consent that your data (name, study no., study direction, email, technical data of your device, ip address etc.) and your contributions to class (homework, translations, presentations, handouts, final exam papers etc.) is stored for grading, and academic use (teaching and ANONYMIZED for research). You explicitely agree that your contributions can be used by the teacher under his name, e.g. for publication, for improvement of teaching material etc. <br /> <br /> 2. 我们需要一些志愿者。我们的助教是泊语丰(Martyna)她应该给老师发一份学生名册，并将所有作业和测验的成绩以及她从老师那里收到的成绩输入名册，由老师保管。我们还需要1名wiki管理员和5名调查助理，他们要知道如何使用http://wjx.top。如果我们有超过100名学生，我们需要2名教学助理。所有这些人的 &quot;课堂表现 &quot;成绩都会得到加分。注册后（见下面第3点），请在这里直接在角色后面写上你的名字（例如：&quot;教学助理--雷锋&quot;）。要改变维基上的任何内容，请见下面第3点。<br /> <br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> *问卷调查助理1 - [[Survey Assistant]]<br /> <br /> 2. We need volunteers! Our teaching assistant 助教 is #. She should send a student roll to the teacher and enter all grades from homework and quizzes and those she receives from the teacher into the roll to be kept with the teacher. We still need 1 [[wiki admin]] and 5 survey assistants, who know how to use http://wjx.top. If we have more than 100 students, we need 2 teaching assistants. All of them will get extra points for their &quot;performance in class&quot; grade. After registration (see point 3 beneath), please write your names here directly behind the role (e.g. &quot;teaching assistant - Lei Feng&quot;). To change anything on the wiki, please see point 3 beneath.<br /> *Teaching Assistant - ____ [[Teaching assistant]]<br /> *Wiki Admin - ____ [[Wiki admin]]<br /> *Survey Assistant - ____ [[Survey Assistant]] <br /> <br /> 3. 请在本维基上注册。从任何地方你都可以按照这个链接注册：https://bit.ly/WIKIREG。如果您已经在这里，请点击右上角的 &quot;注册（register）&quot;，然后点击 &quot;申请一个（request one）&quot;。然后请在两个名字（用户名和真名）中使用你的拼音真名（姓和名之间留有空白）进行注册，所以要有两次 &quot;雷锋 &quot;和 &quot;雷锋&quot;。请勾选您同意条款和条件的选项。然后输入密码 &quot;wikicaptcha &quot;并点击 &quot;提交&quot;。你会收到一封带有链接的确认邮件。你可以点击该链接，确认你的身份并创建一个密码。然后你需要等待1-2天，直到老师授予你权限。你将会收到另一封邮件，当它发挥作用的时候。有了这个维基的访问权，你就可以直接编辑一切，包括这个页面。如果你想学习如何在Wiki上进行编辑，请阅读这里： [[uvu:Community_Portal]] 。在编辑之后，你会被要求输入密码以保存修改，这次的密码是 &quot;wikicaptcha&quot;。<br /> <br /> 3. Please register on this Wiki. From any place you can register following this link: https://bit.ly/WIKIREG. If you are already here, click on &quot;register&quot; on the top right corner, and then on &quot;request one&quot;. Then please register with your real name in Pinyin (with blank space between the family name and the given name) for the two names (username and real name), so two times &quot;Lei Feng&quot; and &quot;Lei Feng&quot;. Please check the box that you agree to the Terms and Conditions. Then type in the password &quot;wikicaptcha&quot; and click on &quot;submit&quot;. You will receive a confirmation email with a link. You can click on the link, confirm your identity and create a password. Then you need to wait 1-2 days until the teacher grants you access. You will receive another email when it will work. With the access to this wiki, you can directly edit everything, including this page. If you want to learn how to edit on Wiki, please read here: [[uvu:Community_Portal]] After editing, you will be asked for a password to save changes, this time the password is &quot;wikicaptcha&quot;.<br /> <br /> 4. 请在本班的微信群里注册。该微信群将由助教创建。请务必在群里显示你的名字和以下内容： &quot;雷锋20级笔译&quot;。<br /> <br /> 4. Please register on the WeChat Group of this class. The WeChat Group will be created by the Teaching Assistant. Please make sure to display your name in the group with the following details: &quot;Lei Feng 雷锋 20级 笔译&quot;.<br /> <br /> 5. 为了便于交流，请将老师good_old_cathay添加到你的微信联系人中。<br /> <br /> 5. For communication please add the teacher good_old_cathay to your WeChat contacts.<br /> <br /> 6. 请为第二节课准备第一篇课文（课本第12-15页）。<br /> <br /> 6. Please prepare the first text for the Session 2 (text book pages 12-15).<br /> <br /> 7. 请在第二节课前做小测验。<br /> <br /> 7. Please take the quiz before Session 2.<br /> <br /> 8. 请选一个这个学期要用ppt介绍的一个题目，写在下面学生名单的名字后面。<br /> <br /> 8. Please choose a topic to present with ppt and write the topic behind your name in the student roll beneath.<br /> <br /> Here a summary of the most important points in Chinese: <br /> @所有人 <br /> 请各位同学将群聊备注改为姓名拼音 姓名 班级的格式，如 Li Xin 李欣 21级 英语笔译。请各位同学浏览此网站了解本学期的课程要求：https://bou.de/u/wiki/Chinese_Culture_2023 （短一点的是http://bit.ly/ChinCult2023，然后按我们课的链接）. 我们的课程还需要六位同学分别做网站管理员（1位）和调查助手（5位），期末可以得到一定加分，请有意向的同学在今天晚上六点前私聊我。请大家尽快完成以下课程前准备：<br /> <br /> *https://bit.ly/WIKIREG 请在此维基网站上注册，用户名和真实姓名都请填写自己姓名的拼音，像&quot;Li Xin&quot;和&quot;Li Xin&quot;，密码填wikicaptcha，收到邮件确认身份后等待老师通过<br /> <br /> 注：在中国大陆内有的链接可能要用vpn才能进<br /> <br /> ==学生名单 Student Roll== <br /> 请选一个这个学期要用ppt介绍的一个题目。<br /> <br /> #安浩阳, 题目 ppt topic: 熊猫, final exam topic: 中国文化中植物、蔬菜和水果的象征意义<br /> #杨思艺, 题目 ppt topic: 缠足, final exam topic: 中国流行歌曲<br /> #王晓彤, 题目 ppt topic: 中国摇滚乐的形成, final exam topic: 中国金属音乐：历史、发展与评论接受<br /> #裴梦姣, 题目 ppt topic: 紫禁城, final exam topic: 中国的美容标准<br /> #晏黎, 题目 ppt topic: 动物象征, final exam topic: 中国 “四像” 动物<br /> #李美琳, 题目 ppt topic:中国古代的四大才子, final exam topic: 中国民工<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> #_________, 题目 ppt topic: _ _ _, final exam topic: _ _ _<br /> <br /> ==供下载教师第一周的演示文稿 Teacher presentation of week 1 for download==<br /> <br /> [[Media: 01_Chin_Cult_Intro_2023.pptx]]<br /> <br /> ==课堂上的职责 Duties in Class==<br /> <br /> 1. 请在上课前做好准备。这意味着请阅读书中的章节，在网上搜索更多关于该主题的信息，并提前学习每节课与该主题有关的词汇。这对你自己和其他人都更有好处。同时，课堂上的讨论也可以在一个更复杂的水平上进行。请为每节课保留至少两个小时的准备时间。您已经通过微信群收到了教科书pdf： 《Woesler, Martin. (2023). 中国文化》，波鸿：欧洲大学出版社，1000页。<br /> <br /> 1. Please come to class prepared. This means please read the book chapter, search for more information about the topic online and learn the vocabulary related to the topic for each session in advance. It is much more benefetial for yourself and for the others. Also the discussions in class then can be conducted on a much more sophisticated level. Please reserve at least two hours of preparation for each session. You have received the textbook pdf via the WeChat group: Woesler, Martin. (2023). Chinese Culture, Bochum: European University Press, 1000 pages.<br /> <br /> 2.请每周认真做作业，并在开课前3天在微信群里提交作业，开课前1天提交同学的作业批改。<br /> <br /> 2. Please do your homework seriously every week and submit it in wiki 3 days before the class starts and the corrections of your fellow student's homework 1 day before the class starts. <br /> <br /> 3. 请积极参与到课堂中。这意味着每节课： 请至少提出一个问题或至少参与一次讨论。<br /> <br /> 3. Please participate actively in class. This means for each session: Please ask at least one question or participate with at least one contribution in the discussion.<br /> <br /> 4. 这个学期：每周可以准备15分钟的ppt和10分钟的问卷调查（用mentimeter）和讨论或者表演了。所有的文本已经在网页上。当然可以用更多的资料。最好presention是中文的，ppt写着中英文对照。<br /> <br /> 上一个学期的要求：请在第二节课前选择你将在课堂上做的演讲的主题（如果我们的学生比课程多，那么就建立两个小组，一个做演讲，一个对同一主题写讲义）。请记得提前一周在本网站上传并链接你的演讲和讲义，以便你的同学能够准备。请从下面的列表中挑选，在任何一个主题后面加上你的名字。<br /> <br /> 4. Please select the topic for the presentation you will do in class already until session 2 (if we have more students than sessions, then build groups of two - one doing presentation, one a written handout on the same topic). Please remember to upload and link your presentation and your handout here on this website a week ahead to enable your fellow students to prepare it. Please pick from the following list by adding your name behind any of the topics.<br /> <br /> 5. 请在第三节前选择你的期末考试论文[[20240131_cult_finals]]（1000个中文单词）的题目。<br /> <br /> 5. Please select a topic of your final exam paper[[20240131_cult_finals]] (1,000 Chinese words) until session 3.<br /> <br /> 6. 请在这里参加欧盟调查：http://bit.ly/EU-SURVEY<br /> <br /> 6. Please take the EU survey here: http://bit.ly/EU-SURVEY.<br /> <br /> 7. 请在这里参加100个问题的调查：http://bit.ly/100_questions<br /> <br /> 7. Please take the 100 Questions Questionnaire here: http://bit.ly/100_questions<br /> <br /> ==关于使用课堂内外时间达成共识 Joint agreement on use of time inside and outside the classroom==<br /> 由于在课堂上聚在一起，然后共同开始阅读初级或二级文献是没有意义的，所以请在课前阅读文本，这样我们可以节省宝贵的课堂时间，对文本进行充分的讨论。<br /> <br /> Since it does not make sense to come together in the classroom and then jointly start reading the primary or secondary literature, please read the texts before class so that we can save the precious classroom time for a well informed discussion about the texts.<br /> <br /> ==关于成绩比重达成共识 Joint agreement on weight of grades==<br /> *期末考试试卷： 70%<br /> *Final Exam paper: 70 percent<br /> *课堂表现： 30%（由口头贡献/参与、每学期1次演讲或讲义、参与调查和测验、家庭作业组成）--如果你承担了问卷调查助手等额外的职责，这个成绩会得到加分。<br /> *Performance in class: 30 percent (consisting out of oral contributions/participation, 1 presentation or handout per term, participation in surveys and quizzes, homework) - this grade gets extra points if you take over additional duties like survey assistants.<br /> <br /> 注意：成绩可能需要几个月的时间才能输入成绩系统，因为有时有超过100名学生，老师希望尊重每个学生，并仔细阅读他们的期末考试卷。<br /> <br /> Note: Grades may take months to be entered into the grade system, since sometimes there are more than 100 students and the teachers want to pay respect to each student and read their final exam paper carefully.<br /> <br /> [[File:Example.jpg|200px|thumb|left|Example for inserting pictures.]]<br /> ==为第2节课做准备的课后家庭作业 Homework of Session 1 for Session 2==<br /> <br /> 1. 请在第二节课前做小测验。<br /> <br /> 2. 请选择一个你愿意做5分钟ppt演讲的主题。你可以在这周课的描述下面的相应部分（不是上面）将你的名字写在题目后面，以保留你的题目。请注意：如果该话题没有课件，我们还需要2名学生来做这个话题，1名学生准备课件，另1名学生写 &quot;术语&quot;、&quot;参考文献&quot;、&quot;问题 &quot;和&quot;答案&quot;（请提交给老师和学生助理）。请确保至少提前1周将课文和附录发布在这一周课的描述下方。请务必至少提前1周将问题发给调查的学生，让他们进行问答，并至少提前1周将问题答案发给助教，以便她进行评分。<br /> <br /> 3. 请准备好下节课的所有课文，并在下节课开始前对这些课文进行测验。<br /> <br /> 4. 如果你还没有这样做，请在你的维基主页上添加你的个人信息。你可以在浏览器中直接输入：https://bou.de/u/wiki/User:Wang_Jianguo - 当然，王建国只是一个样本名称，你必须用你自己的用户名代替，并将空格换成下划线。<br /> <br /> Wiki管理员的特别任务： 请在新的网页上设置所有的作业文本（我已经把第24章复制到我们的作业页上，你需要把大约3行文本平均分给每个学生），并在下面的所有会话中链接它们。也请为上传ppt设置假的链接。<br /> <br /> 问卷调查助理学生的特殊家庭作业： 请在wjx.org上为所有题目设置测验，学生需要注明他们的姓名和学生编号。请将测验的链接粘贴在这里，放在相应的会议和主题下面。请告诉助教测验的正确答案，以便助教将测验的成绩转入学生角色成绩表。<br /> <br /> 助教的特殊任务：请把每个学生的成绩写进学生卷的成绩表。一个做了作业（不含拼音）的学生可以得到100分，一个为他的同学做了作业批改的学生又可以得到100分。一个学生做了一个ppt，写了一篇课文或课文的附录，又可以得到100分。<br /> <br /> 总结：我现在已经把学生们选择的题目制作成一个排名表，并公布在我们的课程网站上。每个人现在都应该执行作业。这包括助教、Wiki管理员和问卷调查学生的特殊工作。<br /> <br /> 特别是维基管理员需要把需要翻译的文字分成小部分给每个学生，并标明学生的名字，这样他们就能更容易找到。每个学生都可以选择一个主题来做演讲，并在主题后面写上名字。<br /> <br /> 另外，每个学生都需要阅读下周一的课本课文以做好准备，调查的学生需要为课本课文设置测验，学生需要在每周上课前进行测验。这是一个很大的工作，但它会变得更好，当你们所有人都习惯了它。另外，很多功课，特别是为功课建立网页等，包括演示文稿，在课本上创建缺失的文本等，现在已经可以开始了，所以大家现在已经可以完成整个学期的大部分功课。<br /> <br /> 如果想开始写期末考试论文，也可以早一点开始，如果愿意的话。事情做得越早越好，而且在学期中还有更多的机会来改进事情。<br /> <br /> 1. Please take the quiz before Session 2.<br /> <br /> 2. Please select a topic you want to give a 5-minute ppt presentation on. You can reserve your topic by writing your name behind the topic in the respective section of the Sessions beneath (not above). Please note: If there is no textbook text for the topic, we need 2 more students for this topic, 1 to prepare a textbook text and the 2nd student to write the &quot;terms&quot;, &quot;references&quot;, &quot;questions&quot; and (please submit to teacher and student assistant): &quot;answers&quot;. Please make sure to post the text and appendix at least 1 week ahead of time under the session beneath. Please make sure to send the quiz questions at least 1 week ahead of time to the survey students that they can make a quiz and send the quiz answers at least 1 week ahead of time to the teaching assistant, so that she can grade the quizzes.<br /> <br /> 3. Please prepare all texts for the next session and take the quiz on these texts before the next session starts.<br /> <br /> 4. If you have not yet done so, please add the biographical info on yourself on your wiki homepage. You can find your wiki homepage by typing directly into you browser: https://bou.de/u/wiki/User:Wang_Jianguo - of course Wang Jianguo is just a sample name, you would have to replace it with your own username and exchange the space by an understroke.<br /> <br /> Special homework for [[Wiki admin]]: Please set up all homework texts (I have copied chapter 24 to our homework page and you need to split about 3 lines text in average to each student) on new webpages and link them in all sessions beneath. Please also set up dummy links for [[ppt upload]].<br /> <br /> Special homework for [[Survey Assistant]] Students: Please set up quizzes for all topics on wjx.org, students need to indicate their name and student id. Please paste the link to the quiz here under the respective session and topic beneath. Please tell the teaching assistant the correct answers to the quizzes, so that the teaching assistant can transfer the grades from the quizzes into the student role grade table. Please use <br /> <br /> Special homework for [[Teaching assistant]]: Please write a grade for each student into the student roll grade list. A student who has done the homework (without Pinyin) gets 100 percent for this, a student who has done the correction of a homework of his fellow student gets another 100 percent. A student who has presented a ppt, written a textbook text or a textbook text appendix gets another 100 percent.<br /> <br /> General remarks: I have now created a ranking list of the topics the students selected and published on our course website. Everybody should perform the homework now. This includes special work for the teaching assistant, the wiki admin and the survey students. <br /> <br /> Escpecially the [[Wiki admin]] needs to split the text which needs to be translated into small parts for each student and indicate the students' names so that they can find it easier. Every student can already pick a topic to do a presentation on and write the name behind the topic. <br /> <br /> Also, every student needs to read the textbook texts for coming Monday to be prepared, the survey students need to set up quizzes for the textbook texts and the students need to take the quizzes before class starts on Monday. It is a lot of work, but it will get better, when all of you get used to it. Also, much of the homework, especially setting up webpages for homework etc., including the presentations, creating missing texts in the textbook etc. can be started already now, so that one can do most of the homework for the whole semester already now. <br /> <br /> If people want to start writing their final exam papers, they can also start maybe in March, if they like. The earlier things are done the better and the more chances there are to still improve things during the semester.<br /> <br /> ==作业 Homework: 选主题、参加测试/问卷调查 Choose a topic for presentation, take part in quizzes==<br /> *在wiki上注册 https://bit.ly/WIKIREG<br /> *选“助教”、wiki admin、quiz assistants<br /> *请参加“测试100”。https://bit.ly/100_questions, http://bit.ly/EU-SURVEY<br /> *选主题，看第二周那边，加你的名字（选下个礼拜的主题的同学麻烦准备ppt，课网页上上传）<br /> *准备下个星期的课文（主题1）<br /> *回答关于主题的问题<br /> <br /> ==主题 Topics (still to be updated)==<br /> #地理性质是文化发展的基础 Geographic Nature as a Basis for Cultural Development (3)<br /> #古代和当代的接触方式 Ancient and Contemporary Ways of Contacting (3)<br /> #中国的婚姻习俗 Chinese Marriage Customs (3)<br /> #湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (4)<br /> #土家族的哭嫁 Crying Marriage of Tujia (4)<br /> #中国古代的四大才子 The Four Most Handsome men in Ancient China (4)<br /> #熊猫 The Panda (-)<br /> #建筑学 Architecture (5) <br /> #建筑：紫禁城 The Forbidden City (5)<br /> #建筑：中国四大名桥 Four Famous Bridges (6)<br /> #建筑：四大亭子 Four Great Pavilions (6)<br /> #建筑:中国四大名桥 Architecture: Four Famous Bridges (7)<br /> #中国产出日式文化出品 (China produces Japanese-style products) (7)<br /> #中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals (8)<br /> #中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People) (8) Kang Mingjie 康明杰<br /> #中国摇滚乐的形成 （Development of Chinese Rock Music) (9)<br /> #基督教和佛教之间的差别 (The Differences between Christianity and Buddhism) (9) Zhang Yuxuan 张宇璇<br /> #中国饮食文化——中国菜的命名艺术 (Culinary Culture of China: The Art of Naming Chinese Dishes) (10)<br /> #中国佛教 (Chinese Buddhism) (10)<br /> #缠足 (Foot-binding) (11)<br /> #鬼怪和辟邪 (Monsters and Exorcism) (11)<br /> #中医植物 (Herbs in Traditional Chinese Medicine) (12)<br /> #广东的文化饮食习惯：广东人为何爱吃野味？ (The tradition of eating of wild animals in Guangdong) (12)<br /> <br /> Further ideas:<br /> <br /> 艺术、戏剧（新旧）、话剧（新旧）、美学、高雅文化的概念、绘画（新旧）、书法（新旧）、传统诗歌、传统音乐剧及其在先锋派戏剧中的借鉴、中国古代园林艺术中的空间、线条和戏剧性以及现代城市景观的塑造、时间和空间、中国传统文化中的风格化、惯例化和象征主义、中国古代和当今日常生活的美学化和庆典<br /> <br /> art, theater (old and new), drama (old and new), aesthetics, concept of high culture, painting (old and new), calligraphy (old and new), traditional poetry, traditional musical theater and its reference in avant-garde drama, Space, line and theatricality in ancient Chinese garden art and modern shaping of the urban landscape, time and space, Stylization, conventionality and symbolism in traditional Chinese culture, Aesthetization and celebration of everyday life in ancient China and today<br /> <br /> ==教材 Text book==<br /> 教材书英文版本我发给大家。中文我们只有一些章回，到时候提供。<br /> <br /> =第二周 Session 2 Oct 12 11:30-13:00 Narrative of 5,000 years of unbroken Chinese history and models of intercultural communication=<br /> =第三周 Session 3 Oct 26 11:30-13:00 Part 1: Geographic Nature as a Basis for Cultural Development 地理性质是文化发展的基础=<br /> ==供下载教师第二周的演示文稿 Teacher presentation of week 3 for download==<br /> <br /> [[Media: 02_Chin_Cult_Intro_Geo.pptx]]<br /> <br /> Textbook text:<br /> <br /> Geographic Nature as a Basis for Cultural Development<br /> <br /> 1. 地理性质是文化发展的基础<br /> <br /> China is the largest of all the Asian countries and has the largest population of any country in the world, in the future India will overtake China. She covers an area of 9,560,900 km2 (3,691,000 square miles), which is approximately one-fifteenth of the land area of the world. According to the latest population census, China’s total population by 2005 had reached 1. 35 billion. In both area and population, Europe (excluding Russia) is only half the size of China. <br /> <br /> 中国是所有亚洲国家中最大的国家，是世界上人口最多的国家，将来印度会超过中国。它的面积为9,560,900平方公里（3,691,000平方英里），约为世界陆地面积的十五分之一。根据最新的人口普查，到2005年，中国的总人口已达到13.5亿。无论是面积还是人口，欧洲（不包括俄罗斯）只有中国的一半大。<br /> <br /> Lying in the northern half of the eastern hemisphere, China is situated in East Asia on the west coast of the Pacific Ocean. She stretches for about 5,000 km from east to west and about 5,500 km from north to south. China has a land boundary exceeding 20,000 km in length, and borders 14 countries: Korea in the east; Vietnam, Laos and Burma in the south; India, Bhutan and Nepal in the southwest; Pakistan and Afghanistan in the west; Russia, Kazakstan, Kirghizia and Tajikstan in the northwest; and Mongolia in the north. China faces Japan across the Yellow Sea, and in the southeast she looks toward the Philippines beyond the South China Sea. <br /> <br /> 中国位于东半球的北半部，在东亚的太平洋西海岸。她从东到西绵延约5,000公里，从北到南约5,500公里。中国的陆地边界长度超过20,000公里，与14个国家接壤： 东部是朝鲜；南部是越南、老挝和缅甸；西南部是印度、不丹和尼泊尔；西部是巴基斯坦和阿富汗；西北部是俄罗斯、哈萨克、吉尔吉斯和塔吉克斯坦；北部是蒙古。中国与日本隔着黄海相望，在东南方向，她看向南海外的菲律宾。<br /> <br /> China has one of the longest coastlines in the world along its mainland, running 18, 000 km from the mouth of the Yalu River on the Chinese-Korean border in the north to the mouth of the Beilung River on the Chinese-Vietnamese border in the south. The eastern part of the Chinese mainland is flanked from the north to the south by the Bohai Sea, the Yellow Sea, the East China Sea and the South China Sea, all of which merge with the Pacific Ocean. Over a vast sea area are scattered more than 5, 000 islands. Taiwan is the largest island, followed by Hainan and Chongming. <br /> <br /> 中国大陆拥有世界上最长的海岸线之一，北起中韩边境的鸭绿江口，南至中越边境的北隆河口，全长18000公里。中国大陆东部从北到南依次是渤海、黄海、东海和南海，它们都与太平洋汇合。在广阔的海域中，散布着5000多个岛屿。台湾是最大的岛屿，其次是海南和崇明。<br /> <br /> Because of its location in the southeast of the Eurasian Continent and on the west coast of the Pacific Ocean, China is well known for its monsoon climate caused by the difference in the heat reserves between the world’s largest continent and the world’s biggest ocean. The polar continental air mass, cold and dry, originating in Siberia, dominates a large part of China during the winter, while the tropical Pacific air mass, hot and humid, exerts its influence during the summer. Most regions in China have a distinct continental climate, a climate of large daily range and annual range of temperature. <br /> <br /> 由于位于欧亚大陆的东南部和太平洋的西海岸，中国以其季风气候而闻名，这是由世界上最大的大陆和世界上最大的海洋之间的热储量差异造成的。源自西伯利亚的极地大陆气团，寒冷而干燥，在冬季主导着中国的大部分地区，而热带太平洋气团，炎热而潮湿，在夏季发挥其影响。中国大部分地区都有明显的大陆性气候，这种气候的日温差和年温差都很大。<br /> <br /> The rainfall distribution in China generally decreases from the southeast to the northwest. The annual precipitation of certain places along the southeast coast amounts to over 80 inches. The Yangtze Valley receives about 40 inches. Further north, less than 20 inches are received annually. A grand project of moving water sources from the south to the north (Nanshuibeidiao - “Diversion of Water from the South to the North”) is conceived and planned. <br /> <br /> 中国的降水分布一般由东南向西北递减。东南沿海某些地方的年降水量达80英寸以上。长江流域的降水量约为40英寸。再往北，每年的降水量不到20英寸。一个将水源从南方转移到北方的宏伟工程（南水北調）正在构思和规划中。<br /> <br /> The relief of China is high in the west and low in the east, consequently, the direction of flow of the major rivers is generally eastward. The land surface may be divided from west to east into three steps: plateau, mountain and plain. Basically, China is a mountainous country. Hills, mountains and plateaus cover two-thirds of the country’s total area and are inhabited by one-third of the population. <br /> <br /> 中国的地势西高东低，因此，主要河流的流向一般为东向。陆地表面从西到东可分为三步：高原、山地和平原。基本上，中国是一个多山的国家。山地、山区和高原占全国总面积的三分之二，居住着三分之一的人口。<br /> <br /> Types of natural vegetation and their floristic composition are quite diverse. The total number of seed plants in China is about 30, 000 species, representing 2, 700 genera; more than 200 of these genera are restricted to China. There are about 2, 500 species of forest trees. Many of them are trees of economic importance such as tung oil trees, camphor trees and lacquer trees. Profusion of vegetation and a variety of relief have fostered the development of a great diversity of animal life. The notable animals are the great paddlefish of the Yangtze, the Siberian tiger in the northeast, the giant salamander in the west, the giant panda and the sub-nosed monkey in the southwest. <br /> <br /> 自然植被的类型和它们的植物学组成是相当多样化的。中国的种子植物总数约为30,000种，代表2,700个属；其中有200多个属仅限于中国。有大约2,500种林木。其中许多是具有经济意义的树木，如桐油树、樟树和漆树。丰富的植被和多种多样的地形促进了动物生命的多样性发展。著名的动物有长江的白白鲟，东北的西伯利亚虎，西部的大鲵，西南的大熊猫和亚鼻猴。<br /> <br /> In the light of The Constitution of the People’s Republic of China, China is a socialist state under the people’s democratic dictatorship led by the working class and based on the alliances of workers and peasants. The organs through which the people exercise the state power are the National People’s Congress and the local congresses at different levels. The State Council is the executive body of the highest organ of state administration. <br /> <br /> 根据《中华人民共和国宪法》，中国是一个由工人阶级领导的、以工农联盟为基础的人民民主专政的社会主义国家。人民行使国家权力的机关是全国人民代表大会和地方各级代表大会。国务院是国家最高行政机关的执行机构。<br /> <br /> Peking, the political, cultural and economic center, is the capital of the country. The anthem is “The March of the Volunteers”. The national badge is centered by Tian’anmen Rostrum in the shine of five stars, encircled by grains and a gear, which fully expresses the constitutional category of what the People’s Republic of China is.<br /> <br /> 北京是政治、文化和经济中心，是国家的首都。国歌是《义勇军进行曲》。国徽以天安门城楼为中心，五星闪耀，周围是五谷和齿轮，充分表达了中华人民共和国的宪法范畴。 <br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> hemisphere n. 半球 the Yalu River 鸭绿江<br /> <br /> the Beilung River 北仑河 monsoon n. 季风<br /> <br /> air mass 气团 relief n. 地势<br /> <br /> seed plant 种子植物 genus/genera n. （生物）属<br /> <br /> tung oil 桐油 camphor tree 樟树<br /> <br /> lacquer tree 漆树 great paddlefish 大白鲟<br /> <br /> giant salamander 大鲵（娃娃鱼） Tian’anmen Rostrum 天安门层楼<br /> <br /> <br /> <br /> Questions<br /> <br /> 1. How large is China? <br /> <br /> 2. What are the countries that China borders? <br /> <br /> 3. What do you know about China’s coastline? <br /> <br /> 4. What’s China’s climate like? <br /> <br /> 5. What’s China’s general land surface like? <br /> <br /> 6. What do you know about China’s vegetation and animal life? <br /> <br /> <br /> <br /> 问题<br /> <br /> 1. 中国有多大？<br /> <br /> 2. 中国与哪些国家接壤？<br /> <br /> 3. 你对中国的海岸线了解多少？<br /> <br /> 4. 中国的气候是怎样的？<br /> <br /> 5. 中国的总体地表是什么样的？<br /> <br /> 6. 你对中国的植被和动物有什么了解？<br /> <br /> =第三周 Session 3 Oct 26 11:30-13:00 Part 2: Contacting=<br /> <br /> [[Media:03_Chin_Cult_Marriage.pptx]]<br /> <br /> ==Ancient and Contemporary Ways of Contacting 古代和当代的接触方式==<br /> 1. Pigeon post飞鸽传书<br /> <br /> Pigeon post is a method of communication among ancient people, where letters are tied to the feet of pigeons and delivered to the person who wants to deliver them. In movies, we see people in western countries using crows to deliver letters, but in China, crows are seen as an inauspicious symbol, so people used to use pigeons to deliver letters. Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field, and are particularly home-loving, so they are used to improve the speed of delivering mail. <br /> <br /> 飞鸽传书是古人的一种通信方式，即把信绑在鸽子的脚上，送到要送信的人手中。在电影中，我们看到西方国家的人用乌鸦来送信，但在中国，乌鸦被视为不吉利的象征，所以人们习惯用鸽子来送信。鸽子能飞，而且飞得更快，能辨别方向，对地球磁场有很好的感觉，而且特别爱家，所以用鸽子来提高送信的速度。<br /> <br /> In order to get the ideal pigeon, besides careful selection of good breed and scientific feeding management, the most important thing is training. All three complement each other and are indispensable. The basic principle of training is based on the biological characteristics and physiological features of pigeons and the principle of &quot;conditioned reflex&quot;. <br /> <br /> 要想获得理想的鸽子，除了精心选择优良品种和科学的饲养管理外，最重要的是训练。这三者相辅相成，缺一不可。训练的基本原则是根据鸽子的生物学特性和生理学特点以及 &quot;条件反射 &quot;的原理。<br /> <br /> The fundamental purpose of training is to cultivate, exercise and improve the quality of pigeons, to bring into play their inherent biological characteristics and specialties, so that they have the basic elements and conditions to complete various communication and competition tasks. The basic content of training includes: basic training, flight training, competition training, adaptation training and application training. In principle, the training should start from young pigeons, from simple to complicated, from near to far, from day to night, from basic training to professional training, in short, from easy to difficult. (Baidu Encyclopedia 百度百科：Pigeon Post, 飞鸽传书）<br /> <br /> 训练的根本目的是培养、锻炼和提高鸽子的素质，发挥其固有的生物特性和特长，使其具备完成各种交流和比赛任务的基本要素和条件。训练的基本内容包括：基础训练、飞行训练、竞赛训练、适应训练和应用训练。训练原则上应从幼鸽开始，从简单到复杂，从近到远，从白天到黑夜，从基础训练到专业训练，总之，由易到难。(百度百科：Pigeon Post, 飞鸽传书)<br /> <br /> Historically, Genghis Khan used pigeon posts to keep in touch with distant parts of his empire, and even in ancient Greece, carrier pigeons were used to announce major events, such as the Olympic Games! In the 12th century, a fairly extensive network of homing pigeons was established between Syria and Baghdad. One of the last active carrier pigeon posts was in India, but the carrier pigeons were officially retired in 2008. During the war years, carrier pigeons also played a role that could not be ignored. They were able to cross enemy lines more easily than men on horseback. This earned them the name &quot;war pigeon&quot;. People continued to use carrier pigeons to deliver letters even up to the time of World War II. (scienceabc 19 Oct2019, wiki)<br /> <br /> 历史上，成吉思汗曾用飞鸽传书与他的帝国的遥远地区保持联系，甚至在古希腊，信鸽被用来宣布重大事件，如奥林匹克运动会! 在12世纪，叙利亚和巴格达之间建立了一个相当广泛的信鸽网络。最后一个活跃的信鸽站之一是在印度，但信鸽在2008年正式退役了。在战争年代，信鸽也发挥了不可忽视的作用。它们能够比骑马的人更容易穿越敌人的防线。这为它们赢得了 &quot;战鸽 &quot;的称号。人们继续使用信鸽送信，甚至到了第二次世界大战期间。(scienceabc 19 Oct2019, wiki)<br /> <br /> 2. Paper Letters<br /> <br /> 2. 纸质信件<br /> <br /> The letter is a kind of application document that transmits information and exchanges thoughts and feelings to a specific object. “Letter&quot; in the ancient text with the meaning of audio, news, in addition, &quot;Letter&quot; also has a trustworthy meaning of the words transmitted by the trustee, whether it is a message sent to a person, or through the letter carrier by letter to the specific object of language and writing to convey information and exchange of ideas and feelings of the letter, there must be three elements: one is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver. <br /> <br /> 信是一种向特定对象传递信息、交流思想感情的应用文件。&quot;信&quot;在古文字中具有音讯、消息的含义，此外，&quot;信 &quot;还具有受托人传递话语的含义，无论是向人传递信息，还是通过信的载体向特定对象以语言文字传递信息和交流思想感情的信件，都必须具备三个要素：一是有表达自己思想感情的能力；二是有适当的书写工具；三是有人传递。<br /> <br /> Written letters to relatives and friends, not only can convey their thoughts and feelings, but also can give the recipient of the letter a feeling of intimacy; technology continues to progress, and the emergence of the telephone, telegraph, postal tape, video tape, e-mail and other means of exchange of information, it can be expected e-mail will be used by more and more people, which has actually been proven. <br /> <br /> 给亲戚朋友写信，不仅可以传达自己的思想感情，而且可以给收信人以亲切感；科技不断进步，出现了电话、电报、邮带、录像带、电子邮件等信息交流手段，可以预见电子邮件会被越来越多的人使用，这一点已被实际证明。<br /> <br /> With the development of society, the relationship between people and society is also being reconstructed. In addition to the traditional use of correspondence, i. e. , official letters and private letters, a new development is the use of personal letters to government agencies, enterprises and institutions, famous scholars, and other individuals for personal needs, and the use of this type of correspondence is gradually increasing and noteworthy. We call them personal correspondence. (Baidu Encyclopedia 百度百科：Written Letters, 手写信件）<br /> <br /> 随着社会的发展，人与社会的关系也在重构。除了传统的书信使用方式，即公函和私函外，还有一个新的发展，就是因个人需要而给政府机关、企事业单位、著名学者和其他个人写信，这种书信的使用逐渐增多，值得注意的是。我们称其为个人书信。(Baidu Encyclopedia 百度百科：Written Letters, 手写信件)<br /> <br /> 3. E-mails<br /> <br /> 3. 电子邮件<br /> <br /> E-mail is a way of communication that provides information exchange by electronic means and is the most widely used service of the Internet. Through the network's e-mail system, users can contact network users in any corner of the world at a very low price (no matter where they send it, they only have to pay for the network fee) and in a very fast way (it can be sent to any specified destination in the world within a few seconds). <br /> <br /> 电子邮件是一种通过电子手段提供信息交流的通信方式，是互联网上使用最广泛的服务。通过网络的电子邮件系统，用户可以以非常低廉的价格（无论发送到哪里，只需支付网络费用）和非常快速的方式（可以在几秒钟内发送到世界上任何指定的目的地）与世界任何角落的网络用户联系。<br /> <br /> E-mail can be in many forms such as text, images, sound, etc. At the same time, users can get a large number of free news and feature emails and easily achieve information search. The existence of e-mail greatly facilitates communication and exchange between people and promotes the development of society. <br /> <br /> 电子邮件可以有多种形式，如文字、图像、声音等。同时，用户可以获得大量的免费新闻和专题邮件，轻松实现信息搜索。电子邮件的存在大大方便了人们之间的沟通和交流，促进了社会的发展。<br /> <br /> However, there are many drawbacks in using e-mail. For example, there is a risk of information being stolen and there is a lot of spam on the network. To address these two problems, the following solutions are available. Firstly, from the perspective of network security of the website itself, using hardware firewall devices is definitely the best solution. Second, a full-time network administrator should be assigned to regularly maintain the website. Thirdly, when applying for mailbox, choose a more protective username, such as a combination of English and numbers, which can be less harassed by spam. Fourth, avoid disclosing your email address. Fifth, use good mail management and screening function. outlook express, foxmail and qqmail all have good mail management function, users can screen mails by setting rules of mail domain, mail subject, source, length and so on. <br /> <br /> 但是，使用电子邮件也有很多缺点。例如，信息有被窃取的风险，网络上有大量的垃圾邮件。为了解决这两个问题，可以采取以下解决办法。首先，从网站本身的网络安全角度来看，使用硬件防火墙设备无疑是最好的解决方案。第二，应配备专职网络管理员，定期维护网站。第三，在申请邮箱时，选择一个保护性较强的用户名，如英文和数字的组合，这样可以减少垃圾邮件的骚扰。第四，避免泄露自己的邮箱地址。第五，使用良好的邮件管理和筛选功能。Outlook Express、foxmail和qqmail都有良好的邮件管理功能，用户可以通过设置邮件域名、邮件主题、来源、长度等规则来筛选邮件。<br /> <br /> The format of an e-mail address consists of three parts. The first part &quot;USER&quot; represents the account number of user mailbox, which must be unique for the same mail receiving server; the second part &quot;@&quot; is the separator; the third part is the domain name of mail receiving server of user mailbox, to mark its location. <br /> <br /> 电子邮件地址的格式由三部分组成。第一部分 &quot;USER &quot;代表用户邮箱的帐号，在同一邮件接收服务器上必须是唯一的；第二部分&quot;@&quot;是分隔符；第三部分是用户邮箱的邮件接收服务器的域名，用来标记其位置。<br /> <br /> According to Internet Week, the world's first email was a short message sent by computer scientist Professor Leonard K. to his colleagues (in October 1969, I believe), which consisted of only two letters: &quot;LO&quot;. Professor Leonard K. explained, &quot;Back then I was trying to communicate with a computer at the University of California and another computer at the Stanford Research Center near San Francisco. What we were doing was logging in from one computer to the other. The way to log in at that time was to type L-O-G. So we typed L and asked, 'Do you get L?' The other side replied, 'Yes. ' Before we received a confirmation that the other party had received G, the system went down. So the first online message was 'LO', which means 'Hello!'&quot;<br /> <br /> 根据《互联网周刊》的报道，世界上第一封电子邮件是由计算机科学家Leonard K.教授发给他的同事的一条短消息（1969年10月，我相信），它只由两个字母组成： &quot;LO&quot;。伦纳德-K教授解释说：&quot;那时我正试图与加利福尼亚大学的一台计算机和旧金山附近的斯坦福研究中心的另一台计算机进行通信。我们所做的是在一台计算机上登录到另一台计算机上。当时登录的方法是输入L-O-G。所以我们打了L，然后问：'你收到L了吗？对方回答说：'是的。'在我们收到对方收到G的确认之前，系统就瘫痪了。所以第一条在线信息是'LO'，意思是'你好！'&quot;<br /> <br /> The first e-mail from China on September 20, 1987 was sent by Werner Zorn, the &quot;Father of the German Internet, &quot; and Wang Yunfeng at the Institute of Applied Computer Technology in Peking to the University of Karlsruhe in Germany, in English. Original text: Across the Great Wall we can reach every corner in the world. <br /> <br /> 1987年9月20日，第一封来自中国的电子邮件由 &quot;德国互联网之父 &quot;维纳·佐恩和中国兵器工业计算机应用技术研究所的王运丰教授用英文发给德国卡尔斯鲁厄大学。原文的翻译： 穿过长城，我们可以到达世界上的每一个角落。(研究所名称来源：https://www.acabridge.cn/hr/xueshu/202110/t20211025_2167755.shtml)<br /> <br /> It means “跨越长城, 走向世界。” This is the first email sent from China to the Global Science Network through the network connection between Peking and the University of Karlsruhe in Germany. (Baidu Encyclopedia 百度百科：E-mail 电子邮件）<br /> <br /> 意思是 &quot;跨越长城，走向世界。&quot; 这是中国通过北京和德国卡尔斯鲁厄大学之间的网络连接，向全球科学网发出的第一封电子邮件。(Baidu Encyclopedia 百度百科：E-mail 电子邮件)<br /> <br /> References参考文献<br /> <br /> *Baidu Encyclopedia 百度百科：Pigeon Post, 飞鸽传书 https://baike. baidu. com/item/%E9%A3%9E%E9%B8%BD%E4%BC%A0%E4%B9%A6/7009129?fr=aladdin<br /> *Baidu Encyclopedia 百度百科：Written Letters, 手写信件 https://baike. baidu. com/item/%E4%B9%A6%E4%BF%A1/1095625?fr=aladdin<br /> *Baidu Encyclopedia 百度百科：E-mail 电子邮件 https://baike. baidu. com/item/%E7%94%B5%E5%AD%90%E9%82%AE%E4%BB%B6/111106?fr=aladdin<br /> *scienceabc. How Did the Pigeon Post Work?. https://www. scienceabc. com/19 Oct2019. <br /> <br /> Terms and Expressions<br /> *条件反射conditioned reflex<br /> *成吉思汗 Genghis Khan<br /> *信鸽驿站pigeon post station<br /> *战鸽war pigeon<br /> *分隔符separator<br /> *服务器域名domain name<br /> *互联网周刊Internet Week<br /> <br /> Questions<br /> #What part of pigeon is the letter tied to when you want to send a letter? <br /> #What animals do the western countries use to send letters in spite of pigeons?<br /> #Why pigeons can be used to send letters?<br /> #What are the three elements in writing and sending letters?<br /> #When did the world's first emails appear?<br /> #How to translate China’s first e-mail “Across the Great Wall we can reach every corner in the world.”<br /> <br /> 问题<br /> #当你想寄信的时候，信是绑在鸽子的哪个部位？<br /> #尽管有鸽子，西方国家用什么动物来寄信？<br /> #为什么可以用鸽子来寄信？<br /> #写信和寄信的三个要素是什么？<br /> #世界上第一封电子邮件是什么时候出现的？<br /> #如何翻译中国的第一封电子邮件&quot;越过长城，我们可以到达世界的每一个角落。&quot;？<br /> <br /> =第四周 Session 4 Nov 30 11:30-13:00 - Chinese Marriage Customs 中国的婚姻习俗=<br /> Teacher presentations: <br /> *[[Media:04_Chinese_Marriage_part_1.pptx]]<br /> *[[Media:04_Chinese_Marriage_part_2.pptx]]<br /> ==Homework for 26.10.2023==<br /> Please read previous 2 texts (Geography + Contacting) and &quot;Marriage Customs&quot;! :3<br /> <br /> ==Part 1: Marriage Customs - presented by Joanna Zawada==<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life - marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. (Zhou Dandi, Yue Shufa 2012, 12)<br /> <br /> 中国是一个古老的礼仪之邦。当涉及到一个人一生中最重要的事情--婚姻时，中国人已经形成了一套独特而隆重的仪式。一般来说，中国古代的婚礼需要得到父母的同意，由父母安排。(周丹迪，岳书法 2012, 12)<br /> <br /> Six Procedures<br /> <br /> 六个步骤<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. (Gao Xiaoqian 2017, 235)<br /> <br /> 从提亲到完成结婚有六个议程，即纳采、问名、纳吉、纳征、请期和最后一步亲迎。(高晓倩 2017, 235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts. (Gao Xiaoqian 2017, 235)<br /> <br /> 纳采是所有婚姻程序的开端。它指的是一种做法，如果一个男孩打算娶一个女孩，首先他的家人必须邀请一个媒人到女孩家提亲。在征得女方家庭同意后，男方家庭应委托媒人用一些礼物正式求婚。通常，最常见的礼物是大雁，它代表忠诚。此外，鸳鸯和绵羊也是经常使用的礼物。(高筱倩 2017, 235)<br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment. (Gao Xiaoqian 2017, 235)<br /> <br /> 问名是指男孩的家人要求媒人取女孩的名字和出生日期。这个步骤有两个目的：一是防止同姓近亲结婚；二是确定准新娘和新郎的&quot;生辰八字&quot;是否合拍。(高筱倩 2017, 235)<br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage. (Gao Xiaoqian 2017, 235<br /> <br /> 纳吉发生在媒人取回女方的名字和八字之后。如果占卜到吉兆，男方家庭就会通知女方父母，决定订婚。(高筱倩 2017, 235)<br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. (Gao Xiaoqian 2017, 235)<br /> <br /> 更重要的是，纳征是男孩给女孩送订婚礼物的一个重要步骤，出于礼貌，女孩会送回部分礼物，如食物和一些衣服。（高筱倩 2017, 235）<br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. (Gao Xiaoqian 2017, 235)<br /> <br /> 请期是指男方家庭选择一个黄道吉日举行婚礼，然后派遣媒人告诉女方家庭。(高筱倩 2017, 235)<br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home. (Gao Xiaoqian 2017, 235)<br /> <br /> 亲迎是六礼中的最后一道程序，即新郎到新娘家把新娘接到自己家里。(高筱倩 2017, 235)<br /> <br /> Customs 习俗<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage. (Zhang Yueying 2013, 47-48)<br /> <br /> 除了上面提到的六个步骤外，中国传统的婚礼仪式还有许多其他习俗。一般来说，古代的婚姻是由父母和媒妁之言，许多年轻人不能掌握自己的婚姻。在结婚仪式之前，男女双方是不允许见面的，因为古代人非常保守，大多数女孩都被关在闺房里。如果他们在婚前私下见面，会被认为是女性不忠，父母也会认为这很不吉利。在这种情况下，新婚夫妇只能在结婚前见到对方。(张月莹 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017, 235)<br /> <br /> 在婚礼当天，男孩的家人会在家里举行盛大的宴会。在出发接新娘之前，新郎要先祭拜祖先，以求在接新娘的过程中安全、吉祥。(高筱倩 2017, 235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony - at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017, 235)<br /> <br /> 之后的步骤是整个仪式中最隆重的一步--在黄昏时分，新郎和新娘及其父母以及所有宾客将聚集在堂屋，见证新人的跪拜礼节，其中包括四个步骤： (高筱倩 2017, 235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night. (Gao Xiaoqian 2017, 235)<br /> <br /> 第一步是叩拜天地，表明古人对神灵和大自然为他们创造良好的生活环境的敬畏和感激。第二个叩头面向父母，表达对父母养育之恩的感激之情，真诚地希望父母能够保持健康。然后，新人要向对方磕头（夫妻对拜），这也是对夫妻双方共同生活到老的期望。最后一道程序是入洞房：新娘被送入洞房，新郎与客人喝酒，直到晚上。(高筱倩 2017, 235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming. (Gao Xiaoqian 2017, 235)<br /> <br /> 婚礼仪式结束后，新人必须在第三天一起回到女方家，这叫 &quot;回门 &quot;或 &quot;归宁&quot;。这个礼节是不可缺少的。新郎要带一些礼物以示尊重，并改变对新娘父母的称呼方式，后者也会为新人的到来准备好食物。(高筱倩 2017, 235)<br /> <br /> Development发展<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more. (Zhang Yueying 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel. (Zhou Dandi, Yue Shufa 2012, 15)<br /> <br /> 随着时间的推移，现在有很多关于婚姻的改革。成年人拥有选择配偶的自由，如果可能的话，他们可以每天见面。父母不能再掌控他们的 &quot;人生大事&quot;。(张月莹 2013, 47）此外，许多夫妇会跳过婚礼仪式中的繁琐仪式，他们中的一些人选择在教堂里与一些亲密的亲戚和朋友一起举行仪式，有些人甚至通过旅行完成仪式。(周丹迪, 岳书法 2012，15）。<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics (Zhou Dandi, Yue Shufa 2012, 15).<br /> <br /> 尽管如此，大多数年轻人仍然采用中国传统习俗的主要程序，其中的一些一直流传到今天。订婚礼物和嫁妆仍然存在，许多夫妇选择穿红色服装。新郎要到新娘家去护送她参加婚礼，等等。由此可见，中国的传统婚俗大多深深扎根于中国人的心中，显示出独特的中国特色(周丹迪, 岳书法 2012, 15)。<br /> <br /> References<br /> <br /> Gao Xiaoqian. 高筱倩. (2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235. <br /> <br /> Zhang Yueying. 张月莹. (2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48. <br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法. (2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15. <br /> <br /> Terms and Expressions<br /> <br /> Na Cai 纳彩<br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉<br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 请期<br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门<br /> <br /> Guiling 归宁<br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> Questions<br /> <br /> 1. How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2. Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3. What is the kneeling etiquettes?<br /> <br /> 4. When the couple have to return to the girl’s home?<br /> <br /> 5. What changes have been made nowadays?<br /> <br /> 6. Please list some new wedding customs. <br /> <br /> 问题<br /> <br /> 1. 从提亲到完成结婚需要多少个步骤？<br /> <br /> 2. 古代年轻人是否有权利决定自己的婚姻，为什么？<br /> <br /> 3. 跪拜的礼节是什么？<br /> <br /> 4. 新婚夫妇什么时候要回女方家？<br /> <br /> 5. 如今有什么变化？<br /> <br /> 6. 请列出一些新的婚礼习俗。<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 16-21 and 29-35 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> <br /> #审美理想和社会习俗：中国的婚姻习俗 Aesthetic ideals and social customs: Chinese Marriage Customs: https://ks.wjx.top/vm/YJzn8Fl.aspx#<br /> #审美理想和社会习俗： 湖南的伴嫁歌 Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan: https://ks.wjx.top/vm/mBp0heY.aspx <br /> <br /> 3. Choose a topic for your final exam paper (homework)<br /> <br /> ==展示 Presentation by Joanna Zawada==<br /> Powerpoint presentation for download:<br /> https://docs.google.com/presentation/d/1dhr2DlFtgpwN0jJ1vdPobawrpXkBcI-g/edit?usp=sharing&amp;ouid=104571425763898583902&amp;rtpof=true&amp;sd=true<br /> <br /> ==Part 2: Marriage-accompanying songs in Hunan 湖南的伴嫁歌==<br /> <br /> 湖南的伴嫁歌 Aesthetic ideals and social customs: [[Media:Marriage-Accompanying_Songs_in_Hunan.pptx]] <br /> <br /> ===中国的婚姻习俗===<br /> 审美理想和社会习俗：中国的婚姻习俗 Aesthetic ideals and social customs: [[File:Chinese_Marriage_Customs_2023.pdf]]<br /> <br /> ==Marriage-Accompanying Songs in Hunan 湖南的伴嫁歌==<br /> 1. Introduction<br /> <br /> Hunan folk songs are accumulated in the long-term social labor and life of Hunan people. Custom songs are a type of folk songs that are sung in specific custom activities and directly reflect the basic content and characteristics of the custom activities. Folklore needs folk songs to complete its content, and folklore needs folklore as a carrier to pass on. Weddings and funerals are several very important events in a person's life, and are an important part of folklore. Custom songs about weddings and funerals account for a very large proportion of the total number of folk songs in Hunan. (Wen Qiaofeng, 2018, 1）<br /> <br /> 1. 简介<br /> <br /> 湖南民歌是在湖南人长期的社会劳动和生活中积累起来的。风俗歌是在特定的风俗活动中演唱的一种民歌，它直接反映了风俗活动的基本内容和特点。民俗需要民歌来完成其内容，民俗也需要民歌作为载体来传承。婚礼和葬礼是人一生中非常重要的几件事，也是民俗的重要组成部分。有关婚丧嫁娶的习俗歌曲在湖南民歌总数中占有非常大的比例。(文巧凤，2018，1）。<br /> <br /> The folk custom of crying for marriage is popular in many areas of our country, and the custom of crying for marriage is unique in Hunan. It is called &quot;marriage accompanying&quot; in many places in Hunan, and the marriage lament is an important part of Hunan folk songs. The marriage accompanying songs of Chenzhou and Yongzhou in southern Hunan Province have long been famous for their rich and unique singing. Among them, the marriage accompanying songs of Chenzhou are the most representative. In different regions, there are many different names for this accompanying marriage activity, such as &quot;crying in the singing hall&quot;, &quot;crying in the garden&quot;, etc. The songs sung in this custom activity are called, &quot;Hallsitting Song&quot;, &quot;Gardensitting Song&quot; and so on. （Wen Qiaofeng, 2018, chapter1, 5）<br /> <br /> 哭嫁的民俗在我国许多地区流行，而哭嫁的习俗在湖南是独一无二的。在湖南很多地方被称为 &quot;伴嫁&quot;，伴嫁歌是湖南民歌的一个重要组成部分。湘南郴州、永州等地的伴嫁歌早已以其丰富而独特的唱法而闻名。其中，郴州的伴嫁歌最具代表性。在不同地区，这种陪嫁活动有许多不同的名称，如 &quot;坐歌堂&quot;、&quot;坐花园 &quot;等。在这种习俗活动中演唱的歌曲被称为 &quot;坐堂歌&quot;、&quot;花园歌 &quot;等（文巧风，2018，第1章，第5节）。<br /> <br /> 2. Legend about marriage accompanying songs in Hunan<br /> <br /> There is also a very interesting legend about its origin. According to legend, the king of the Chu Kingdom was named Chu Yidi, and he had a daughter named Chu Yu. One day when Chu yu was traveling, she met Chen Xianyun, a fugitive woman from a county in southern Hunan. After learning about her unfortunate coming marriage, she provided her with many things , gave a lot of help, and then led a group of fairies to Chen Xianyun's home on the eve of her marriage to cheer her up. The two girls sang and sang hundreds of narrative songs in succession. The fairies also sang and danced to the beat. From time to time, they sang a few words in antithesis with the princess and Chen Xianyun. The princess and the fairies didn’t return until dawn was about to show up. （Wen Qiaofeng, 2018, chapter1, 6）<br /> <br /> 2. 关于湖南伴嫁歌的传说<br /> <br /> 关于它的起源，还有一个非常有趣的传说。据传说，楚国的国王叫楚仪狄，他有一个女儿叫楚玉。有一天，当楚玉在旅行时，她遇到了来自湖南南部一个县的逃亡妇女陈先云。在得知她即将结婚的不幸消息后，她为她提供了很多东西，给予了很多帮助，然后在她结婚前夕带领一群仙女到陈仙云家为她打气。两个女孩接连唱了几百首叙事歌曲。仙女们也跟着节拍唱起了歌，跳起了舞。他们不时地与公主和陈先云对唱几句。直到天快亮时，公主和仙女们才回来（文巧风，2018，第1章，6）。<br /> <br /> 3. Significance of marriage accompanying songs<br /> <br /> 3. 伴嫁歌的意义<br /> <br /> Marriage accompanying songs is a kind of farewell activity that female companions do with the girl’s expressions of singing. The most prominent feature is around the bride’s marriage, confiding her feelings of parting, and it also expresses their resentment towards the feudal marriage system and the old ethics. Anger and resistance are dominant. According to incomplete statistics, there are still more than 1, 200 songs about marriage accompanying in southern Hunan. <br /> <br /> 伴嫁歌是女伴以姑娘的表现形式进行的一种告别活动。最突出的特点是围绕新娘的婚姻，倾诉自己的离别之情，也表达了她们对封建婚姻制度和旧有伦理的不满。愤怒和反抗是主流。据不完全统计，湘南地区仍有1200多首陪嫁歌。<br /> <br /> In 1993, Jiahe county in southern Hunan was named the &quot;Hometown of Folk Songs&quot; by the Provincial Department of Culture. After the founding of the People's Republic of China, the southern Hunan wedding lament was protected as an artistic wonder in the national characteristic culture. In 1978, the Provincial Department of Culture held a provincial folk song concert in Chenzhou, Hunan and named Chengguan Town as the &quot;Hometown of Folk Songs&quot; in the province. <br /> <br /> The Central Conservatory of Music, Shanghai Conservatory of Music and other professional colleges also use the county folk songs (namely wedding lament songs) as teaching materials. The original wedding folk songs are used in films such as &quot;Hibiscus Town&quot;, &quot;The Tortuous Mountain Path&quot;, &quot;Gongs and Drums in towns&quot;. On May 24, 2021, the marriage lament declared by Jiahe County, Chenzhou City, Hunan Province, was approved by the State Council to be included in the fifth batch of national intangible cultural heritage representative projects. (Chinese government website, 2021, 06)<br /> <br /> 1993年，湘南的嘉禾县被省文化厅命名为 &quot;民歌之乡&quot;。建国后，湘南伴嫁歌作为民族特色文化中的艺术奇葩得到保护。1978年，省文化厅在湖南郴州召开全省民歌会，命名城关镇为全省 &quot;民歌之乡&quot;。<br /> <br /> 中央音乐学院、上海音乐学院等专业院校也以本县民歌（即婚礼哀歌）为教材。电影《芙蓉镇》、《山路弯弯》、《乡镇锣鼓》等都采用了原生态的婚礼民歌。2021年5月24日，湖南省郴州市嘉禾县申报的婚嫁民歌被国务院批准列入第五批国家级非物质文化遗产代表性项目。(中国政府网, 2021, 06) <br /> <br /> 4. Types of marriage accompanying songs<br /> <br /> 4. 伴嫁歌的类型<br /> <br /> Marriage accompanying songs are not limited to the inherent types. There are long songs, marriage joking songs, and crying songs, as well as teasing bridegroom songs. But accompaniment dances are always performed during singing process . <br /> <br /> 伴嫁歌并不局限于固有的类型。有长歌，耍歌，有哭嫁歌，也有徒歌。但伴嫁舞总是在演唱过程中进行。<br /> <br /> First of all, for long songs, they mainly tell sad stories, express unwilling emotions and sad emotions. Existing long songs mostly focus on marital tragedies. Taking into account the weak rhythm and complex thinking of the songs, they are generally sung by high-level artists and singers. <br /> <br /> 首先，对于长歌来说，它们主要是讲述悲伤的故事，表达不情愿的情绪和悲伤的情感。现有的长歌多以婚姻悲剧为主题。考虑到歌曲的节奏感较弱，思维复杂，一般由高水平的艺术家和歌唱家演唱。<br /> <br /> Secondly, in terms of marriage jokes, this type of songs have a large number, distinctive features, and flexible structure. It is a kind of songs that women prefer. The song has a simple sentence pattern, mostly four sentences, and the artistic expression is rich and diverse. This kind of joking songs can be expressed with the help of multi-section style expressions and single style expressions, which are rich in content and involve not only interesting children's songs but also sad songs. Regarding the crying marriage song, it focuses on expressing emotions in the form of crying. The theme of the song focuses on nostalgia and complaining. Both the crying and the song are played casually, and the artistic characteristics are different from other types of songs. <br /> <br /> 其次，在耍歌方面，这类歌曲数量较多，特点鲜明，结构灵活。这是一种女性比较喜欢的歌曲。歌曲句式简单，多为四句话，艺术表现力丰富多样。这类戏曲歌曲可以借助多段式表达，也可以借助单段式表达，内容丰富，不仅涉及有趣的儿歌，也涉及悲歌。关于哭嫁歌，它主要是以哭的形式来表达情感。这类歌的主题集中在怀旧和抱怨上。哭嫁歌的演奏方式都很随意，艺术特点与其他类型的歌曲不同。<br /> <br /> Thirdly, as far as the teasing bridegroom songs are concerned, this type of song is an important manifestation of folklore and occupies a certain position in the wedding song. It mainly tells the plot of the groom being teased. The structure and sentence pattern are relatively simple. Finally, as for the accompaniment dance, the dance is closely related to marriage joking songs and is a free dance that is not restricted by props. Any daily necessities can be used as dance props, which is the main embodiment of humorous thoughts. (Liao Xinglin, 2020, 08)<br /> <br /> 第三，就徒歌而言，这类歌曲是民俗的重要表现形式，在婚礼歌曲中占有一定地位。它主要讲述的是新郎被戏弄的情节。其结构和句式都比较简单。最后，在伴嫁舞方面，该舞蹈与婚俗戏曲密切相关，是一种不受道具限制的自由舞蹈。任何生活用品都可以作为舞蹈道具，这也是幽默思想的主要体现。(廖星麟, 2020, 08)<br /> <br /> 5. Process of marriage accompanying<br /> <br /> 5. 陪嫁的过程<br /> <br /> Traditional marrying accompanying is divided into two steps. Two nights before the wedding, the bride and her female friends sits in the singing hall to accompany the marriage, mainly singing &quot;marriage joking songs&quot;. This is called &quot;short marriage accompanying &quot;. It starts after dinner and ends in the middle of the night. Sitting in the singing hall on the eve of marriage is called &quot;long marriage accompanying &quot;. It also starts after dinner, but it doesn't stop all night, and it will continue to sing until dawn the next day. <br /> <br /> 传统的陪嫁分为两个步骤。婚礼前两晚，新娘和她的女性朋友坐在歌厅里陪嫁，主要是唱 &quot;婚姻戏曲&quot;。这被称为 &quot;短陪&quot;。从晚饭后开始，到半夜结束。结婚前夕坐在歌厅里，称为 &quot;长陪&quot;。也是晚饭后开始，但整夜不停歇，要一直唱到第二天天亮。<br /> <br /> Girls singing marriage joking songs in the middle of the night, singing a long song in the second half of the night, and performing the accompaniment dances at dawn the next day, then the bride will come out to cry for marriage. <br /> <br /> 姑娘们半夜唱婚姻戏曲，下半夜唱长歌，第二天黎明时分表演伴嫁舞，然后新娘子就会出来哭嫁。<br /> <br /> The word for crying for marriage is to see people crying, improvised, mainly to express the feelings of farewell. The content of the accompaniment songs is very rich, there are those who spread history and production knowledge, some who sing about women's labor life, customs, and astronomy and geography, some who laugh and play, there are guessing songs, love songs, and everything. <br /> <br /> 哭嫁一词是见人就哭，即兴发挥，主要是为了表达离别之情。伴唱的内容非常丰富，有传播历史和生产知识的，有唱妇女劳动生活、风俗习惯、天文地理的，有嬉笑打闹的，有猜拳的，有情歌的，什么都有。<br /> <br /> But the most sung songs are the songs that tell parting and reflect the pain of women. When dancing, everything you encounter can be used as a dance tool, which is very lively and free, and has a strong breath of life. The bride cried and sang farewell to relatives and friends at home and then boarded the sedan chair. The sisters were sent to the pavilion on the way and then returned. The whole marriage process was completed. The bride’s brothers, uncles and cousins (all men) will send the family and guests to the husband’s house. (kekeshici, 2019, 05)<br /> <br /> 但唱得最多的是讲述离别和反映妇女痛苦的歌曲。跳舞时，遇到的一切都可以作为舞蹈工具，非常活泼自由，具有强烈的生命气息。新娘哭着和家里的亲戚朋友唱着歌告别，然后上了轿子。姐妹们在路上被送到亭子里，然后返回。整个结婚过程就这样完成了。新娘的兄弟、叔伯和堂兄弟（都是男性）将家人和客人送到夫家。 (可可诗词网, 2019, 05)<br /> <br /> References<br /> <br /> *廖星麟. 嘉禾伴嫁歌的音乐特征与演唱特征研究[J]. 戏剧之家, 2020(08):56-57. <br /> *文巧风. 论湖南风俗民歌[D]. 湖南师范大学, 2018. <br /> *可可诗词网, 湘南嘉禾伴嫁歌, https://www. kekeshici. com, 2019<br /> *李琴, 李跃忠. 嘉禾“伴嫁歌”研究综述[J]. 文教资料, 2019(31):87-89. <br /> *中国政府网, 国务院关于公布第五批国家级非物质文化遗产代表性项目名录的通知, http://www. gov. cn/zhengce/content/2021-06/10/content_5616457, 2021, 05<br /> <br /> Terms and expressions<br /> *marriage accompanying songs 伴嫁歌<br /> *marriage accompanying 伴嫁<br /> *crying in the singing hall 坐歌堂<br /> *crying in the garden 坐花园<br /> *Zuotang Song 坐堂歌<br /> *Wedding lament songs/crying songs 哭嫁歌<br /> *long songs 长歌<br /> *marriage joking songs耍歌<br /> *teasing bridegroom songs 徒歌<br /> *accompaniment dances 伴嫁舞<br /> *Hibiscus Town 《芙蓉镇》<br /> *The Tortuous Mountain Path 《山路弯弯》<br /> *Gongs and Drums in towns 《乡镇锣鼓》<br /> <br /> Questions<br /> #What kind of songs do the marriage accompanying songs in southern Hunan belong to?<br /> #Who sings the marriage accompanying song?<br /> #List at least 3 themes that marriage accompanying songs would cover. <br /> #What types of marriage accompanying songs are there?<br /> #During the singing activity process, would singers sing for the whole night in the &quot;short marriage accompanying&quot;？<br /> <br /> 问题<br /> #湘南地区的婚姻伴奏歌曲属于什么类型的歌曲？<br /> #谁在唱婚姻伴奏歌曲？<br /> #至少列出3个婚姻伴奏歌曲会涉及的主题。<br /> #有哪些类型的婚姻伴奏歌曲？<br /> #在歌唱活动过程中，歌手们会不会在 &quot;短暂的婚姻伴奏 &quot;中唱上一整晚？<br /> <br /> ==Second Section: Student presentations of the two topics==<br /> ===中国的婚姻习俗 Chinese Marriage Customs (3) Jin Yue 金乐===<br /> Powerpoint for download:<br /> ===湖南的伴嫁歌 Marriage-Accompanying Songs in Hunan (3) Ai Xi 艾希===<br /> Powerpoint for download:<br /> [[File:marriage- accompanying songs in Hunan]]<br /> <br /> [[https://docs.google.com/presentation/d/13u86oFVffR0xf37bi_EXrdCo7rmwi-Z7/edit?usp=sharing&amp;ouid=111274360681988563100&amp;rtpof=true&amp;sd=true]]<br /> <br /> ==Grades for the quizzes==<br /> *Gabriela Krukowska 5<br /> *Ewa Kopania 5<br /> *Zyta Rydz 5<br /> *Asia (Joanna) Zawada 5<br /> *Karol Perka 5<br /> *Anna Proskura 5<br /> *Julia Dereżyṅska 5<br /> *Paweł Andraszak 5<br /> *Aleksandra Urbanska 5<br /> *Natalia Gloc 5<br /> *Edyta Skorupa 5<br /> *Wiktoria Wolny 5<br /> *Ada Dan 5<br /> *Lena Rzeźnikowska 5<br /> *Sandra Piechowiak 5<br /> <br /> =第五周 Session 5 Dec 7 11:30-13:00 Part 1: Marriage II, Crying Marriage of Tujia 土家族的哭嫁=<br /> <br /> Teacher presentation [[Media:04_Chin_Cult_Contacting_Tujia.pptx]]<br /> <br /> ==Crying Marriage of Tujia 土家族的哭嫁==<br /> Introduction<br /> <br /> Many ethnic groups in our country have the custom of crying marriage, such as the Yao people and the Miao people in western Hunan, the Yi people in Liangshan, Sichuan, and the Tujia people in western Hubei and western Hunan. When women get married, they all have the ceremony of crying marriage. Among them, Tujia women's crying marriage has the greatest influence, and their crying words are the most abundant and well preserved. In 2005, Tujia wedding laments in Hubei province was identified as one of the first key folk culture protection objects in China (Yin Danping 2009, 126).<br /> <br /> 简介<br /> <br /> 我国许多民族都有哭嫁的习俗，如湘西的瑶族、苗族，四川凉山的彝族，湖北西部和湖南西部的土家族。妇女结婚时，都有哭嫁的仪式。其中，土家族妇女的哭嫁影响最大，其哭词也最丰富，保存最完整。2005年，湖北的土家族哭嫁词被确定为中国首批重点民俗文化保护对象之一（尹旦萍，2009，126）。<br /> <br /> Many Tujia girls learn to cry to marry or learn to participate in crying marriage at an early age, learning how to make crying marriage songful and affecting. It is customary for Tujia girls to cry every night in the first month or half a month before they get married. And they cry for 3-7 consecutive nights before the eve of going out for marriage. When the bride cries for marriage, all the sisters in the village cry for each other. The climax of crying marriage is during the very night before getting married and the next day on the sedan chair (Peng Wulin 2012, 149).<br /> <br /> 很多土家族姑娘在很小的时候就学会了哭嫁，或者学会了参与哭嫁，学会了如何让哭嫁变得有歌声，有影响。土家族女孩在结婚前的第一个月或半个月里，习惯于每晚都要哭。而在出嫁前夕，她们会连续哭上3-7个晚上。新娘哭嫁时，村里所有的姐妹都会为对方哭泣。哭嫁的高潮是在出嫁前的那一夜和第二天的上轿。（彭武麟 2012, 149）。<br /> <br /> First the bride cries with her mother, then with her sister-in-law. After that, the neighbors and other single women come to cry with her, all of them sitting on the bed. While the bride and one of the companions cry aloud, the others weep by the side. The bride cry for her parents and siblings as well as for the relatives and friends, mainly telling her life experience and her sorrow at leaving her loved ones while also expressing her gratitude towards her parents for bringing her up. The women also scold the matchmaker, and encourage the bride. (The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/)<br /> <br /> 首先，新娘和她的母亲一起哭，然后和她的嫂子一起哭。之后，邻居和其他单身女性也来陪她哭，大家都坐在床上。当新娘和其中一个同伴大声哭泣时，其他人则在旁边哭泣。新娘为她的父母和兄弟姐妹以及亲戚朋友哭泣，主要讲述她的生活经历和离开亲人的悲伤，同时也表达了她对父母养育她的感激之情。女方还骂媒人，并鼓励新娘。(The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/)<br /> <br /> Origins of crying marriage哭嫁的由来<br /> <br /> First explanation is, according to a legend, a Tujia girl was sent into a Han family as a daughter-in-law in ancient times. She was crying and her families also were crying and comforting her. <br /> <br /> Second, a Tujia girl quarreled with her brothers and sisters about the distribution of the family property and began to cry on the eve of her marriage. (Chen Tingliang &amp; Peng Nanjun 2005, 171)<br /> <br /> Third, as a special form of farewell, the crying marriage of Tujia girls replaces speech with wedding laments, which have national characteristics and are not sad and mournful. (Chen Tingliang &amp; Peng Nanjun 2005, 172)<br /> <br /> 第一种说明是，根据一个古时代的传说，一位土家族的姑娘被嫁去汉族的家庭作媳妇。她一直在哭，她的家人边哭边安慰她。<br /> <br /> 第二，一位土家族姑娘，在她婚礼的前夜。和她的兄弟姐妹们关于自己家族财产分配而吵起来（陈廷亮&amp;彭南均，2005，171）。<br /> <br /> 第三，一个别的分别仪式，土家姑娘的哭嫁代替了婚礼哀伤致辞，这些是具有民族特色，同时也不是悲伤和遗憾的（陈廷亮&amp;彭南均，2005，172）。<br /> <br /> Reasons for crying marriage<br /> <br /> For themselves<br /> <br /> As individuals in the society, Tujia women's status is relatively low. The arranged marriage made by their parents undoubtedly deepens their dilemma of having no autonomy. In the grand premise, when she sits in the hall, she mainly weeps about her sad fate. The other singers are women, some of them are coming out, and some of them are young girls who are about to meet the same fate. Therefore, They could not help sympathizing with each other when they sigh with sadness for their fates. (Yu Yongyu 2002, 193）<br /> <br /> 哭婚的原因<br /> <br /> 为了自己<br /> <br /> 作为社会中的个体，土家族妇女的地位是比较低的。父母的包办婚姻，无疑加深了她们没有自主权的窘境。在大前提下，当她坐在堂时，她主要是为自己的悲惨命运哭泣。其他歌手都是女性，有的即将出阁，有的则是即将遭遇同样命运的少女。因此，当她们为自己的命运悲叹时，不禁互相同情。(余咏宇 2002, 193)<br /> <br /> For the society<br /> <br /> In addition to the function of satisfying the singer's self-expression and adjusting psychological activities, wedding laments can further consolidate the relationship between the singer and the ethnic group. It also can further consolidate the social status of the individual. Various social functions include: To consolidate ethics: if a Tujia daughter does not cry when she gets married, it shows that she has no filial piety or attachment to her parents. (Yu Yongyu 2002, 198） To evaluate talent: crying to marry is also a measure of a woman's ability. To strengthen collective consciousness: during the marriage ceremony, women walk together spontaneously, complain bitterly about their divorce, and express dissatisfaction with the system of arranged marriage. Women's everyday feelings of unhappy life, expressed through crying, arouse the collective resistance consciousness and give a certain social significance to the collective behavior of crying marriage. (Yu Yongyu 2002, 199）<br /> <br /> 对社会而言<br /> <br /> 除了满足歌者的自我表达和调整心理活动的功能外，婚礼哀乐可以进一步巩固歌者与民族之间的关系。它还可以进一步巩固个人的社会地位。各种社会功能包括： 巩固伦理：如果土家族女儿出嫁时不哭，说明她对父母没有孝心和依恋。(于永玉 2002, 198) 评价才能：哭嫁也是衡量一个女人能力的标准。强化集体意识：在结婚仪式上，妇女自发地走在一起，痛苦地抱怨自己的离婚，并对包办婚姻制度表示不满。妇女通过哭诉表达对生活不幸福的日常感受，唤起了集体的反抗意识，使哭嫁的集体行为具有了一定的社会意义。(余咏宇 2002，199）。<br /> <br /> For religion<br /> <br /> Tujia people see crying marriage as an effective tool to deceive evil spirits and protect the peace of the family house, also as a sign of respect for the ancestors. In the legends of Tujia, there are many evil spirits in the mountains, and they always come to disturb every happy event. In order to ensure safety, the bride pretends to be sad so that the evil spirits will not be aware of the happy event and the happy event will go on smoothly. (Yu Yongyu 2002, 201）<br /> <br /> 对于宗教<br /> <br /> 土家族人将哭嫁视为欺骗邪灵、保护家宅平安的有效手段，也是对祖先的尊重。在土家族的传说中，山里有很多邪灵，每逢喜事，他们总是来捣乱。为了确保安全，新娘要装作很伤心的样子，这样邪灵就不会知道喜事，喜事也就顺利进行了。(余咏宇 2002, 201)<br /> <br /> Relations between Wedding laments and Tujia's music culture<br /> <br /> First, the content of wedding laments mostly expresses brides’ feelings of being parted from their relatives and their worries about the future prospects. Even though bride and groom meet before marriage, they don’t know each other very well. The whole marriage system still has the mark of blind marriage left over from the Qing Dynasty. Therefore, there are some reasons for brides to get married in tears. Second, wedding laments always are improvised with concise music structure and vivid lyrics. Wedding laments contain three elements: crying, song and language, which rise and fall with the change of mood. Its creation and expression are natural, sincere and appealing. Tujia people are used to express their ideas by singing impromptu songs, so wedding laments are in the same line with the characteristics of Tujia folk songs and music culture. Third, wedding laments are actually linked to ceremonies. In the process of ceremonies, the bride will cry and sing according to the content of ceremonies and the identity of the participants, and so does the duet. The combination of the ceremony and wedding laments is flexible and structured. For example, in the same ceremony, the general idea of the lyrics is the same, but the details of the lyrics are arranged by the singer at will, which is mainly controlled by the crying singer without fixed length and time limit. Similar musical phenomena also appear in other Tujia ritual songs. (Yu Yongyu 2002, 225）<br /> <br /> 婚礼哀歌与土家族音乐文化的关系<br /> <br /> 首先，婚礼哀歌的内容大多表达了新娘与亲人分离的心情和对未来前景的担忧。尽管新郎和新娘在婚前相识，但他们并不了解对方。整个婚姻制度仍有清朝遗留下来的盲婚哑嫁的痕迹。因此，新娘哭着结婚是有一定原因的。其次，婚礼哀乐总是即兴创作，音乐结构简明，歌词生动。婚礼哀歌包含三个要素：哭、歌和语言，随着情绪的变化而起伏。它的创作和表达是自然的、真诚的、吸引人的。土家族人习惯于用即兴演唱的方式来表达自己的想法，因此，婚礼赞歌与土家族民歌和音乐文化的特点一脉相承。第三，婚礼赞歌实际上与仪式有关。在仪式过程中，新娘会根据仪式的内容和参与者的身份进行哭唱，对唱也是如此。仪式和婚礼哀乐的结合是灵活而有条理的。例如，在同一仪式中，歌词的大意是一样的，但歌词的细节却由演唱者随意安排，主要由哭唱者控制，没有固定的长度和时间限制。类似的音乐现象也出现在其他土家族祭祀歌曲中。(余咏宇 2002，225）。<br /> <br /> Terms and Expressions<br /> *Yao 瑶族<br /> *Miao 苗族<br /> *Yi 彝族<br /> *Tujia 土家族<br /> *crying marriage 哭嫁<br /> *wedding laments 哭嫁歌<br /> *sedan chair 轿子<br /> *Han 汉族<br /> *For themselves 对己（心理功能）<br /> *For the society 对人（社会功能）<br /> *For religion 对灵（宗教功能）<br /> <br /> References<br /> <br /> ［1］余咏宇 Yu Yongyu 2002 土家族哭嫁歌之音乐特征与社会涵义 [Musical Characteristics and Social Meaning of the Tujia Wedding Laments]<br /> <br /> ［2］陈廷亮、彭南均 Chen Tingliang &amp; Peng Nanjun 2005 土家族婚俗与婚礼歌 [Tujia Wedding Custom and Wedding Songs]<br /> <br /> ［3］彭武麟 Peng Wulin 2012 中国土家族 [Chinese Tujia]<br /> <br /> ［4］尹旦萍 Yin Danping 2009 当代土家族女性婚姻变迁 [Contemporary Tujia women marriage changes]<br /> <br /> ［5］The Custom of Crying Marriage 2021. 05. 28 http://www. foreignercn. com/<br /> <br /> Questions<br /> #Which ethnic groups in our country have the custom of crying marriage?<br /> #When was Tujia wedding laments in Hubei province identified as one of the first key folk culture protection objects in China?<br /> #What are origins of crying marriage?<br /> #Why did crying marriage emerged?<br /> <br /> 问题<br /> #我国哪些民族有哭嫁的习俗？<br /> #湖北省的土家族婚礼哭嫁是什么时候被确定为中国首批重点民俗文化保护对象的？<br /> #哭嫁的起源是什么？<br /> #为什么会出现哭嫁？<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 22-29 and 36-42 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> <br /> 审美理想和社会习俗：习惯，接触方式。古代和当代的接触方式 Aesthetic ideals and social customs: Habits, Ways of Contacting https://ks.wjx.top/vm/Pmk7uOt.aspx<br /> <br /> 审美理想和社会习俗：土家族的哭嫁 Aesthetic ideals and social customs: Crying Marriage of Tujia https://ks.wjx.top/vm/mp6jP3P.aspx<br /> <br /> ==展示 Presentations==<br /> <br /> ===古代和当代的接触方式===<br /> <br /> 审美理想和社会习俗：习惯，接触方式。古代和当代的接触方式 Aesthetic ideals and social customs: Habits, Ways of Contacting [[File:Ways_of_contacting.pdf|Aesthetic ideals and social customs: Habits, Ways of Contacting]]<br /> <br /> ===土家族的哭嫁===<br /> <br /> 审美理想和社会习俗：土家族的哭嫁 Aesthetic ideals and social customs: Crying Marriage of Tujia : [[Media:Tujia.pptx|Aesthetic ideals and social customs: Crying Marriage of Tujia]]<br /> <br /> =第五周 Session 5 Dec 7 11:30-13:00 - Part 2: Most handsome men=<br /> 李美琳!!! :3<br /> <br /> 老师的展示 Teacher's presentation<br /> [[Media:05_Chin_Cult_Handsome_Panda.pptx]]<br /> <br /> ==The Four Most Handsome men in Ancient China 中国古代的四大才子==<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time. Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent. <br /> <br /> 据说古代有“四大美女”，与此相对应，值得一提的是，当时有“四大才子”。尽管我们认为这四个男人很有魅力，但这指的不仅仅是他们的外表。他们有一个共同的特点：证明了在他们的外表令人惊叹的同时，他们在文学方面也很出色。也就是说，正如中国的一句话所说，他们既有美貌又有才华。<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie. (Wang Zhenbo 2008, 59-60）<br /> <br /> 这四个人是潘安、兰陵王、嵇康和卫玠。(王真波 2008，59-60）。<br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An [Pan Yue], which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less. &quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> “掷果盈车”的典故源于潘安，这就像现在的影迷看偶像一样。对潘安[潘岳]的外貌有一个评论： &quot;不增不减。&quot;史书上还用三个词来形容潘安：&quot;好看、有气质、有风度&quot;[从英文翻译，不是原文]。虽然这些都没有详细描述潘安的外貌，如眉眼、嘴唇等，但从这些侧面的描述中，我们可以知道潘安的外貌远远高于普通人，甚至他的风格也引得别人的模仿。<br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> 同时，潘安被誉为 &quot;河阳一县之花&quot;[从英文翻译，不是原文]，他也是为数不多的被比作花朵的男人，被赞美为优秀的外表。外表的美丽在这个世界上只能是不能长久的。潘安的才华和气质以及对妻子的奉献精神也常常被人讴歌。潘岳从小就表现出不凡的才华，被乡亲们称为神童。早年，他受到官员的赏识，被推荐为秀才。<br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> 后任河阳（今河南孟县）[从英文翻译，不是原文]县令，勤于政事，倡导百姓多种果木。县内树木葱茏，桃李遍地，被称为 &quot;花县&quot;[从英文翻译，不是原文]。在他执政期间，政绩斐然。此外，潘安在文学史上也有特殊地位。<br /> <br /> He was good at composing verse and odes and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed. (Liu Xixue 2003, 63-64）<br /> <br /> 他善于作诗作赋，善于选词造句，充分体现了太康文学注重形式美的特点。他擅长作《慈禧抒怀》和《谏逐客书》[从英文翻译，不是原文]，目前的作品如《寡妇赋》、《悼亡诗》[从英文翻译，不是原文]等名篇，都以叙事和移情见长。潘安可以说是内外兼修，有福同享。(刘西学2003，63-64）。<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> 高长恭（541-573），人称兰陵王，神武帝高欢之孙，高成帝文襄之第四子。关于兰陵王有一个流传已久的传说。人们认为兰陵王是一个勇敢的、有超强能力的将军。然而，由于他看起来非常甜俊，似乎很难吓到敌人，所以他在战斗时经常戴着半面面具，这听起来很像童话。<br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> 尽管如此，兰陵王的美貌是毋庸置疑的，是超凡脱俗的。《北齐书》中描述，他长相和蔼，精神强健，声音和外表都很美。兰陵王大半生都在处理军事事务，并取得了巨大的成就。这在给他带来荣耀的同时，也带来了厄运。中国有句古话，大量成就带来的下等人的光芒会盖过上等人[从英文翻译，不是原文]。<br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King. (Wang Zhenbo 2008, 59-60）<br /> <br /> 虽然兰陵王并没有篡夺王位的想法，但在位者却因为他的存在本身而感到威胁。最后，一杯毒酒结束了兰陵王的生命。(王真波 2008，59-60）。<br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. <br /> <br /> 宋玉（约公元前322年-公元前298年），据传是屈原的学生，出生在战国时期的宋朝首都（今河南商丘）。宋玉是战国晚期楚国的一位词人，擅长词曲，甚至被誉为屈原之后的大诗人。后人常称其为 &quot;屈宋&quot;。坊间流传着他有很多词，《汉书》记载了约16部作品，但其中很多作品今天已经失传。<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. <br /> <br /> 他的作品包括《九辨》、《风赋》等。他是第一个写秋悲的人，也是第一个写女人的人。他对女性本性的描述对后世曹植等人产生了很大的影响。宋玉的《神女赋》中的神女体现了先秦女性美的精髓，详细叙述了巫山神女的美貌，以至于后人千百年来对其垂涎欲滴。<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times. (Wang Zhenbo 2008, 59-60）<br /> <br /> 有16部作品流传下来，其中《九辨》被认为是真正由他创作的。在中国文学史上，它相当于屈原的《离骚》或《哀<br /> 乐》[从英文翻译，不是原文]。这两位诗人在他们的时代都可以称为慈禧抒情诗[从英文翻译，不是原文]中的两颗璀璨的明珠。(王真波 2008，59-60）。<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly. ”<br /> <br /> 卫玠（286-312年6月20日），晋代玄学家、官员。卫玠是魏晋时期著名的清谈名士和玄学家。他被任命为太子政<br /> 治事务的助手。永嘉四年（公元310年），卫玠去世，年仅27岁。古书和古人都对卫玠的外貌作了评价。王吉认为：&quot;有玉在侧，吾觉无名&quot;；&quot;与九同游，犹如明珠在侧，熠熠生辉。&quot;[从英文翻译，不是原文]<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior. . . &quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> 司马光撰写的《资治通鉴》作为统治者的镜子，详细介绍了： &quot;卫玠有得天独厚的外表，说话和分享时有自己的理解力；常常认为人们如果低人一等，就可以被原谅了。。。 &quot;卫玠不仅有令人赞叹的外表，而且还能从他的角度辨别出形而上学。卫玠的观点总是让有关方面感到惊艳。<br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents. (Wang Zhenbo 2008, 59-60）<br /> <br /> 据说，即使是王家的三个儿子，也不如卫家的长子，而王家的三个儿子都是当时有名的学者，而卫玠在家庭背景、外表和才能方面与三人相比，可以说是无可比拟的。(王真波 2008, 59-60）。<br /> <br /> Terms and Expressions<br /> *Pan An 潘安<br /> *King Lanling 兰陵王<br /> *Ji Kang 嵇康<br /> *Wei Jie 卫玠<br /> *throwing fruit to fill a carriage 掷果盈车<br /> *scholar 秀才<br /> *expatiation 铺陈<br /> *Book of Northern Qi Dynasty 《北齐书》<br /> *the Warring States Period 战国时期<br /> *Book of Han 《汉书》<br /> *Nine Discriminations 《九辨》<br /> *The Fu poetry of Wind 《风赋》<br /> *The Fu poetry of Goddess 《神女赋》<br /> *the goddess of Wushan Mountain 巫山神女<br /> *metaphysician 玄学家<br /> *a noted talker 清谈名士<br /> *History Retold as a Mirror for rulers 《资治通鉴》<br /> *Widow's Fu 《寡妇赋》<br /> *Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体<br /> <br /> Questions<br /> #Who are the four most handsome men at ancient time in China?<br /> #Who is Gao Changgong?<br /> #How did Lanlin King die?<br /> #What works did Song Yu compose?<br /> #Who are the two shining pearls in Ci lyric according to the passage?<br /> #What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> 问题<br /> #中国古代最英俊的四个男人是谁？<br /> #高长恭是谁？<br /> #兰陵王是怎么死的？<br /> #宋玉创作了哪些作品？<br /> #根据这段话，《慈禧》词中的两颗闪亮的珍珠是谁？<br /> #作为统治者的镜子，《史记》对卫玠有什么评价？<br /> <br /> References<br /> <br /> 刘细学. 古代四大美男[J]. 文史天地, 2003(06):63-64. <br /> <br /> 王真波. 四大美男都是怎么死的[J]. 青年文学家, 2008(11):59-60.<br /> <br /> =第6周 Session 6 Dec 14 11:30-13:00 - Part 1: The Panda 熊猫=<br /> <br /> 安浩阳 [[File:Haoyang_powerpoint.pptx]]<br /> <br /> <br /> 1. The origin of giant pandas<br /> <br /> The ancestor of the giant panda is Ailuaractos. The scientific name of the giant panda is actually &quot;cat bear&quot;, which means &quot;a bear like a cat&quot;. The main branch of it continued to evolve in central and southern China. One species of Ailuaractos appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda. (Sun Chengqian, 2006, 163)<br /> <br /> 1. 大熊猫的祖先<br /> <br /> 大熊猫的祖先是Ailuaractos。大熊猫的学名实际上是 &quot;猫熊&quot;，意思是 &quot;像猫一样的熊&quot;。它主要分支在中国中部和南部继续进化。Ailuaractos的一个物种出现在大约300万年前的更新世早期，它的体型比现在的熊猫小。(孙承骞, 2006, 163)<br /> <br /> In the process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500, 000-700, 000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Biological fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengqian, 2006, 163)<br /> <br /> 在这个过程中，大熊猫适应了亚热带竹林的生活，体型逐渐增大，并依靠竹子为生。在更新世中后期，大约500，000-700，000年前，是大熊猫的鼎盛时期。秦岭大熊猫已被确定为大熊猫的一个亚种。生物化石显示，大熊猫的祖先出现在200万至300万年前的早期。 (孙承骞, 2006, 163)<br /> <br /> The habitat of giant pandas once covered most of eastern and southern China, reaching Peking in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as &quot;living fossils&quot;. China calls them &quot;national treasures. &quot;(Sun Chengqian, 2006, 165)<br /> <br /> 大熊猫的栖息地曾经覆盖了中国东部和南部的大部分地区，北至北京，南至缅甸南部和越南北部。大熊猫化石通常在海拔500至700米的温带或亚热带森林中发现。大熊猫存活到现在，保持着原有的古老特征。因此，它们具有很大的科学价值，被称为 &quot;活化石&quot;。中国称它们为 &quot;国宝&quot;。&quot;（孙承骞，2006，165）。<br /> <br /> 2. Appearance features of giant pandas<br /> <br /> Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. The weight is 80-120kg, and its maximum weight can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengqian, 2006, 165)<br /> <br /> 2. 大熊猫的外形特征<br /> <br /> 大熊猫像熊一样胖，丰满，头圆，尾短，头长1200-1800mm，尾长100-120mm。体重为80-120公斤，最大体重可达到180公斤。饲养的大熊猫要重一些，雄性一般比雌性略大。其头部和身体的毛色黑白分明。 (孙成建，2006，165)<br /> <br /> However, it is not pure black, or pure white. It is black with brown through and white with yellow. The pandas in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengqian, 2006, 165)<br /> <br /> 然而，它不是纯黑色，也不是纯白色。它是黑中透棕，白中透黄。秦岭的大熊猫体型比较大，体毛粗糙，腹毛略带褐色。黑白相间的外观有利于隐藏在茂密的林木和白雪覆盖的地面，不容易被天敌发现。相对锋利的爪子、发达而有力的前后肢帮助大熊猫迅速爬上高大的树木。(孙承骞, 2006, 165)<br /> <br /> The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short and shallow. (Sun Chengqian, 2006, 165)<br /> <br /> 大熊猫的皮肤很厚，最厚处可以达到10毫米。身体不同部位的皮肤厚度是不同的。身体的背面比腹面厚，身体的外部比身体的内部要厚。皮肤的平均厚度约为5毫米，它是白色的，有弹性和韧性。大熊猫的视觉极其不发达。这是因为大熊猫长期生活在茂密的竹林中。光线很暗，障碍物很多，使它们的眼睛很短很浅。(孙承骞, 2006, 165)<br /> <br /> In addition, because its pupils are split like cats, they can still do activities when night comes. Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. The climate is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu. (Sun Chengqian, 2006, 165)<br /> <br /> 此外，由于它的瞳孔像猫一样是分裂的，所以当夜晚来临的时候，它们仍然可以进行活动。大熊猫生活在中国长江上游的高山和深谷中，这里是东南季风的迎风面。气候温暖湿润，其湿度常在80%以上。大熊猫喜欢潮湿的环境。大熊猫生活的6个狭长区域，包括岷山、邛崃、凉山、大相岭、小相岭和秦岭，横跨四川、陕西和甘肃3省的45个县（市）。(孙承骞, 2006, 165)<br /> <br /> The land area of their habitats is more than 20, 000 square kilometers, and the population of there is about 1, 600, of which more than 80% are distributed in Sichuan. (Sun Chengqian, 2006, 165)<br /> <br /> 其栖息地的土地面积超过20,000平方公里，人口约1,600，其中80%以上分布在四川。(孙承骞, 2006, 165)<br /> <br /> 3. The diet features of giant pandas<br /> <br /> The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as the &quot;bamboo bear&quot; by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi, 1981, 17)<br /> <br /> 3. 大熊猫的饮食特点<br /> <br /> 大熊猫的食谱非常特别，几乎包括在高山地区可以找到的所有种类的竹子。大熊猫偶尔也吃肉（通常是动物的尸体，有时是根茎类动物的尸体）。大熊猫独特的饮食特点使它被当地人称为 &quot;竹熊&quot;。大熊猫已逐渐进化为食草动物。由于竹子的营养不多，只能提供大熊猫生存所需的基本营养，大熊猫在野外环境中除了睡觉或一些短途活动外，每天进食时间长达14小时。一只大熊猫每天要吃12至38公斤的竹子，这接近其体重的40%。(胡锦矗, 1981, 17)<br /> <br /> They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can choose other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation. (Hu Jinzhi, 1981, 20)<br /> <br /> 它们喜欢吃竹子中营养最丰富、含纤维素最少的部分，即嫩茎、毛刺和竹笋。在大熊猫栖息地，通常至少有两种竹子。当一种竹子开花和死亡时（竹子每30至120年定期开花和死亡），大熊猫可以选择其他竹子。然而，栖息地的持续破碎化增加了只有一种竹子的可能性。当这种竹子变得与众不同时，这个地区的大熊猫将面临饥饿的威胁。(胡锦矗，1981，20)<br /> <br /> Terms and expressions<br /> *Ailuaractos lufengensis 始熊猫<br /> *Pleistocene 更新世<br /> *rhizomys 竹鼠<br /> *cellulose 纤维素<br /> *burgeons 嫩枝<br /> <br /> Questions<br /> #What's the ancestor of giant pandas?<br /> #What are the features of giant pandas' skin?<br /> #Do giant pandas like hot environment?<br /> #What part of bamboo do giant panda eat?<br /> <br /> 问题<br /> #大熊猫的祖先是什么动物？<br /> #大熊猫的皮肤有什么特点？<br /> #大熊猫喜欢高温环境吗？<br /> #大熊猫吃竹子的哪一部分？<br /> <br /> References<br /> <br /> [1]Yan Weiran, Tang Maolin, Chen Zeyuan, Chen Peng, Zhao Qijun, Que Pinjia, Wu Kongju, Hou Rong, Zhang Zhihe. Automatically predicting giant panda mating success based on acoustic features[J]. Global Ecology and Conservation, 2020, 24. <br /> <br /> [2]丛丽, 吴必虎. 基于网络文本分析的野生动物旅游体验研究——以成都大熊猫繁育研究基地为例[J]. 北京大学学报(自然科学版), 2014, 50(06):1087-1094. <br /> <br /> [3]雍严格, 王宽武, 汪铁军. 佛坪大熊猫的移动习性[J]. 兽类学报, 1994(01):9-14. <br /> <br /> [4]胡锦矗. 大熊猫的食性研究[J]. 南充师院学报(自然科学版), 1981(03):17-22. <br /> <br /> [5]孙承骞, 张哲邻, 金学林. 秦岭大熊猫局域种群的划分及数量分布[J]. 陕西师范大学学报(自然科学版), 2006(S1):163-167.<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 Read pages 42-52 of our textbook<br /> <br /> 2. 填多选题线上测试 Complete the quizzes https://ks.wjx.top/vm/YyByKqx.aspx https://ks.wjx.top/vm/QjARged.aspx#<br /> <br /> 3. 记得参加100个问题的调查和欧盟调查 remember to complete the EU survey and the 100 questions questionnaire<br /> <br /> http://bit.ly/EU-SURVEY<br /> <br /> http://bit.ly/100_questions<br /> <br /> ==展示 Presentations==<br /> <br /> 中国古代的四大才子<br /> <br /> 审美理想和社会习俗：中国古代的四大才子 Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China [[ Media:Four_Most_Handsome_Men_In_Ancient_China.pptx|The Four Most Handsome Men in Ancient China]]<br /> <br /> ===熊猫===<br /> <br /> 审美理想和社会习俗： 熊猫 Animals: Panda [[ Media:Animal_Panda.pptx|Panda]]<br /> <br /> =第6周 Session 6 Dec 14 11:30-13:00 - Part 2: Architecture 建筑学=<br /> <br /> ==Architecture 建筑==<br /> China has a long history and a rich cultural heritage. Here history has left behind many old and outstanding architectural relics, which are the result of several thousand years of development and form a system unique among the architectural styles of the world. Wooden frames appeared in Chinese architecture as long as 2, 000 years ago. From relics in Han Dynasty tombs and watch-towers built above the ground, early forms of wood structures can be seen. <br /> <br /> 中国有着悠久的历史和丰富的文化遗产。这里的历史留下了许多古老而优秀的建筑遗迹，它们是几千年发展的结果，在世界建筑风格中形成了独特的体系。早在两千年前，中国建筑中就出现了木构架。从汉代墓葬和建在地面上的瞭望塔的遗迹中，可以看到木结构的早期形式。<br /> <br /> Most of the wood-structured buildings fall into 3 categories: the beams-in-tiers structural system, the column and tier-beam structural system, and the log cabin-type system. Among the three, the first was the most commonly used in old Chinese architecture, in large structures like palaces and temples as well as in folk residences in North China. This frame is formed of wood or stone columns standing on the building’s foundation, with beams placed across them in the depth-wise direction. Short vertical posts are then placed on the beams, with additional beams placed across these. The wooden frame is formed of such layers, one upon the other, until they reach the ridge of the roof. These parallel units are connected by square longitudinal beams and round longitudinal posts at the ends of the cross-wise beams and across the spine posts called purlins. Rafters are laid lengthwise across the purlins. <br /> <br /> 大多数木结构建筑分为三类：梁柱式结构体系、柱子和层架式结构体系以及木屋式体系。在这三类中，第一类是中国古建筑中最常用的，用于宫殿和寺庙等大型建筑以及华北地区的民间住宅。这种框架由站在建筑基础上的木柱或石柱组成，横梁沿纵深方向放置。然后在梁上放置短的垂直柱子，并在这些柱子上放置额外的梁。木制框架是由这样的层数组成的，一个接一个，直到它们到达屋顶的脊部。这些平行的单元由方形纵梁和圆形纵柱连接，纵梁的两端和横跨的脊柱称为檩条。椽子是纵向铺设在檩条上的。<br /> <br /> Extremely important in traditional architecture is the dou-gong (corbel brackets). Dou-gong refers to the use in the frame of several layers of short bow-shaped wood arms called gong at the top of the columns where they meet the crossbeams. Between two layers of gong is placed a block of wood called a dou. The unit formed of several layers of dou and gong is called a dou-gong. These are used under the eaves to set the eaves out from the roof in an overhang, support the ends of the beams and reduce their span. <br /> <br /> 传统建筑中极为重要的是斗拱（corbel brackets）。斗拱是指在柱子顶部与横梁相接的地方，在框架中使用几层短的弓形木臂，称为锣。在两层铜锣之间放置一个称为斗的木块。由几层斗和锣组成的单元被称为斗拱。这些都是在屋檐下使用的，使屋檐从屋顶上悬空出来，支撑着梁的两端，减少其跨度。<br /> <br /> The most widespread and numerous residential structures are the “courtyard style” residences in the north. The name derives from the fact that four buildings, set on the foresides of a square area and with connecting halls between them, are made to form a courtyard. Generally the building on the north that faces south was called the “master building”, because it had the best position - warmest in winter and coolest in summer - and was usually used by the head of the household or members of the older generation. The houses on the east and the west were called “side buildings”. The southern building was sometimes called the “building at the other end”, and was used for children and the servants. This arrangement was appropriate to the old Confucian ethics in that it separated old and young, master and servant, and so emphasized the hierarchical relationship of superior and inferior. <br /> <br /> 最广泛和最多的住宅结构是北方的 &quot;四合院式 &quot;住宅。这个名字源于这样一个事实，即四座建筑设置在一个正方形区域的前侧，它们之间有连接的大厅，形成一个院落。一般来说，北面朝南的建筑被称为 &quot;主楼&quot;，因为它有最好的位置--冬暖夏凉--通常由户主或老一辈成员使用。东边和西边的房子被称为 &quot;侧楼&quot;。南边的建筑有时被称为 &quot;另一端的建筑&quot;，供孩子和仆人使用。这种安排适合于古老的儒家伦理，因为它将老人和年轻人、主人和仆人分开，因此强调了上下级的等级关系。<br /> <br /> The size of these houses varied according to the owner’s economic status. Groups of buildings were added in the north-south or east-west directions to form additional courtyards, but the important rooms were arranged along an axis with basic symmetry along it, according to the set arrangement for such a group of buildings. Likewise, large structures, such as palaces and temples, are built of single units grouped together about a courtyard. Generally speaking, Chinese architecture begins with four columns that form a bay; groups of bays form the different types of single buildings; and single buildings form different sizes of architectural complexes around courtyards. In fact, a city itself is just a collection of many complexes of buildings with different functions grouped together. The most representative examples of traditional Chinese architectural skills and attainments are each dynasty’s palaces and halls. Of them, the Ming and Qing palace complex in Peking - the Forbidden City, is the only one remaining and the largest in the whole country. <br /> <br /> 这些房屋的大小因主人的经济地位而异。在南北或东西方向上增加了建筑群，以形成额外的庭院，但重要的房间是沿着一条轴线排列的，沿轴线基本对称，按照这样的建筑群的既定安排。同样，大型建筑，如宫殿和寺庙，也是由单个单元围绕一个院子组合而成的。一般来说，中国建筑从四根柱子开始，形成一个海湾；海湾群形成不同类型的单体建筑；而单体建筑围绕庭院形成不同规模的建筑群。事实上，一个城市本身就是由许多具有不同功能的建筑群组合而成的。中国传统建筑技巧和造诣的最有代表性的例子是每个朝代的宫殿和厅堂。其中，位于北京的明清宫殿群--紫禁城，是全国仅存的、最大的宫殿群。<br /> <br /> Buddhism was one of China’s most important religions in the past. Thus, the construction of temples was an important architectural activity in all dynasties, and temples occupied an important position in Chinese architecture. Buddhist temples acquired a general arrangement specific to their needs. Inside the front gate of a temple are a “hall of celestial guardians”, a “hall of Buddha”, and in the rear is a tower where scriptures were stored. To the left and the right are a meditation hall, a visitors’ hall, monks’ living quarters and so on. Some most important Buddhist halls are of the multi-level tower or pavilion style with high ceilings and spacious interiors, such as the Mahayana Pavilion at Chengde’s Yongning Temple and the Guanyin Pavilion of Jixian’s Dule Temple. Buddhist pagoda, which had its origin in India as a tomb in which the bones of Sakyamuni’s were buried, is also an indispensable part of religious architecture. Through the long history, it evolved and developed together with China’s traditional towers, gradually giving form to a type of pagoda unique to China. The representative pagodas include Peking’s Miaoying Temple Pagoda, which was built in the 13th century during the Yuan Dynasty; Xi’an’s Xuanzhang Pagoda and the pagoda at Xiangji Temple, which was built in the 7th century. <br /> <br /> 佛教在过去是中国最重要的宗教之一。因此，在各个朝代，修建寺庙是一项重要的建筑活动，寺庙在中国建筑中占有重要地位。佛教寺庙根据其需要获得了一种特定的总体安排。寺庙前门内有&quot;天王殿&quot;、&quot;佛殿&quot;，后门是存放经书的塔。左右两边是禅房、客堂、僧人的生活区等。一些最重要的佛教殿堂是多层塔式或亭式，天花板很高，室内很宽敞，如承德永宁寺的大乘阁和蓟县独乐寺[从英文翻译，不是原文]的观音阁。佛教塔，起源于印度，是埋葬释迦牟尼遗骨的坟墓，也是宗教建筑中不可缺少的一部分。在漫长的历史长河中，它与中国的传统塔楼一起演变和发展，逐渐形成了中国特有的塔楼类型。具有代表性的佛塔包括北京的妙应寺塔，它建于13世纪的元朝；西安的玄奘塔和建于7世纪的香积寺塔。<br /> <br /> The unique way in which art is used in old Chinese architecture can be seen in the addition of decorations to the various components of a building, from the entire exterior of a building to a single beam end or tile. The roofs of Chinese buildings appear rather large because of their wooden structure. The early Chinese architects also used unique qualities of the wood structure to create a curved roof, with the eaves turned up slightly at the four corners, and with various interesting animals on top of the ridge; they also created the hipped roof, the hipped and gabled roof, the single- eaved roof and the multi-eaved roof and other styles, giving the roof a special artistic character. A simple method was used to make the beams inside the roof moon-shaped and the ends of the beams into “locust heads”, “sesame leaves” and other interesting shapes. In order to protect the wood, the exposed parts of the wood structure were painted. This proved to be another opportunity to exhibit the decorative abilities and brought about Chinese architecture’s unique “color painting” decoration. <br /> <br /> 艺术在中国古建筑中的独特使用方式，可以从建筑的各个组成部分的装饰品的添加中看出，从整个建筑的外部到一个梁端或瓦片。中国建筑的屋顶因其木质结构而显得相当大。早期的中国建筑师还利用木质结构的独特品质，创造了弧形屋顶，四角的屋檐微微上翻，屋脊顶上有各种有趣的动物；他们还创造了庑殿式屋顶、庑殿式和坡屋顶、单檐屋顶和多檐屋顶等样式，使屋顶具有特殊的艺术特征。他们用简单的方法将屋顶内的横梁做成月牙形，将横梁的两端做成 &quot;槐树头&quot;、&quot;芝麻叶&quot;等有趣的形状。为了保护木材，木结构暴露的部分被涂上了油漆。这被证明是展示装饰能力的另一个机会，带来了中国建筑独特的&quot;彩绘&quot;装饰。<br /> <br /> The decoration of old Chinese buildings was bold and skillful in the use of color, and thick, bright colors became a characteristic of traditional Chinese architecture. Strong contrasts, such as those between red and green, yellow and blue, and black and white, can be used without clashing. Rather, they give the whole building a look of brilliance. Besides being daring in the use of heavy colors, the early carpenters were also skillful with the paintbrush. <br /> <br /> 中国古建筑的装饰在色彩的使用上是大胆而巧妙的，厚重、明亮的色彩成为中国传统建筑的特点。强烈的对比，如红与绿、黄与蓝、黑与白之间的对比，可以不发生冲突。相反，它们使整个建筑看起来很有光彩。除了敢于使用重色，早期的木匠们还善于使用画笔。<br /> <br /> Traditional architecture is a precious part of the cultural heritage of the Chinese people. Today, as we climb to the top of the Great Wall, stand before the Forbidden City, or stroll through the old gardens, we can’t help admiring the wisdom of our ancestors, and the great amount of labor that went into the creation of these buildings. <br /> <br /> 传统建筑是中国人民文化遗产的一个宝贵部分。今天，当我们爬上长城的顶端，站在紫禁城前，或漫步在古老的花园中，我们不禁要赞叹我们祖先的智慧，以及为创造这些建筑所付出的大量劳动。<br /> <br /> Terms and Expressions<br /> *Relic n. 遗址, 遗物 <br /> *Beams-in-tiers 抬梁式<br /> *Column and tier-beam 穿斗式 <br /> *Log cabin-type 井干式<br /> *Column n. 柱子, 檐柱 <br /> *Beam n. 大梁<br /> *Depthwise adj. 纵向的, 进深的 <br /> *Vertical post 童柱<br /> *Ditional beam 额枋, 看枋 <br /> *Longitudinal adj. 纵向的<br /> *Crosswise adj. 横向的, 开间的 <br /> *Spine n. 脊椎, 脊骨<br /> *Purlin n. 檩条 <br /> *Rafter n. 椽<br /> *Corbel bracket 斗拱 <br /> *Master building 正房<br /> *Courtyard style residences 四合院 <br /> *Side building 厢房<br /> *Axis n. 中轴线 <br /> *Front gate 山门<br /> *Hall of Celestial Guardians 天王殿 <br /> *Hall of the Buddha 大雄宝殿<br /> *Meditation hall 禅房 <br /> *Visitor’s Hall 客堂<br /> *Chengde’s Yongning Temple 承德永宁寺 <br /> *Jixian’s Dule Temple 吉县独乐寺<br /> *Pagoda n. 佛塔, 舍利塔 <br /> *The Miaoying Temple 妙应寺<br /> *The Xiangji Temple 香积寺 <br /> *Tile n. 瓦, 瓷砖<br /> *Eave n. 屋檐 <br /> *Ridge n. 屋脊<br /> *Hipped roof 庑殿顶 <br /> *Hipped and gabled roof 歇山顶<br /> *Single-eaved roof 单檐顶 <br /> *Multi-eaved roof 重檐顶<br /> *Color painting 彩绘 <br /> <br /> Questions<br /> #How long is the history of wooden structures in China?<br /> #What are the 3 categories of traditional Chinese wood buildings? <br /> #Which category is the most popular? How is it formed? <br /> #What is dou-gong? What’s its function? <br /> #What is the most widespread residential structure in North China? How is it related to Confucianism? <br /> #What is the general layout of Chinese architectural complex like?<br /> #Is the palace complex in Peking the only one remaining in the whole country? <br /> #Is the construction of buddhist temples important in Chinese architecture? What is the general layout of a buddhist temple like? <br /> #What are buddhist pavilion and pagodas? Could you name some important buddhist pagodas in China?<br /> #What styles do traditional Chinese buildings’s roofs have? <br /> #How are traditional Chinese buildings decorated? <br /> #How are colors used in the decoration of old buildings? <br /> #Have you ever been amazed at an old Chinese building? <br /> <br /> 问题<br /> #木结构建筑在中国的历史有多长？<br /> #中国传统木结构建筑有哪三类？<br /> #哪一类是最受欢迎的？它是如何形成的？<br /> #什么是斗拱？它有什么功能？<br /> #在中国北方最普遍的住宅结构是什么？它与儒家思想有什么关系？<br /> #中国建筑群的总体布局是怎样的？<br /> #北京的宫殿群是全国仅存的宫殿群吗？<br /> #佛教寺庙的建设在中国建筑中是否重要？佛教寺庙的一般布局是怎样的？<br /> #什么是佛教的亭子和佛塔？你能说出中国一些重要的佛教佛塔吗？<br /> #中国传统建筑的屋顶有哪些风格？<br /> #中国的传统建筑是如何装饰的？<br /> #古建筑的装饰中是如何使用色彩的？<br /> #你是否曾对中国的古建筑感到惊奇？<br /> <br /> =第七周 Session 7 Dec 14 11:30-13:00 - Architecture I: The Forbidden City 建筑：紫禁城=<br /> A Panorama view of the Forbidden City 紫禁城全景图<br /> <br /> I. Introduction<br /> <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Peking, China, and with a total area of 720, 000 square meters (180 acres). It lies in the center of Peking's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government. (Barmé, Geremie R 2018, 26)<br /> <br /> I. 简介<br /> <br /> 紫禁城（中文：紫禁城；拼音：Zǐjìnchéng）是位于中国北京东城区的一个宫殿群，总面积为720000平方米（180亩）。它位于北京中轴线的中心位置。今天，紫禁城内有故宫博物院，从明朝（自永乐皇帝起）到清朝末年，从1420年至1924年期间，它是明清两代的皇宫和皇帝的住所。紫禁城是中国皇帝及其家属的住所，也是当时政府的礼仪和政治中心。(Barmé, Geremie R 2018, 26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world. (UNESCO, 2007)<br /> <br /> 故宫是国家AAAAA级旅游景区，1961年被列为第一批国家重点保护文物。更重要的是，它在1987年被宣布为世界文化遗产，并被联合国教科文组织列为世界上最大的古代木结构建筑群保存地。(UNESCO, 2007)<br /> <br /> II. The Name of the Forbidden City<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> II. 紫禁城的名称<br /> <br /> 常用的英文名称 &quot;Forbidden City &quot;是中文名称 &quot;紫禁城 &quot;的译音（中文：紫禁城；拼音：Zǐjìnchéng；英文：Purple Forbidden City）。紫金城这个名字第一次正式出现在嘉靖时期。在中国古代，强调 &quot;天人合一&quot;的规划理念。天上的星星被用来与首都规划相对应，以突出政权的合法性和皇权的至高无上。(李燮平1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> &quot; 紫&quot;，即 &quot;紫微&quot;，指的是北极星，在中国古代被称为紫微星。天上的皇帝住在紫微宫，而人类的皇帝则自称是受命于天的 &quot;天子&quot;。他的住所应该是紫微宫的象征，与天帝相对应。&quot;金 &quot;的意思是，这座富丽堂皇的宫殿象征着最高的权力和皇室的地位。在这种情况下，这座宫殿是禁地，没有皇帝的允许，任何人都不能进出宫殿。城是指城市。(李燮平1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan). <br /> <br /> 今天，该遗址在中文中最常被称为 &quot;故宫&quot;，意思是 &quot;故人的宫殿&quot;。设在这些建筑中的博物馆被称为 &quot;故宫博物院&quot;（中文：故宫博物院；拼音：Gùgōng Bówùyùan）。<br /> <br /> III. The History of the Forbidden City<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanking to Peking, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984, 18)<br /> <br /> III. 紫禁城的历史<br /> <br /> 洪武的儿子朱棣成为永乐皇帝后，将首都从南京迁至北京，并于1406年开始建造后来的紫禁城。建筑工程持续了14年，花费了100多万工人。从1420年到1644年，紫禁城是明朝的所在地。(Yu Zhuoyun 1984, 18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944, 3. 14)<br /> <br /> 1644年4月，它被李自成领导的叛军占领。他在撤退到陕西的过程中放火烧毁了紫禁城的部分建筑。到了10月，满族人在中国北方取得了霸主地位，并在紫禁城举行仪式，宣布顺治皇帝为清朝的全中国统治者。(郭沫若 1944, 3. 14)<br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984, 30)<br /> <br /> 康熙二十二年（1683年），开始重建紫禁城其余被毁建筑，1695年基本完工。在成为24位皇帝--明朝的14位和清朝的10位--的家之后，紫禁城于1912年随着中国最后一位皇帝溥仪的退位而不再是中国的政治中心。(Yu Zhuoyun 1984, 30)<br /> <br /> The layout of the Forbidden City紫禁城俯视图<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city. ( Xie Mengyin &amp; Qu Wanlin 2006, 11. 7)<br /> <br /> 1933年，日本对中国的入侵迫使紫禁城内的国宝撤离。部分藏品在二战结束后被归还，但另一部分在1948年根据蒋介石的命令被撤到了台湾。1949年中华人民共和国成立后，由于国家被革命的热情所笼罩，紫禁城受到了一些破坏。然而，在文化大革命期间，周恩来总理派了一个军营来保卫这座城市，从而防止了进一步的破坏。(谢荫明&amp;瞿宛林，2006，11.7)<br /> <br /> IV. The Structure of the Forbidden City<br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north. (Xie Li 2005, (03)100-102)<br /> <br /> IV. 紫禁城的结构<br /> <br /> 首先，紫禁城是一个长方形，在布局上是对称的。它的宫殿沿着一条南北轴线排列，三座大殿、后三座宫殿和御花园都位于这条轴线上。这条中轴线不仅贯穿了紫禁城甚至整个城市，而且南至永定门，北至鼓楼和钟楼。(谢丽 2005, (03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west. (Xie Li 2005, (03)100-102)<br /> <br /> 其次，紫禁城分为两部分，即外院和内院。外廷是皇帝处理政治事务的地方。主要有三个殿堂：太和殿、中和殿、保和殿。内廷或后宫包括北部各部分，是皇帝及其家人的住所，用于处理日常国家事务。内廷以乾清宫、交泰宫和坤宁宫为中心，东面有六座宫殿，西面有六座宫殿。(谢丽 2005, (03)100-102)<br /> <br /> VI The Collections of the Forbidden City<br /> <br /> 六、紫禁城的藏品<br /> <br /> 韩熙载夜宴图<br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War. (Li Wei &amp; Wang Shuo 2005, 6-22)<br /> <br /> 随后，故宫博物院于1925年在紫禁城内成立，其大量的艺术品和文物收藏都是建立在明清两代的御用收藏之上。该博物馆以前的部分藏品现在在台北的国立故宫博物院。两家博物馆都是同一机构的后代，但在中国内战后分裂。(Li Wei &amp; Wang Shuo 2005, 6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1, 863, 404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> 故宫博物院的藏品以清宫藏品为基础，包括绘画、陶瓷、印章、石碑、雕塑、铭文器、青铜器、珐琅器等。根据最新的审计，它有1863404件艺术品。它们按 &quot;古&quot;、&quot;新&quot;、&quot;蜀 &quot;进行编号。除古籍和文献外，其他藏品均以 &quot;古 &quot;和 &quot;新 &quot;标示。普通文物的编号以 &quot;子 &quot;字开头，陶瓷标本以 &quot;标 &quot;字开头。总目录分为25类，每类的编号由小到大排序。(网站：《故宫博物院藏品》)<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women. (Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1, 000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> 很多藏品曾经流失，后来又被带回了故宫博物院，比如《韩熙载夜宴图》。还有一些精美的藏品，陶彩绘女舞俑、十二生肖镜、画珐琅西洋人物鼻烟壶等。(网站：故宫博物院藏品）此外，故宫博物院是世界上收藏18和19世纪机械钟表最多的博物馆之一，有1,000多件。(孟福霞 2012, (21) 73-74)<br /> <br /> Painted Pottery Figurine of a Female Dance<br /> <br /> 陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems<br /> <br /> 十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women<br /> <br /> 画珐琅西洋人物鼻烟壶<br /> <br /> Terms and Expressions<br /> *palace complex 宫殿群<br /> *central axis 中心轴<br /> *the Palace Museum故宫博物院<br /> *the Yong Le Emperor 永乐皇帝<br /> *key cultural relics under national protection 国家重点文物保护单位<br /> *world cultural heritage 世界文化遗产<br /> *harmony between man and nature 天人合一<br /> *the imperial garden 御花园<br /> *the Hall of Supreme Harmony 太和殿<br /> *the Hall of Central Harmony 中和殿<br /> *the Hall of Preserving Harmony 保和殿<br /> *Palace of Heavenly Purity (乾清宮)<br /> *Hall of Union 交泰宫<br /> *Palace of Earthly Tranquility 坤宁宫<br /> *Han Banquet map 韩熙载夜宴图<br /> *Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> *Mirror with the Twelve Astrological Emblems十二生肖镜<br /> *Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> Questions<br /> #What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> #When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world. <br /> #How many emperors have been lived in the Forbidden City?<br /> #How long did it take to build the Forbidden City?<br /> #Why some parts of national treasures are in the National Palace Museum in Taipei now. <br /> #What two parts can the Forbidden City be divided into?<br /> #When was the Palace Museum established?<br /> <br /> 问题<br /> #中文名字 &quot;紫金城 &quot;中的 &quot;紫 &quot;是什么意思？<br /> #紫禁城是什么时候被联合国教科文组织列为世界上最大的古代木结构建筑群的？<br /> #有多少位皇帝曾在紫禁城居住过？<br /> #建造紫禁城需要多长时间？<br /> #为什么国宝的某些部分现在在台北的故宫博物院？<br /> #紫禁城可以分为哪两部分？<br /> #故宫博物院是什么时候建立的？<br /> <br /> References<br /> *Barmé, Geremie R(2008). The Forbidden City. Harvard University Press. 26. <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Peking and Shenyang&quot;. <br /> *Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31. <br /> *Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press, p18. <br /> *Guo Moruo 郭沫若. (1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3. 19. <br /> *Xie Li 谢丽. (2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Peking]. 紫禁城 Forbidden City, (03)100-102. <br /> *Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Peking - On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> *Li Wei&amp;Wang Shuo 刘薇, 王硕. 2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6. 22 http://www. huaxia. com/wh/gjzt/2005/00333230. html<br /> *The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm. org. cn /Home. html<br /> *Xie Mengyin &amp; Qu Wanlin 谢荫明, 瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ]. 人民网People’s Daily Online, 11, 7. http://history. people. com. cn/n/2014/0811/c372327-25441615. html<br /> <br /> <br /> ppt: [https://docs.google.com/presentation/d/1Wg0B8s7ZzyNQ9QzMgsI49QIzZL4Wsnv8tajGzOKarmY/edit?usp=sharing]<br /> <br /> =第七周 Session 7 Dec 14 11:30-13:00 - Architecture II: Four Famous Bridges 建筑：中国四大名桥=<br /> Introduction<br /> <br /> China is the hometown of bridges, which has been called &quot;the country of bridges&quot;. It was developed in the Sui Dynasty and flourished in the Song Dynasty. The bridges were woven into a traffic network extending in all directions, connecting the motherland in all directions. The architectural arts of ancient Chinese bridges are pioneering works in the history of bridges, which fully demonstrates the extraordinary wisdom of the ancient Chinese. &quot;Guangji Bridge in Chaozhou city, Zhaozhou Bridge in Hebei province, Luoyang Bridge in Quanzhou city and Lugou Bridge in Peking are known as the four ancient bridges in China&quot;. <br /> <br /> 简介<br /> <br /> 中国是桥梁的故乡，被称为 &quot;桥梁之国&quot;[从英文翻译，不是原文]。它发展于隋朝，兴盛于宋朝。桥梁交织成交通网络向四面八方延伸，将祖国的四面八方连接起来。中国古代桥梁的建筑艺术是桥梁史上的开山之作，充分显示了中国古人的非凡智慧。&quot;潮州市的广济桥、河北省的赵州桥、泉州市的洛阳桥和北京的卢沟桥被称为中国四大名桥&quot;。<br /> <br /> Zhaozhou Bridge<br /> <br /> Zhaozhou Bridge, also known as Anji Bridge, is the oldest long-span stone arch bridge in China. The bridge was built on the Xiaohe River, Hebei Province. From a distance, it looks like a bright moon in the clouds and a rainbow after rain hanging in the sky, beautiful and spectacular. It was built by Li Chun, a famous craftsman in the Sui Dynasty. With a length of 64. 40 meters and a span of 37. 02 meters, it is the largest span and the earliest single-span stone arch bridge with open shoulder in the world. (Shen Kun, 2016）<br /> <br /> 赵州桥<br /> <br /> 赵州桥，又称安济桥，是中国最古老的大跨度石拱桥。该桥建在河北省的小河上。从远处看，它就像云中的明月，雨后的彩虹挂在天上，美丽而壮观。它是由隋朝著名工匠李春建造的。它的长度为64. 40米，跨度37.02米，是世界上跨度最大、最早的单跨敞肩石拱桥。(沈坤，2016）。<br /> <br /> Li Chun creatively used the flat arch style, so that the stone arch height was reduced to 7. 23 meters, and the ratio of arch height to span was about 1:5. In this way, the slope of the bridge deck is gentle, which is convenient for vehicles, horses and pedestrians. Moreover, it has the advantages of saving materials, fast construction, and increasing the strength and stability of the bridge. Zhaozhou Bridge has been there 1400 years ago. It has experienced 10 times floods, 8 times wars and many earthquakes, but it has not been damaged. (Shen Kun, 2016）<br /> <br /> 李春创造性地采用了平拱的方式，使石拱的高度降低到7.23米，拱高与跨度的比例约为1：5。这样一来，桥面坡度平缓，便于车辆、马匹和行人通行。此外，它还具有节省材料、快速施工、提高桥梁强度和稳定性等优点。赵州桥在1400年前就已经存在。它经历了10次洪水，8次战争和多次地震，但它没有被破坏。(沈坤，2016）。<br /> <br /> Mao Yisheng, a famous expert in bridges, said that regardless of the internal structure of the bridge, surviving for over 1300 years explains everything. According to records, Zhaozhou Bridge has been repaired eight times since its completion. Two small arches are added at both ends of the main arch, one is to save materials, the other is to reduce the weight of the bridge body, and to increase the discharge of the river. In order to protect Zhaozhou Bridge, at the end of last century, the new bridge built 100 meters away from Zhaozhou Bridge still follows its style. (Shen Kun, 2016）<br /> <br /> 著名的桥梁专家茅以升说，不管桥的内部结构如何，存活了1300多年就说明了一切。根据记录，赵州桥自建成以来已经修缮了八次。在主拱的两端增加了两个小拱，一是为了节省材料，二是为了减轻桥身的重量，增加河水的排放。为了保护赵州桥，上世纪末，在距离赵州桥100米处修建的新桥仍沿袭了赵州桥的风格。(沈坤，2016）。<br /> <br /> In order to increase the flood discharge capacity, Li Chun also showed ingenuity by setting two small arches on each shoulder of the large arch. It can not only save stone and reduce the weight of the bridge body, but also help to discharge the flood, so as to achieve the perfect unity of architecture and art. It has become a great achievement of bridge engineering technology in China, which is more than 1200 years earlier than the similar arch bridge built in Europe in the middle of 19th century. (Shen Kun, 2016）<br /> <br /> 为了增加排洪能力，李春还发挥了聪明才智，在大拱门的两肩各设置了两个小拱门。这不仅可以节省石料，减轻桥体的重量，而且有利于泄洪，从而达到建筑与艺术的完美统一。它成为中国桥梁工程技术的一项伟大成就，比19世纪中期欧洲建造的同类拱桥早了1200多年。(沈坤，2016）。<br /> <br /> Luoyang Bridge<br /> <br /> Quanzhou is a famous city with a history of over 1700 years. As early as the Tang and Song Dynasties, Quanzhou was known as an important trading port. Merchants, scholars and missionaries from all over the world came to Quanzhou, leaving many precious historical and religious relics and classical buildings. Luoyang Bridge, also known as “Wanan bridge”, was built by the governor Cai Xiang in the Northern Song Dynasty and completed in six years. It is difficult to build a bridge at the confluence of the river and the sea, the river is wide and deep, and the project is arduous. (Wei lichun, 2007)<br /> <br /> 洛阳桥<br /> <br /> 泉州是一座拥有1700多年历史的著名城市。早在唐宋时期，泉州就作为一个重要的贸易港口而闻名。来自世界各地的商人、学者和传教士来到泉州，留下了许多珍贵的历史和宗教遗迹以及古典建筑。洛阳桥，又称 &quot;万安桥&quot;，由北宋知府蔡襄所建，历时六年建成。在河海交汇处建桥，河面宽而深，工程十分艰巨。(魏立春, 2007)<br /> <br /> The bridge is 834 meters at length and 7 meters at width. There are Zhaohui temple and Zhenshen temple in the north of the bridge, and Caixiang temple in the south of the bridge. In 1988, it was listed as one of the national key cultural protection units and one of Quanzhou’s world cultural heritage sites. (Wei lichun, 2007)<br /> <br /> 该桥长834米，宽7米。桥北有朝晖寺、振声寺，桥南有采香寺。1988年被列为全国重点文物保护单位和泉州世界文化遗产之一。(魏立春, 2007)<br /> <br /> It was very difficult to build Luoyang Bridge at first. Because the river is wide and the current is swift, sometimes there is wind tide, the water potential is dangerous. Before the construction of the bridge, people came and went by ferries, which often capsized. In order to pray for the safety of the transition, the ferry here was named Wanan Du, so the bridge was also named Wanan Bridge after its completion. Therefore, it was also named Luoyang Bridge because it was built on the Luoyang River. (Wei lichun, 2007)<br /> <br /> 起初，建造洛阳桥是非常困难的。因为河道宽阔，水流湍急，有时还出现风潮，水势险要。在建桥之前，人们来往都是乘坐渡船，经常翻船。为了祈求过渡期的安全，这里的渡船被命名为万安渡，所以桥建成后也被命名为万安桥。因此，它也被命名为洛阳桥，因为它建在洛阳河上。(魏立春, 2007)<br /> <br /> There are many innovations in the construction technology and technology of Luoyang bridge, the raft foundation style, the application and development of wedge pier and the use of oyster to cement bridge pier. After its completion, it has become an important channel of communication between Quanzhou and the mainland. Therefore, Luoyang Bridge has the reputation of “Wan An Ji Zhong”. Under the influence of the completion of Luoyang Bridge, there has been an upsurge of bridge construction in Fujian province, especially in Southern Fujian. Dozens of large and medium-sized stone girder bridges have been built. (Wei lichun, 2007)<br /> <br /> 洛阳桥的施工技术和工艺有很多创新，筏式基础的样式，楔形桥墩的应用和发展，以及使用牡蛎来加固桥墩。建成后，它已成为泉州与内地交流的重要通道。因此，洛阳桥有 &quot;万安吉中 &quot;的美誉。在洛阳桥建成后的影响下，福建省特别是闽南地区掀起了建桥热潮。几十座大、中型石梁桥已经建成。(魏立春, 2007)<br /> <br /> Lugou Bridge<br /> <br /> Lugou Bridge is the oldest stone multi-hole arch bridge in Peking, which has a history of more than 800 years. In the Jin Dynasty, Lugou river was an important transportation point from north to south. There are 11 bridge holes in the whole bridge, and the span and height of each hole are not the same. As early as the Jin Dynasty, this bridge was listed as one of the “Eight Sights of the capital”. (Shen Kun, 2016）<br /> <br /> 卢沟桥<br /> <br /> 卢沟桥是北京最古老的多孔石拱桥，距今已有800多年的历史。在晋代，卢沟河是南北交通要冲。全桥共有11个桥洞，每个桥洞的跨度和高度都不相同。早在晋代，这座桥就被列为 &quot;京城八景 &quot;之一。(沈坤，2016）。<br /> <br /> The bridge deck of Lugou Bridge is slightly curved with lower ends and uplift in the middle. The lower riverbed of the bridge is paved with pebbles and quartz sand. The whole bridge is built on it, which is very solid and stable. The two ends of the bridge are used as drum-shaped stone block. At the east end are two big stone lions and the west are two big stone elephants which are huge and charming. In addition to the stone lion and stone statue on the top of the fence, there is a 4. 65-meter-high ornamental table, which looks like seeing off pedestrians. (Shen Kun, 2016）<br /> <br /> 卢沟桥的桥面略呈弧形，两端较低，中间隆起。桥的下部河床是用鹅卵石和石英砂铺成的。整座桥建在上面，非常坚固和稳定。桥的两端用的是鼓形石块。东端有两只大石狮，西端有两只大石象，巨大而迷人。除了石狮和石像外，围墙顶上还有一个4.65米高的观赏台，看上去就像在送行人。(沈坤，2016）。<br /> <br /> As the oldest stone arch bridge in Peking and the place where the whole nation’s Anti-Japanese war broke out, Lugou bridge is not only an important cultural resource in Fengtai District, but also a memorial place for major national activities. Bearing rich historical resources, it has become important to publicize the revolutionary tradition of the Chinese nation and carry out patriotic education. Standing on the Lugou Bridge, you can see the memorial hall of the Chinese people’s Anti-Japanese War, the Yongdinghe River ferry wharf, the pinghan railway bridge site, and the Anti-Japanese War sculpture garden, which together constitute a spectacular historical and cultural map. (Shen Kun, 2016）<br /> <br /> 作为北京最古老的石拱桥和全国抗日战争的爆发地，卢沟桥不仅是丰台区的重要文化资源，也是国家重大活动的纪念地。它承载着丰富的历史资源，对宣传中华民族的革命传统、开展爱国主义教育具有重要意义。站在卢沟桥上，可以看到中国人民抗日战争纪念馆、永定河轮渡码头、平汉铁路桥遗址、抗日战争雕塑园等，共同构成了一幅壮观的历史文化地图。(沈坤，2016）。<br /> <br /> Guangji Bridge<br /> <br /> Guangji Bridge is located at the east gate of the ancient city of Chaozhou, Guangdong Province. Commonly known as Xiangzi bridge. Crossing the vast Hanjiang River, it is an important transportation hub of Fujian and Guangdong. With its unique style of “18 shuttle boats and 24 continents”, it is praised as “the earliest open-close bridge in the world” by famous bridge expert Mao Yisheng. In particular, on the stone tablet of the imperial stele Pavilion at the east end of the bridge, the inscription “Lugou Xiaoyue” written by Emperor Qianlong is the most famous. (Wei lichun, 2007)<br /> <br /> 广济桥<br /> <br /> 广济桥位于广东省潮州古城的东门。俗称湘子桥。横跨浩瀚的韩江，是福建和广东的重要交通枢纽。它以 &quot;十八梭船二十四洲 &quot;的独特风格，被著名桥梁专家茅以升赞誉为 &quot;世界上最早的开合桥&quot;。特别是在桥东头的御碑亭石碑上，乾隆皇帝写的 &quot;卢沟晓月 &quot;的碑文最为有名。(魏立春, 2007)<br /> <br /> Stone lions and stone pavilions at both ends of the bridge, together with Chinese totem pillar, constitute the bridgehead buildings with national characteristics. Marco Polo, an Italian at the end of the 13th century, praised Lugou Bridge as “a beautiful stone bridge in Hanbali”. It is the oldest existing large-scale double-arch long bridge in northern China. “Lugou Xiaoyue” is also one of the famous “Eight Sights of Yanjing”. (Wei lichun, 2007)<br /> <br /> 桥两端的石狮和石亭，与中国的图腾柱一起，构成了具有民族特色的桥头建筑。13世纪末的意大利人马可-波罗称赞卢沟桥是 &quot;汉巴里的一座美丽的石桥&quot;。它是中国北方现存最古老的大型双拱长桥。&quot;卢沟晓月 &quot;也是著名的 &quot;燕京八景 &quot;之一。(魏立春, 2007)<br /> <br /> There are many folklores about Guangji Bridge. One of the legends is “the immortal Buddha builds the bridge”. That is, after Han Yu came to Chaozhou in the Tang Dynasty, to communicate with the two sides, he asked his nephew Han Xiangzi and other eight immortals to build a bridge with Guangji monk. Due to the failure of his magic power, the middle section could not be connected. Monk Guangji and He Xiangu, one of the eight immortals, were connected with 18 shuttle boats by using lotus flowers as giant cables. Therefore, the bridges were called “Xiangzi bridge” and “Guangji Bridge” respectively. (Wei lichun, 2007)<br /> <br /> 关于广济桥有很多民间传说。其中一个传说是 &quot;仙佛造桥&quot;。即唐代韩愈到潮州后，为沟通两岸，请其侄子韩湘子等八仙与广济和尚搭桥。由于他的法力不济，中间一段无法接通。广济和尚与八仙之一的何仙姑，以莲花为巨缆，用18只梭子船连接起来。因此，这两座桥分别被称为 &quot;湘子桥 &quot;和 &quot;广济桥&quot;。(魏立春, 2007)<br /> <br /> The second legend is that Wang Yuan removed the strange stones. Wang Yuan was the magistrate of Chaozhou who presided over the large-scale bridge repair. He built “24 towers” on the bridge, which was known as “the first bridge in the south of the Yangtze River”. It was said that there were two strange stones on Hulushan mountain, which caused frequent fires and lawsuits in Chaocheng. So, he personally led people up the mountain, leading in smashing down two strange stones. Wang Yuan’s move not only dispelled people’s fear of strange stones, but also solved part of the stone for bridge repair. (Wei lichun, 2007)<br /> <br /> 第二个传说是，王源搬走了这些怪石。王元是潮州的县令，主持大规模的修桥工作。他在桥上建了 &quot;二十四塔&quot;，被称为 &quot;江南第一桥&quot;。据说，葫芦山上有两块怪石，在潮城经常引起火灾和官司。于是，他亲自带人上山，带头砸下了两块怪石。王元此举不仅打消了人们对怪石的恐惧，而且还解决了一部分修桥用的石头。(魏立春, 2007)<br /> <br /> The third legend is “Wu Fu Gong Ji Shui”. The Duke of Wu was the governor of Chaozhou in of Qing Dynasty. One year, because of the flood of Hanjiang River, Chaozhou City was in danger. He offered sacrifices to the water on the east gate and begged for the water to retreat. However, the water did not retreat. So, he indicated that he would live and die with the city. Strange to say, the flood receded at this time. Since then, people have set up his statue sacrifice in the east gate tower, and built a memorial archway in the East Bridge of Xiangzi bridge. (Wei lichun, 2007)<br /> <br /> 第三个传说是 &quot;吴福公治水&quot;。清朝时，吴国公是潮州的总督。有一年，由于韩江发大水，潮州城危在旦夕。他在东门祭祀水，求水退去。但是，水并没有退去。于是，他表示要与这座城市共存亡。说来奇怪，洪水在这个时候退去了。此后，人们在东门城楼上设立了他的塑像祭祀，并在湘子桥东桥头建了纪念牌坊。(魏立春, 2007)<br /> <br /> Many of China’s ancient and modern bridge science and technology have been in the forefront of the world’s bridge construction, and many bridge styles continue to have an impact on the world’s modern bridge construction. At the same time, it is a living treasure of cultural relics, recording a lot of precious information. (Wei lichun, 2007)<br /> <br /> 中国古代和现代的许多桥梁科学技术都走在了世界桥梁建设的前列，许多桥梁样式对世界现代桥梁建设继续产生着影响。同时，它也是一个活的文物宝库，记录了很多珍贵的信息。(魏立春, 2007)<br /> <br /> References<br /> *Shen Kun 沈坤. (2016). 中国古代四大名桥[Four famous bridges in ancient China]. 百姓生活People's life (07) 59-62. <br /> *Wei Wei 薇薇. (2016). 中国人必须知道的国学常识[The common knowledge of Chinese culture that Chinese people must know]. 雷锋 Lei Feng (Z1) 148-149. <br /> *Wei Lichun 魏丽春. (2007). 我国的四大名桥[Four famous bridges in China]. 新长征New Long March (08) 60. <br /> *Huang Jun 黄军. (1996). 我国风景名胜中的四大[Four famous scenic spots in China]. 农家之友 Friends of farmers (03) 46. <br /> <br /> Terms and expressions<br /> *石拱桥 stone arch bridge<br /> *望柱 baluster<br /> *桥基 settlement<br /> *泄洪 flood discharging<br /> *桥墩 pier<br /> *抱鼓石 drum-shaped stone block<br /> *华表 Chinese totem pillar<br /> *栏杆 balustrade<br /> *燕京八景 Eight Sights of Yanjing<br /> *启闭式桥梁 open-close bridge<br /> <br /> Questions<br /> #Which is is the oldest long-span stone arch bridge in China?<br /> #How many folklores are there about Guangji Bridge and what are they?<br /> #How long has Zhaozhou Bridge been there ?<br /> #Why did Li Chun use the flat arch style to build Zhaozhou Bridge?<br /> <br /> 问题<br /> #哪一座是中国最古老的大跨度石拱桥？<br /> #关于广济桥的民间传说有多少，它们是什么？<br /> #赵州桥的历史有多长？<br /> #李春为什么要用平拱的方式来建造赵州桥？<br /> <br /> =第八周 Session 9 Jan 11 11:30-13:00 - Architecture III: Four Great Pavilions 建筑：四大亭子=<br /> <br /> Presentation by Wei Yuxin 魏雨昕.<br /> <br /> A pavilion, a building style with great Chinese characteristics, is not only a place for passers-by to rest their feet, but also an important landscape building with garden art. At the foot of the mountains, by the lakeside and deep in the forest, we can always see pavilions that are half-hidden, and half-exposed, subtly adding colour to the landscape scenery. (Qian Long 2009, 50)<br /> <br /> 亭子，一种极具中国特色的建筑风格，不仅是路人歇脚的地方，也是具有园林艺术的重要景观建筑。在山脚下、湖边、森林深处，我们总能看到半隐半露的亭子，巧妙地给山水景色增添色彩。(钱龙 2009, 50)<br /> <br /> Where there are pavilions, there are stories, and there are four famous pavilions in China - the Old Drunkard Pavilion in Chuzhou, the Tao Ran Pavilion in Peking, the Ai Wan Pavilion in Changsha and the Hu Xin Pavilion in Hangzhou. All of them are famous for their poems and articles written by ancient writers and scholars. (Qian Long 2009, 50)<br /> <br /> 有亭子的地方就有故事，中国有四个著名的亭子--滁州的老醉亭、北平的陶然亭、长沙的爱晚亭和杭州的胡欣亭。所有这些亭子都以古代文人墨客的诗词和文章而闻名。(钱龙 2009, 50)<br /> <br /> The Old Drunkard Pavilion<br /> <br /> Zuiweng Ting, or the Old Drunkard Pavilion is located at the foot of the Langya Mountain in Chuzhou, Anhui Province. The Old Drunkard Pavilion was built in 1046 AD, the sixth year of the Northern Song Dynasty's reign of Emperor Renzong. This pavilion is the subject of a well-known work written by Ouyang Xiu, an essayist of the Song dynasty, called The Story of the Old Drunkard. (Liu Xuan 2012, 21)<br /> <br /> 老醉亭<br /> <br /> 醉翁亭位于安徽省滁州市琅琊山下。醉翁亭建于公元1046年，即北宋仁宗的第六年。这个亭子是宋代散文家欧阳修的著名作品《老酒鬼的故事》的主题。(刘璇 2012, 21)<br /> <br /> It is said that Ouyang Xiu was demoted to Chuzhou to serve as the prefect. Feeling indignant at the time, he devoted his soul into nature. He often came with friends and guests to Langya Mountain for fun, or to Langya Temple to drink wine and express their emotion. In order to give Ouyang Xiu a rest and a drink, the Langya Monastery monk Zhisian built this pavilion halfway up the mountain. The pavilion was named 'the Old Drunkard Pavilion' by Ouyang Xiu, who called himself “ the Old Drunkard”. (Liu Xuan 2012, 21)<br /> <br /> 据说，欧阳修被贬到滁州担任县令。当时他感到很愤慨，就把自己的灵魂投入到大自然中。他经常和朋友、客人一起到琅琊山游玩，或到琅琊寺饮酒，抒发情感。为了让欧阳修休息喝酒，琅琊寺僧人智贤在半山腰上建了这个亭子。欧阳修自称 &quot;老酒鬼&quot;，将此亭命名为 &quot;老酒鬼亭&quot;。(刘璇 2012, 21)<br /> <br /> The pavilion has a compact layout with small, unique pavilions that are characteristic of the gardens of the south of the Yangtze River, and although the total area of the pavilion is less than 1, 000 square metres, there are nine buildings——the Old Drunkard Pavilion, Bao Song Zhai, Feng Gong Ancestral Hall, Ancient Plum Blossom Pavilion, Shadow Fragrance Pavilion, Yi Zai Pavilion, Fear Pavilion, Ancient Plum Blossom Pavilion, and the View Terrace——of different styles, and are known as the “Nine Views of the Old Grunkard Pavilion”. (Liu Xuan 2012, 21)<br /> <br /> 亭子布局紧凑，亭子小巧别致，是江南园林的特色，虽然亭子的总面积不到1，000平方米，但有九座建筑--老醉亭、 宝松斋、冯公祠、古梅亭、影香亭、怡情亭、畏惧亭、古梅亭、观景台这九座风格各异的建筑，被称为 &quot;老醉亭九景&quot;。(Liu Xuan 2012, 21)<br /> <br /> Although the Old Drunkard pavilion has been plundered many times over the centuries, it still inviting to people. Today, the thousand-year old scenery here is even more spectacular and alluring. (Liu Xuan 2012, 21)<br /> <br /> 尽管几百年来，老醉翁亭被掠夺了多次，但它仍然吸引着人们。今天，这里的千年风景更加壮观，更加诱人。(刘璇 2012, 21)<br /> <br /> Tao Ran Pavilion<br /> <br /> The Tao Ran Pavilion in Peking was built in 1695, the 34th year of Emperor Kangxi's reign in the Qing dynasty, by Jiang Zao, who then served in the Ministry of Public Works. Jiang Zao named the pavilion after Bai Juyi's poem, &quot;Waiting for the chrysanthemum to ripen, we get drunk in blitheness&quot;. This small pavilion is quite popular among ancient writers. (Qian Long 2009, 50)<br /> <br /> 陶然亭<br /> <br /> 北京的陶然亭建于清康熙三十四年（1695年），由当时在工部局任职的江藻建造。江藻以白居易的诗句 &quot;静待菊花开，醉卧沙场 &quot;来命名该亭子。这个小亭子在古代文人中颇受欢迎。(钱龙 2009, 50)<br /> <br /> The modern Taoran Pavilion is a new modern urban garden that integrates ancient architecture and modern gardening art, highlighting the Chinese national pavilion culture as its main content. In the garden, there are verdant trees, lush flowers and grasses, jagged buildings and pavilions. On the Mid-lake Island, there are Jinqiu dun, Swallow Head Hill, and Tao Ran pavilion into a tripod. On top of Jinqiu dun there is Jinqiu pavilion, the site of which was the site of the Flower Fairy Shrine. At the southern foot of the pavilion, there is Rose Hill, which is the site of the original incense mound, the parrot mound and the tomb of the golden flower. (Chang Yi 2007, 60)<br /> <br /> 现代陶然亭是一个集古代建筑和现代园林艺术为一体的新型现代城市园林，突出了中国民族亭子文化为主要内容。园内树木葱茏，花草茂盛，楼台参差，亭台楼阁。在半湖岛上，有金秋墩、燕子头山、陶然亭成鼎足之势。金秋墩顶上有金秋亭，其遗址为花仙子祠堂。亭子的南麓有玫瑰山，是原香冢、鹦鹉冢和金花墓的遗址。(Chang Yi 2007, 60)<br /> <br /> In the quiet pine forest at the foot of the northern pavilion, there are the tombs of Gao Junyu and Shi Pingmei, which are famous. At the top of Swallow Head Hill, there is the Green View Pavilion, which is opposite the Jinqiu Pavilion, and at the southwest of the pavilion, there is the Chengguang Pavilion, which is the most suitable place to look at the lake and the mountains. (Qian Long 2009, 50)<br /> <br /> 在北亭脚下幽静的松林里，有高君宇和石评梅的墓，很有名。燕子头山顶有绿景亭，与金秋亭相对，亭西南有承光亭，是最适合看湖光山色的地方。(钱龙 2009, 50)<br /> <br /> Ai Wan Pavilion<br /> <br /> The Ai Wan Pavilion is located in the Qingfeng Gorge at the foot of Mount Yuelu in Hunan Province, and is surrounded by mountains on three sides. The pavilion was built in 1792 by Luo Dian(罗典), Dean of the Yuelu Academy, and was originally called the Red Leaf Pavilion. It was later renamed by Bi Yuan(毕沅), Governor of Hunan and Guangzhou Province, based on a poem by Du Mu(杜牧), a poet of the Tang Dynasty, which reads, &quot;The stone paths of the cold mountains are steep, and there are homes in the depths of the white clouds. Sitting on the Maple Forest in the evening, the frost leaves turn red in the February flowers&quot; (&quot;Mountain Journey&quot;). (Qian Long 2009, 50)<br /> <br /> 爱晚亭<br /> <br /> 爱晚亭位于湖南省岳麓山下的清风峡中，三面环山。该亭由岳麓书院院长罗典建于1792年，原名为红叶亭。后来由湘粤两省总督毕沅根据唐代诗人杜牧的诗句 &quot;寒山石径斜，白云深处有人家。枫林晚坐，霜叶红于二月花&quot;（《山行》）。(钱龙 2009, 50)<br /> <br /> After many major repairs in the reign of Tongzhi, Guangxu, Xuantong, and in Republic of China and after the founding of the People's Republic of China, it comes into its pattern today. The shape of the pavilion is eight columns with heavy eaves, glazed glass and blue tiles, the corner of the pavilion is flying, and it looks like flying from a distance. The inside is pillar in lacquer while the outside are four stone pillars made by granite. (Chang Yi 2007, 60)<br /> <br /> 经过同治、光绪、宣统年间，以及民国时期和建国后的多次大修，才有了今天的格局。亭子的形状是八柱重檐，琉璃青瓦，亭子的一角是飞天的，从远处看就像在飞。里面是漆器的柱子，外面是花岗岩做的四个石柱。(Chang Yi 2007, 60)<br /> <br /> Apart from painted caisson ceiling, there are gilt lettering &quot;Ai Wan Pavilion&quot; on a red background on the east and west sides of the pavilion, which was made by handwriting written by Mao Zedong, at the request of Li Da, the then president of Hunan University. The pavilion is surrounded by hills on three sides, and is open to the east, with a flat vertical and horizontal space of more than 33 metres, with purple and lush greenery and uninterrupted flowing springs. There is a pond in front of the pavilion, with rows of peach and willow trees. There are maple trees all around, with red leaves all over the mountains in late autumn. (Chang Yi 2007, 60)<br /> <br /> 除了彩绘沉箱顶，亭子的东西两侧还有红底鎏金字 &quot;爱晚亭&quot;，这是毛泽东应当时湖南大学校长李达的要求，亲手写的。亭子三面环山，东面开阔，纵横平坦，有33米多的空间，紫气东来，绿意盎然，流泉不息。亭子前面有一个池塘，有一排桃树和柳树。周围都是枫树，深秋时节红叶满山。(张怡 2007, 60)<br /> <br /> Hu Xin Pavilion<br /> <br /> Hu Xin Pavilion, or Mid-lake Pavilion is situated in the centre of the West Lake in Hangzhou, Zhejiang. Initially known as &quot;Zhenlu Pavilion&quot;, and &quot;Qingxi Pavilion&quot;, it was built in the 31st year of Jiajing in the Ming Dynasty (1552 AD) and was renamed “Hu Xin Pavilion” after the Ming Dynasty. (Qian Long 2009, 50)<br /> <br /> 湖心亭<br /> <br /> 湖心亭，或称半湖亭，位于浙江杭州西湖的中心地带。最初被称为 &quot;镇庐阁&quot;、&quot;清溪阁&quot;，建于明朝嘉靖三十一年（公元1552年），明朝以后改称 &quot;湖心亭&quot;。(钱龙 2009, 50)<br /> <br /> The pavilion is built looking like a tower and is surrounded by water on all sides. When you look around, not only does the lake ripple, but also the mountains stand like a screen enveloping it. The west side of the pavilion is the south and north peaks of the West Lake, which is very spectacular. (Qian Long 2009, 50)<br /> <br /> 亭子建成后看起来像一座塔，四面都是水。环顾四周，不仅湖水荡漾，而且群山矗立，如屏风般将其笼罩。亭子的西侧是西湖的南峰和北峰，非常壮观。(钱龙 2009, 50)<br /> <br /> It is one of the 18 scenes of West Lake in Qing Dynasty. Yongzheng wrote in his Records of the West Lake: the pavilion is in the centre of the lake; in the past there was a temple and outside it were three towers, which both were destroyed in the reign of Ming Xiaozong. County said: outside the temple were three towers, while only the north tower conserved, upon which a pavilion was built, that is the Mid-lake Pavilion; the old base of the temple was rebuilt as De Sheng Hall, a place to release. According to this, the old Hu Xin Temple was the current Release Pond, and the present Hu Xin Pavilion was the base of the north tower among the other three. (Chang Yi 2007, 60)<br /> <br /> 这是清代西湖十八景之一。雍正在《西湖记》中写道：亭在湖心，昔有寺，外有三塔，明孝宗时皆毁。县志》说：寺外有三塔，而只有北塔保存下来，在其上建有一亭，即半湖亭；寺的旧基重建为德胜堂，是放生的地方。据此，旧的湖心寺就是现在的放生池，而现在的湖心亭就是其他三座中的北塔基。(Chang Yi 2007, 60)<br /> <br /> The Qing emperor Qianlong once inscribed a plaque on the pavilion with the inscription &quot;Quietly observe the world&quot;(“静观万类”) and the couplet &quot;Waves surge and the lake is far away, the mountains prompt the water is deep&quot;(“波涌湖光远, 山催水色深”). Besides, the inscription on the pavilion's pillars by Hu Laichao(胡来朝) is worth mentioning: “The four seasons are filled with music and songs, and the poor are still grieving over the moon; the six bridges are filled with flowers and willows, and there is no room for mulberry and hemp. ” The meaning is even more profound to the visitor. (Qian Long 2009, 50)<br /> <br /> 清朝乾隆皇帝曾在亭子上题写了 &quot;静观万类 &quot;的匾额和 &quot;波涌湖光远，山催水色深 &quot;的对联。此外，值得一提的是胡来朝在亭子的柱子上的题字： &quot;四时笙歌，穷愁尚月；六桥花柳，桑麻无间。&quot; 对游客来说，其意义更加深远。(钱龙 2009, 50)<br /> <br /> Terms and Expressions<br /> *The Old Drunkard Pavilion 醉翁亭<br /> *Nine Views of the Old Drunkard Pavilion 醉翁九景<br /> *Tao Ran Pavilion 陶然亭<br /> *glazed glass and blue tiles 琉璃碧瓦<br /> *Ai Wan Pavilion 爱晚亭<br /> *Mountain Journey 《山行》<br /> *Hu Xin Pavilion/ Mid-lake Pavilion 湖心亭<br /> *County 《县志》<br /> <br /> Questions<br /> #Which pavilion is named by the poem of Du Mu？<br /> #When Did “Hu Xin Pavilion” well established its name?<br /> #Which pavilion is located in Peking?<br /> #Where can we enjoy maple trees in Autumn among the four pavilions?<br /> #What do you think is the Old Drunkard Pavilion famous for?<br /> <br /> 问题<br /> #哪个亭子是由杜牧的诗命名的？<br /> #&quot;湖心亭 &quot;是什么时候定名的？<br /> #哪个亭子位于北京？<br /> #在四个亭子中，我们在哪里可以欣赏到秋天的枫树？<br /> #你认为老醉翁亭以什么闻名<br /> <br /> References<br /> *千龙. 中国四大名亭[J]. 兵团建设, 2009(14):50. <br /> *刘璇. 醉翁亭以中国“四大”名亭之一天下第一亭大文学家欧阳修《醉翁亭记》名声享誉中华[J]. 中国地名, 2012(09):20-21. <br /> *常翼. 我国的四大名亭[J]. 新长征, 2007(06):60. <br /> *https://mp. weixin. qq. com/s/slU9b2notV9xKekROxCZuw<br /> *https://baike. so. com/doc/6569739-6783501. html<br /> *https://baike. so. com/doc/5632595-5845219. html<br /> <br /> 老师的展示 Teacher's presentation<br /> <br /> [[Media:06_Chin_Cult_Archi.pptx]]<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 read both chapters about architecture (p.53 and 60 of our textbook)<br /> <br /> 2. 填多选题线上测试 Complete the quizzes<br /> https://ks.wjx.top/vm/Pm7huWu.aspx<br /> https://ks.wjx.top/vm/hILIIgT.aspx#<br /> <br /> ==展示 Presentations==<br /> <br /> ===建筑 Architecture===<br /> <br /> 夏颖姗 建筑 Architecture [[ Media:Chinese_Architecture.pdf|Architecture]]<br /> <br /> ===紫禁城 Architecture: The Forbidden City===<br /> <br /> 吴凯庭 紫禁城 Architecture: The Forbidden City [[Media:forbidden_city_architecture.pptx|Architecture:The Forbidden City]]<br /> <br /> 老师的展示 Teacher's presentation<br /> <br /> ==准备第三周的作业 Homework to prepare this session==<br /> <br /> 1. 阅读 read the chapter about bridges (p.69 our textbook)<br /> <br /> 2. 填多选题线上测试 Complete the quiz https://ks.wjx.top/vm/wHNLZyi.aspx#<br /> <br /> ==展示 Presentation==<br /> <br /> ===建筑:中国四大名桥 Architecture: Four Famous Bridges===<br /> <br /> [[Media:four_famous_bridges2.pptx|Architecture: Four Famous Bridges]]<br /> <br /> =第九周 Session 9 Jan 11 11:30-13:00 - 中国产出日式文化出品 (China produces Japanese-style products)=<br /> <br /> Today's topic is presented by the student ......<br /> <br /> ==Abstract==<br /> <br /> 最近几年里，中国有通过越来越受欢迎的电脑游戏类——抽卡游戏——扩大文化影响力。本论文简介该游戏的历史，风格和影响力。<br /> <br /> ==Key words==<br /> <br /> 抽卡游戏，动漫，电脑游戏， 中国文化影响<br /> <br /> ==引言==<br /> <br /> 过去几十年里，中国确实成为了世界上最大的经济强国之一。同时，中国正在努力赢得西方观众的喜爱——与之相邻的国家，尤其是韩国和日本，对其他国家的文化产生了诸多影响。寿司和清酒是在世界范围内广为人知的食物，韩式烤肉和泡菜也越来越受欢迎。围绕日本漫画和动漫，以及韩国流行音乐，都形成了大型亚文化。然而，中国唯一出名的似乎却是越南餐厅，具有讽刺意味。总之，本文将简介中国开始在年轻人中建立影响力的新途径。<br /> <br /> ==中国在电脑游戏产业的成绩==<br /> <br /> 毫无疑问，电子游戏是一个产生数十亿美元收入并吸引数亿消费者的庞大产业。毫不意外的是，中国决定进去这个行业，并且可以预料，中国的作品受到了其他西方作品的很大影响——例如《黑神话：悟空》就模仿了《黑暗之魂》系列，或者《王者荣耀》是《英雄联盟》的手机版本。这两款游戏的主要角色直接基于中国民间传说和古典文学，以吸引中国观众。然而，这两款游戏在海外并未取得太大成功。<br /> <br /> ==抽卡游戏==<br /> <br /> 与此同时，在日本出现了一种蓬勃发展的游戏类型，即所谓的抽卡游戏，最著名的例子包括《命运/冠位指定》、《碧蓝档案》和《白猫Project》。这些游戏的一般前提是游戏玩法相当简单且免费，因此适合休闲玩家。它们的主要卖点通常是通过抽卡系统获得众多角色。玩家可以使用游戏内货币或真实货币购买抽卡，有机会获得随机的角色或装备，而其可获得性通常是有时间限制的。与此同时，抽卡游戏一般拥有每日奖励系统，鼓励玩家每天登录，由此游戏逐渐渗透玩家的平日生活。<br /> <br /> 这些游戏不仅非常赚钱（有的在几年内赚数十亿美元的收入），而且迎合了最大的游戏受众——手机游戏玩家。最初的中国大型游戏作品受到了日本动漫文化的很大启发，例如《碧蓝航线》对此影响最大。新近的作品如《原神》、《崩坏：星穹铁道》或《幻塔》似乎更大胆地融合了不同文化，直接引入了中国元素——角色取名为中国名字，其故事基于中国传说，设计涉及各种中国少数民族的传统服饰。以下是一些很好的例子：《原神》中的云堇是一位中国戏曲歌手，《星穹铁道》中的青雀的游戏机制围绕着麻将展开，以及《幻塔》中的榴火，其战斗风格围绕着书法展开。所有这些角色生活在以独特中国风景为基础的地点，例如《原神》的璃月，《幻塔》的第九区，或《崩坏：星穹铁道》的仙舟罗夫。<br /> <br /> ==中国产生抽卡游戏的特别文化风格==<br /> <br /> 这些游戏仍然面向普通的动漫受众，这导致了一个有趣的文化混合——不仅需要重新诠释和调整中国元素以适应日本动漫审美，甚至连日文配音也被推为最推荐的选择，而非中文配音，即使是针对以中国为基础的角色。事实上，每当在《原神》中介绍一个新角色时，英文媒体都会包括英文和日文配音演员，但没有中文配音演员，即使是针对以中国为基础的角色。这不仅使得这些游戏中对中国的描绘高度扭曲了日本文化，还被重新调整以迎合西方观众的喜好。这样的最终产品既不完全是中国风格，也不是日本风格或西方风格，而是将所有这些文化的一部分融合在一起，以符合那些非常容易受文化影响的人群的口味<br /> <br /> <br /> （泊语丰）在介绍游戏中的各种中国元素时，可以举一些更具体的例子。<br /> <br /> ==结论==<br /> <br /> 总的来说，中国产生抽卡游戏是三个不同的文化的融合。由于这种特别的文化风格闻名于世，并且有效地把中国文化推广到西方关注。虽然对于中国抽卡游戏文化影响的程度还没有确切的数据，但毫无疑问，这是一个值得研究的话题，而这些游戏的商业和媒体成功是不可否认的。<br /> <br /> （泊语丰）结论太简单了，缺少主要的内容。<br /> <br /> ==参考资料==<br /> <br /> Adams Matthew 2022 &quot;Tech Otakus Save The World? Gacha, Genshin Impact, and Cybernesis&quot; British Journal of Chinese Studies, Vol. 12.2, July 2022<br /> Woods Orlando 2022 &quot;The Economy of Time, the Rationalisation of Resources: Discipline, Desire and Deferred Value in the Playing of Gacha Games&quot; Games and Culture, 17(7–8), 1075–1092<br /> Kirkpatrick Graeme 2013 &quot;Computer Games and the Social Imaginary&quot; Cambridge UK: Polity Press; 2013.<br /> <br /> ==问题==<br /> <br /> 1.为什么以前中国版的电脑游戏没有获得海外成功？<br /> 2.抽卡游戏用什么方法吸引大众用户？<br /> 3.中国产抽卡游戏风格的特点是什么？<br /> <br /> =第十周 Session 10 Jan 25 11:30-13:00 - 中国文化中的象征主义——动物 The Symbolism in Chinese Culture. The Example of Animals.=<br /> <br /> Student presentation [[Media:Animal_Symbolism.pptx]] [[Media:Animal_Symbolism_Part2.pptx]] [[Media:Animal_Symbolism_Part3.pptx]] [[Media:Animal_Symbolism_Part4.pptx]] by Yan Li<br /> <br /> Comparison of the Chinese and foreign symbolic meaning of the same animal<br /> ==摘要 Abstract==<br /> <br /> 从古到今，动物是中国文化不可缺少的象征。中国的艺术、神话与小说都包括动物的象征，而且每只动物的含义不同。<br /> <br /> ==关键词 Key Words==<br /> <br /> 中国文化、象征、动物、兔子、猴子、猪<br /> <br /> ==引言 Introduction==<br /> <br /> 中国的文化丰富多彩，难怪很多人都不知道中国文化中隐藏的象征。中国人相信有些象征可以给他们带来幸福，让他们发财，但有的也可以带来厄运。动物是一种中国文化中的象征。在中国的艺术里可以看见很多不同的动物，比如：鱼、鹤、龙等等，而且它们的含义都不一样。古代时，中国人信奉泛灵论， 许多古代人相信不同的动物有不同的神力。另外，中国所谓“四象”包括四个动物：青龙、白虎、朱雀与玄武 （Feng Jinquan 2012）。在中国文化中动物象征占有特别的位置。<br /> <br /> ==兔子 Hare==<br /> <br /> 兔子在中国是具有象征主义的一只动物。因为兔子的样子很可爱，所以在中国人心里它是一只可爱与乖巧的动物。 古代时， 兔子代表月亮。 众所周知，在月亮月兔陪美丽的嫦娥当她的宠物（Li Tingyu 2011，32）。 这个故事让我们意识到中国人以兔子为纯洁、和蔼和吉祥的象征（Bansal Deepika &amp; Mahesh Kumar Mishra 2023，23）。 按照一些文章，在兔子的世界没有雄兔，它们通过舔新发芽的植物芽而怀孕。 它用特别的方式来分娩幼崽 -- 把它们从嘴里吐出来（Eberhard, Wolfram 1986, 166）。 在不同的文化里兔子有不同的象征意义，由于天主教的影响，在西方文化里，它的象征意义是生育力和幸福感，且大多数西方人一想到兔子就会想起来复活节。<br /> <br /> ==猴子 Monkey==<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征。在中国文化里，猴子是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 从前，在中国的南部建设很多崇拜神猴的寺庙，而且它们被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这意味着中国文化中猴子占据较高位置。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。之所以如此搭配，是因为一对同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义 (Li Tingyu 2011, 33) 。<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征的例子。中国文化里猴子就是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 之前，在中国的南部建设很多崇拜神猴的寺庙，而且它被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这就强制中国文化中猴子的高位。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。为了明白这张图片的意思，我们要看同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义 (Li Tingyu 2011, 33) 。(柯之川： 在其他文化中它有什么意义呢？）<br /> <br /> 另外一个象征动物是猴子。《西游记》孙悟空的角色是一个最明显的猴子象征的例子。中国文化里猴子就是一只好动、聪明、幽默和机智的动物（Li Tingyu 2011, 33）。 旧时，在中国的南部建设很多崇拜神猴的寺庙，而且它被认为是“齐天大圣”。值得注意是，孙悟空也称自己“齐天大圣”，这就意味着中国文化中猴子的高位。在许多图片上可以看见猴和马搭配在一起，尤其是猴子骑在马上。为了明白这张图片的意思，我们要看同音词 —— ”马上疯猴“ 和 “马上封侯“ ，于是猴子骑在马上表示一个人快要获得晋升（Eberhard, Wolfram 1986, 233-234）。 由此，”猴“ 和 ”侯“ 的谐音给猴子更深刻的含义。在西方文化中猴子代表灵活与机智，于是它的含义和中国文化中的含义差不多。<br /> <br /> ==猪 Pig==<br /> <br /> 猪在很多不同的文化中都是一个有负面意义的象征，但在中国文化中它的意义比较中立。从古时起，猪代表着繁荣和吉祥 （Bansal Deepika &amp; Mahesh Kumar Mishra 2023，32），可是猪也可以代表随和。太随和和不太随和都不好，只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）。 不过，在现代中国文化中猪也有负面的意义，而且经常用于骂人懒、丑或笨。《西游记》的猪八戒也是一个既笨又懒的角色，而且它很贪吃，于是它经常被嘲笑（Li Tingyu 2011, 32）。 虽然我们都知道幽默可爱的佩奇，可是对西方人来说猪没有好的意义，相反，它跟污垢有关，于是也可以用作骂人的词。<br /> <br /> <br /> 太随和和不太随和都不好，只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）（柯之川：太随和为什么不好？不太随和为什么不好？）<br /> <br /> 太随和和不太随和都不好，因为不太随和，就太忠诚了，可能会排斥别人。一个人太随和就没有忠诚，而且会比较容易失去原则，所以只要把忠诚和随和结合在一起才可以保持心内的平衡 （Suhardi 2018, 96）。<br /> <br /> ==结论 Conclusion==<br /> <br /> 从古至今，中国文化中的动物象征都具备很重要的位置。我们不但可以在艺术中看见它们，而且许多也是有名小说中的角色。每只动物都有不少含义，有的跟其他文化差不多，有的完全不一样。由此，明白象征的含义让我们更了解一个国家的文化，而且也让我们更了解语言中的一些俗语。<br /> <br /> ==参考资料 References==<br /> <br /> 1. Bansal, Deepika &amp; Mahesh Kumar Mishra, 2023. Study of Animals Symbolism of Human Traits in Chinese Zodiac. HANS SHODH SUDHA 3 (3), 23-32.<br /> <br /> 2. Eberhard, Wolfram, 1986. A Dictionary of Chinese Symbols. Hidden Symbols in Chinese Life and Thought. Routledge, 166-234.<br /> <br /> 3. Feng Jinquan 冯金泉, 2012. 中国古代四大神兽. Takungpao 128.<br /> <br /> 4. Li Tingyu 李婷玉, 2011. 汉语动植物词汇文化内涵浅析. 文学语言学研究, 32-33.<br /> <br /> 5. Suhardi, 2018. 中国印尼吉祥动物喻体对比浅析. 首届东南亚“汉语+”国际研讨会, 96.<br /> <br /> ==生词 Terms and Expressions==<br /> <br /> 四象 The Four Symbols<br /> <br /> 泛灵论 Animism<br /> <br /> 雄性 male<br /> <br /> 分娩 (of animals) give birth to the young<br /> <br /> 幼崽 young (of an animal)<br /> <br /> ==问题 Questions==<br /> <br /> 1. 中国文化中的四象包括哪些动物？<br /> <br /> 2. 按照有些文章，兔子如何怀孕？<br /> <br /> 3. 在中国文化中哪个角色把自己称呼“齐天大圣”？<br /> <br /> 4. “马上疯猴”的意思是什么？<br /> <br /> 5. 哪个动物负面的意义可以用作骂人？<br /> <br /> =第十周 Session 10 Jan 25 11:30-13:00 - Part 2： 中国人幸运和不吉利的数字 (Lucky and Unfortunate Numbers in the Eyes of Chinese People)=<br /> <br /> Student presentation [[Media:Lucky_numbers.pptx]] by Kang Mingjie<br /> <br /> ==摘要 (Abstract)==<br /> <br /> 在中国人信仰中有些数字可以给他们带来幸运或者不好运。这种迷信跟同音有关，而且我们可以看到数字对生活的不同方面的影响。<br /> <br /> ==关键词 (Key words)==<br /> <br /> 数字，幸运，吉利，迷信，电话号码，车牌号，同音。<br /> ==引言 (Introduction)==<br /> <br /> 世界充满许多神秘的事情。人们的能力是有限的，因此有一些事情的存在我们就无法解释。人喜欢或者害怕数字就是难以解释现象之一。数字对人们生活的各个方面有绝对的影响。值得注意的是全球不同地方的人有自己吉利和不吉利的数字，比如西方人最怕的数字就是13，而中国人认为4会带来厄运。说到吉利的数字，欧洲人除了13以外，其他的都喜欢，同时中国人最喜欢的数字为8。人们为何给这几个数字特殊的意义？下面我会介绍中国人喜欢和避免的数字，而且其对中国人生活的影响。<br /> <br /> ==四 (Number four)==<br /> <br /> 对人类来说，最可怕的事情就是死亡。避免4的现象，就跟这个事实有关。说普通话时，4同音“死”（Dong Xiawei &amp; Lu Kewen 2013, 100)，粤语中14的发音跟“要死”一样，而且24的发音就像“易死”差不多（Tse Andrew Yau Hau 2015, 6)。既然死亡不算愉快的事，在中国人的信仰中，4也应该是吸引厄运的，所以他们不仅不愿意自己的电话号码包含4，而且也不愿意4月4日结婚（Dong Xiawei &amp; Lu Kewen 2013,101）。中国的航空，比如属于海南航空机队的所有飞机里没有第4和第14的座位（海南航空网站）。中国城市里的高楼通常没有第4层和其他包括4数字的层（ Tse Andrew Yau Hau 2015, 9)。如果在第4层有房子，中国人常常不会租或者买这种房子。<br /> <br /> == 八 (Number eight)==<br /> <br /> 在中国人信仰中，8是最吉利的数字。中国人之所以喜欢8，因为8同音“发”，“发财”的“发”(Dong Xiawei &amp; Lu Kewen 2013, 100)。谁都愿意发财，所以越多8越好。2008年的奥林匹克运动开幕式8月8日晚上8:08:08开始了（Tse Andrew Yau Hau 2015, 9)。这的确给中国带来了好运，因为中国运动员得了最多金牌。中国人选择车牌号或者电话号码的时候，总是看里面有多少“8”。有许多证据证明这种情况，比如按照纽约时报(May Tiffany 2020)的报告，2020年为了买包含五个“8”的电话号码，一个人花了大概3万25千美元，而且根据统计，北京大部分的车辆有包含“8”或者别的吉利的数字的车牌号（Jaffe Eric 2015）。除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比其他的房子贵235元每平米 (Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116)。<br /> <br /> 除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比贵 （麻亮：多少？）（Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116)。<br /> <br /> 除此之外，价格最高而卖得最快的房子也是第八层的房子，比如在成都这样的房子比贵 (Shum Matthew, Sun Wei &amp; Ye Guangliang 2014,116), 比如在成都这样的房子比其他的房子贵235元每平米。<br /> <br /> == 六与九(Numbers six and nine)==<br /> <br /> 除了8以外，还有6和9这两个幸运数字。6同音“流”，这意味着一切都会很顺利，而9同音“久”（Na Sun &amp; Schneider Thomas 2010:3)。许多新婚夫妇会9月9日（或者别的包括9的日期）结婚。2009年9月9日在北京大约18千对夫妇结婚了（May Tiffany 2020)。有时候为了增加幸运人们会使用幸运数字的结合。2014年在纽约证券交易所阿里巴巴集团的首次公开募股为68美元，因为他们相信这可以带来两倍大的幸运（Cnbc 2014)。<br /> <br /> <br /> 除了8以外，还有6和9这两个幸运数字。6同音“流”，这意味着一切都会很顺利，而9同音“久”（Na Sun &amp; Schneider Thomas 2010:3)。许多新婚夫妇会9月9日（或者别的包括9的日期）结婚。(麻亮：为什么？）<br /> <br /> 许多新婚夫妇会9月9日（或者别的包括9的日期）结婚，因为他们相信如果婚礼的日子中有“9”，他们肯定会永远在一起。<br /> <br /> == 结论 (Conclusion)==<br /> <br /> 相信数字的力量是否属于传统文化还是迷信，也是有争议的一点，但无论如何，上面这几个例子让我们看到了数字对人类的生活有多大的影响，甚至我们也常常意识不到数字能成为那么多事情的决定因素。<br /> <br /> ==参考资料 References==<br /> <br /> Dong, Xiawei [&amp;] Kewen Lu (2013). Lucky Number Effect on Chinese Marriage. Conference: Proceedings of The First Summit Forum of China's Cultural Psychology, 100-105. <br /> <br /> Jaffe, Eric (2015.09.28). How Chinese Superstition About the Number 4 Makes Beijing Traffic Worse. Bloomberg [Online]. &lt; https://www.bloomberg.com/news/articles/2015-09-28/chinese-superstition-about-the-unlucky-number-4-makes-beijing-traffic-congestion-worse&gt; [03.07.2023].<br /> <br /> May, Tiffany (2020.08.17). Defendant’s Luck Runs Out. But the Lucky Phone Number Fetches $325,000. The New York Times [Online]. &lt; https://www.nytimes.com/2020/08/17/world/asia/china-lucky-phone-number.html&gt; [03.07.2023].<br /> <br /> Na, Sun [&amp;] Thomas Schneider (2010). The use of ‚lucky’ numbers in the pricing of Chinese A-share initial public offerings. SSRN Electronic Journal, 1-52. <br /> <br /> Shum, Matthew, Wei Sun [&amp;] Guangliang Ye (2013). Superstition and ’lucky’ apartments: Evidence from transaction-level data. Journal of Comparative Economics 24, 109-117. <br /> <br /> Tse, Andrew Yau Hau Tse (2015). To Be or Not to Be Superstitious—That’s the Question. Procedia - Social and Behavioral Sciences 208, 5-12. <br /> Why Alibaba’s $68 is a lucky number. (2014.09.18). CNBC [Online]. &lt; https://www.cnbc.com/2014/09/18/why-alibabas-68-is-a-lucky-number.html&gt; [03.07.2023].<br /> <br /> ==生词 (Terms and Expressions)==<br /> <br /> 幸运数字 auspicious numbers<br /> <br /> 同音 be homonymic<br /> <br /> 首次公开募股 IPO (Initial Public Offering)<br /> <br /> 车牌号 number of license plate<br /> <br /> 迷信 superstition<br /> <br /> ==问题 (Questions)==<br /> <br /> 1. 2014年在纽约证券交易所阿里巴巴集团的首次公开募股为什么是$68？<br /> <br /> 2. 为什么中国人喜欢8？<br /> <br /> 3. 为什么中国人避免4？<br /> <br /> 4. 2020年为了买包含五个“8”的电话号码，有人花了多少钱？<br /> =第十一周 Session 11 Jan 25 11:30-13:00 - Part 3: 中国摇滚乐的形成 Development of Chinese Rock Music=<br /> ==摘要 Abstract==<br /> 文化大革命之后，中国的艺术，包括音乐，经过了大量变化。新的流派出现了，音乐家找到新的方法发挥自己的创造性。摇滚乐在80年代后半叶非常流行，属于这些流派其中之一。我想介绍中国摇滚乐是怎么出现的，以及摇滚乐与其他音乐流派的区别是什么。<br /> <br /> ==关键词 (Key words)==<br /> 中国音乐，通俗音乐，摇滚乐，崔健<br /> <br /> ==前言 (Introduction)==<br /> 1976年，毛泽东去世之后，文化大革命结束了。这一事件标志着迅速变化的开始。这些变化不仅涉及政治，经济等方面，而且还对文化，艺术各个领域产生了重大的影响。从那时候开始，艺术家可以享受的创作自由比以前更多，因而出现了许多绘画，摄影以及音乐的新趋势。我想介绍的话题就是中国现代音乐，特别是摇滚乐，它的起源和发展。<br /> <br /> ==中国流行音乐 (Chinese popular music)==<br /> <br /> 按照 Timothy Lane Brace (1992) 的论文，中国人使用三个术语来定义民众当中最普及的音乐风格。这些术语包括：“流行音乐”，“通俗音乐”以及“轻音乐”。它们都表示从西方音乐中汲取一些元素的中国音乐，但同时也有一些区别。“轻音乐”界定中国民间音乐或者传统音乐，配以西方流行音乐的伴奏，而“流行音乐”和“通俗音乐”是被年轻人使用的词，定义于 20世纪在中国出现的音乐风格。“流行音乐”这个术语从 30年代到 40年代最常使用，描述毛泽东时期之前创造的风格，而“通俗音乐”指的是文化大革命结束后创造的风格。“通俗音乐”可以分为三个最主要的流派：“港台乐”，“西北风”以及“摇滚乐”。“港台乐”起源于香港和台湾，70. 年代末传到中国大陆。它的旋律即平稳又简单，歌词的主题一般是浪漫的爱情，很像西方的流行歌 (Brace 1992: 137-138)。“西北风”跟寻根现象有关：80年代中期，在艺术界出现了寻找中国文化根源的倾向，因为大革命的时候，中国文化的根源遭到了很严重的损失。“西北风”音乐家的灵感来自中国西北地区的传统民歌，他们用中国的传统乐器，歌词会提起对家乡的爱的话题 (Brace 1992: 147-149)。不过与此同时，在这种音乐中可以听到许多西方摇滚乐的特点，比如：很快的节奏，猛烈的旋律和强劲的低音线 (Zhao 2010: 44). 但是我们可不可以把“西北风”当作中国摇滚乐的原型？<br /> <br /> （吴凯庭 - Timothy Lane Brace （1992，？）没有准确的参考。）<br /> <br /> 按照 Timothy Lane Brace (1992: 134) 的论文，中国人使用三个术语来定义民众当中最普及的音乐风格。这些术语包括：“流行音乐”，“通俗音乐”以及“轻音乐”。它们都描述从西方音乐中汲取一些元素的中国音乐，但同时也有一些区别。“轻音乐”界定中国民间音乐或者传统音乐，配以西方流行音乐的伴奏，而“流行音乐”和“通俗音乐”是被年轻人使用的词，定义于 20世纪在中国出现的音乐风格。“流行音乐”这个术语从 30年代到 40年代最常使用，描述毛泽东时期之前创造的风格，而“通俗音乐”指的是文化大革命结束后创造的风格。“通俗音乐”可以分为三个最主要的流派：“港台乐”，“西北风”以及“摇滚乐”。“港台乐”起源于香港和台湾，70. 年代末传到中国大陆。它的旋律即平稳又简单，歌词的主题一般是浪漫的爱情，很像西方的流行歌 (Brace 1992: 137-138)。“西北风”跟寻根现象有关：80年代中期，在艺术界出现了寻找中国文化根源的倾向，因为大革命的时候，中国文化的根源遭到了很严重的损失。“西北风”音乐家的灵感来自中国西北地区的传统民歌，他们用中国的传统乐器，歌词提起对家乡的爱情的话题, (Brace 1992: 147-149)。不过与此同时，在这种音乐中可以听到许多西方摇滚乐的特点，比如：很快的节奏，猛烈的旋律和强劲的低音线 (Zhao 2010: 44). 但是我们可不可以把“西北风”当作中国摇滚乐的原型？<br /> <br /> ==西北风和摇滚乐的区别 (Differences between xibeifeng music and rock music)==<br /> <br /> T. Brace (1992: 162) 指出，西北风和摇滚乐出现的时间大致相同。刚听的时候，人们往往把摇滚乐与西北风混为一谈，因为它们的声音即使不完全相同，也确实非常相似。中国摇滚乐的起源可以追溯到 1985 年：当时，一位叫崔健的音乐家，被誉为中国摇滚乐的先驱，发行了第一张唱片 (Zhao 2010: 35)。因为他走的旋律很类似北方的民谣，他被听众视为西北风的音乐家，然而自己强烈反对这样的说法，自称创作纯粹的摇滚乐。那这两种流派有什么区别？最主要的区别不是涉声音的，是涉及意识形态的。那是不是政治的参与作中国摇滚乐的特点？大多人认为崔健最有名的一首歌，《一无所有》，包蕴政治的内涵，不过崔健本人表明，虽然他的歌包括一些抗议的元素，但跟政治没有什么关系，因为如果把自己音乐的范围限于政治的批评，就会限制自己的创作自由 (Brace 1992: 164-166)。因此，摇滚音乐家所遵循的意识形态不是一种政治意识形态，而是一种更广泛的自由意识形态，包括思想的自由，创作的自由以及生活方式的自由 (Brace 1992: 173)。遵循个人自由的理念就是摇滚音乐创作者与其他音乐流派创作者最重要的区别。<br /> <br /> ==80年代以后摇滚乐的情况 (Rock music after the 80s)==<br /> <br /> 正如之前所述，80年代中期就是中国摇滚乐的发端。80. 年代后半叶就是这一流派最流行的时间。这就是因为文化大革命的恐怖以后，在社会里个人的自由成为了最重要的价值观念之一。1989 年之后，摇滚乐的知名度开始减少。Hao Huang (2003: 189-191) 提出，天安门屠杀之后，当局再次限制了公民的人身自由，包括艺术家的创作自由。因而，社会对精神理想的追求逐渐冷却了，人们开始转向消费主义。虽然摇滚乐并没有完全消失 （90年代，代表中国摇滚乐的乐队仍然被建立，比如叫《唐朝》的乐队）(De Kloet 2005: 237)，但从 1989 年开始，这种流派确实处于流行的边缘。<br /> <br /> (吴凯庭 - 最后一个句子应该是：这种流行派确实处于流行“的”边缘。）<br /> <br /> 正如之前所述，80. 年代中期就是中国摇滚乐的发端。80年代后半叶就是这一流派最流行的时间。这就是因为文化大革命的恐怖以后，在社会里个人的自由成为了最重要的价值观念之一。1989 年之后，摇滚乐的知名度开始减少。Hao Huang (2003: 189-191) 提出，天安门屠杀之后，当局再次限制了公民的人身自由，包括艺术家的创作自由。因而，社会对精神理想的兴起逐渐冷却了，人们开始转向消费主义。虽然摇滚乐并没有完全消失 （90. 年代，代表中国摇滚乐的乐队仍然被建立，比如叫《唐朝》的乐队）(De Kloet 2005: 237)，但从 1989 年开始，这种流派确实处于流行的边缘。<br /> <br /> ==结论 (Conclusion)==<br /> 对中国摇滚乐的创作，意识形态是最重要的因素。随着社会心态的变化，它的知名度减少了，但崔健等等的摇滚乐家的成就并没被遗忘，为当代的摇滚乐家奠定了基础。<br /> <br /> ==参考资料 (References)==<br /> Brace, Timothy Lane 1992. Modernization and Music in Contemporary China: Crisis, Identity, and the Politics of Style. Austin: The University of Texas at Austin.<br /> <br /> De Kloet, Jeroen 2005. “Authenticating Geographies and Temporalities: Representations of Chinese Rock in China”. Visual Antrophology, 18, 237.<br /> <br /> Hao, Huang 2003. “Voices from Chinese Rock, Past and Present Tense: Social Commentary and Construction of Identity in 《Yaogun Yinyue》, from Tiananmen to the Present”. Popular Music and Society 26, 189-191.<br /> <br /> Zhao, Yue 2010. The Musicality of C-Pop. A Study of Chinese Popular Music from 1985-2010. Sheffield: <br /> Department of Music The University of Sheffield.<br /> <br /> ==Terms and Expressions==<br /> <br /> 音乐流派 - music genre<br /> <br /> 旋律 - melody<br /> <br /> 灵感 - inspiration<br /> <br /> 节奏 - rhythm<br /> <br /> 低音 - bass<br /> <br /> 内涵 - implication<br /> <br /> 意识形态 - ideology<br /> <br /> ==Questions==<br /> <br /> 1. 摇滚乐跟什么音乐流派经常被混为一谈？<br /> <br /> 2. 在中国，摇滚乐是什么时候最流行的？<br /> <br /> 3. 哪位音乐家被誉为中国摇滚乐的先驱？<br /> <br /> 4. 他最有名的一首歌的题目是什么？<br /> =第十一周 Session 11 Jan 25 13:15-14:45 - 基督教和佛教之间的差别 The Differences between Christianity and Buddhism=<br /> <br /> presented by Anna Proskura (张宇璇) <br /> presentation: [[https://docs.google.com/presentation/d/1nwgs5VKepzghfg_MLrm6HlzOXxJF2Tq-/edit?usp=drive_link&amp;ouid=103541239485723010069&amp;rtpof=true&amp;sd=true]]<br /> <br /> ===摘要 (Abstract)===<br /> <br /> 基督教和佛教都不是源自中国的宗教。它们在中国的出现和发展之间存在着显著的差异。<br /> <br /> ===引言 (Introduction)===<br /> <br /> 在宗教方面，中国数百年来主要以中国的宗教为主：儒教、道教以及起源于印度并且在中国经历了深度中国化的佛教。基督教公元7世纪左右才出现。<br /> <br /> ===佛教和基督教在中国的出现 (The Appearance of Buddhism and Christianity in China)===<br /> <br /> 佛教于公元1世纪中叶从印度传入中国 (Zotz 2007, 171)，当时道教和儒教已经在社会中获得了知名度和地位。在翻译过程中，佛教与道教紧密联系在一起，随后逐渐偏离了原始教义，慢慢演变成了中国佛教。<br /> <br /> 基督教在中国的传教历史可以追溯到公元7世纪左右。根据最早的传教史，基督徒从一开始就面临着适应中国宗教现实的压力，其中包括在翻译中借鉴了佛教和道教的哲学思想。对于意大利的耶稣会士来说，16世纪末的耶稣教士的活动成为进一步传教中国的必要基础。<br /> <br /> 唐代的传教士将他们所宣扬的信仰真理与儒家、道家和佛教的元素进行了融合。在他们的著作中，上帝被认为是一切事物的起源和阴阳的创造者，也被称为佛教术语“佛陀”。除了信仰真理外，基督徒还宣扬对天的敬仰、对皇帝、官员和学者的尊敬，从而适应了中国现有的社会等级制度。<br /> <br /> ===在宗教信仰上的差异 (Differences between Religious Beliefs)===<br /> <br /> 佛教和基督教在宗教信仰上存在根本性的差异。基督徒相信唯一、全能和无所不在的上帝，是世界的创造者，而佛教则排斥任何神的存在 (姚 2004, 1)。佛陀虽然有人们为他建立塑像并尊崇他，但他并不是神。根据基督教观念,苦难是由人类的罪恶所导致，而根据佛教的观念苦难是生活的固有部分。对于人死后发生的事情，两者的观点也完全不同。在这两种情况下，这是个体在生前行动的结果。基督教徒相信为善良的人所承诺的天堂，那里可以享受永恒的幸福，以及为罪人而设的地狱，他们将遭受永恒的痛苦。佛教徒相信轮回的循环。只有通过达到涅槃（开悟）并进入“非存在”的状态，才能解脱。这两种宗教涉及类似的问题，但以不同的方式处理。它们的共同点是佛教和基督教都不是在中国形成的，因此对中国人来说是陌生的。<br /> <br /> ===耶稣会士传教士对佛教的态度 (Attitude of the Jesuit Missionaries towards Buddhism)===<br /> <br /> 16世纪末时，耶稣会士有意地努力与佛教传统建立联系，这可从他们穿着的僧袍中得到证实。他们想避免因其与欧洲人不同的外貌而被排斥。然而，与佛教的联系过于深远。两种宗教都谈论了尘世中的苦难，并提供了死后更好的选择，因此有时将基督教视为佛教的一个分支。传教士们意识到，以佛教僧侣的打扮，他们可以更容易地接触到社会底层，但他们无法在知识精英中获得尊重。耶稣会士们当时采取了不同的策略 - 他们计划从社会的顶层进行福音传教。耶稣会士在16世纪末的主要目标是进入北京并使皇帝皈依基督教信仰。为了实现这一目标，传教士们采纳了儒家的风尚，并开始与佛教或道教等联系疏远 (Charbonnier 2007, 155)。<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 虽然基督教和佛教好像有许多共同的地方，虽然实际上两个宗教的观念不一样，还有它们在中国的历史有很多差别。<br /> <br /> ===参考资料 (References)===<br /> <br /> 1. Charbonnier, Jean 2007, Christians in China: A.D. 600 to 2000, San Francisco: Ignatius Press<br /> 2. 陈登 2001, 佛教与基督教的儒学化比较 [In:] „湖南大学学报（社会科学版）”，Vol.15, No.3<br /> 3. 姚卫群 2004, 佛教与基督教的“神”观念比较 [In:] “陕西师范大学(哲学社会科学版)”, Vol.33, No.2<br /> 4. Youlan, Feng 2001, Short history of Chinese Philosophy, Warszawa: Wydawnictwo Naukowe PWN<br /> 5. Zotz, Volker 2007, Geschichte der buddhistischen Philosophie, Kraków: Wydawnictwo WAM<br /> <br /> ===关键词 (Key words)===<br /> <br /> 基督教；佛教；宗教；中国；传教士；耶稣会士；宗教信仰；宗教差异<br /> <br /> ===生词 (Terms and Expressions)===<br /> <br /> 基督教 Christianity;<br /> 佛教 Buddhism;<br /> 耶稣会士 Jesuit;<br /> 宗教信仰 religious belief;<br /> 传教士 a missionary<br /> <br /> ===问题 (Questions)===<br /> <br /> 1. 基督教什么时候在中国出现？<br /> 2. 基督教和佛教对苦难的看法有什么差别？<br /> 3. 基督教的上帝和佛教的佛陀是一样的吗？<br /> 4. 对中国人来说，为什么基督教和佛教都是陌生的？<br /> <br /> =第十二周 Session 12 Jan 25 11:30-13:00 - 中国饮食文化——中国菜的命名艺术 Culinary Culture of China: The Art of Naming Chinese Dishes=<br /> <br /> ===摘要 (Abstract)===<br /> 中国饮食文化与汉语的关系非常密切，在塑造人们对食物的认知方面发挥了巨大的作用。 它也极大地影响了中国菜肴的命名方式，无论是过去还是现在。<br /> <br /> ===关键词 (Key Words)===<br /> 中国饮食文化；中文；汉语；传统；语言分析；菜肴名称；菜的命名<br /> <br /> ===引言 (Introduction)===<br /> <br /> 中国多样而复杂的饮食文化不仅体现在居民的日常生活中，也体现在中国数百年来创作的小说和其他书面作品中。 我们在其中看到的中国菜名大多寓意深刻，命名方式考究，文化背景深厚，文化历史内涵丰富。 汉语由于其与文化的密切关系，在塑造人们对食物的认知方面发挥了巨大的作用，并极大地影响了中国菜肴的命名。 在下一部分中，我将讨论为中国菜命名的话题。<br /> <br /> ===中国菜的命名艺术 (The Art of Naming Chinese Dishes)===<br /> <br /> 中国是一个非常重视命名的国家。这适用于重要地点、重大事件、各类机构、艺术领域、习俗和传统或精神和仪式的各个方面，也适用于与衣、住、行和食品有关的小问题。在秦汉时期，菜肴的命名艺术主要是根据食材和食品的加工方法来命名，但在南北朝之后，这方面出现了许多新的命名方法。普通的菜肴常常有极其优雅和美丽的名字，有时是深思熟虑的，非常令人惊讶。一个精心挑选的名字很容易引起人们的兴趣，从而在用餐时创造出一种愉快的气氛，鼓励宴客者品尝新的菜肴（王学泰 1997：226）。<br /> <br /> 中国菜肴的名称具有丰富的艺术性，其创作灵感有时来源自自然现象、自然物体以及任何可能引起审美联想的事物。菜名中还反映出强调菜肴的味道、颜色、香味和形状的倾向，因为这些因素决定了菜肴的质量（Pimpaneau 2001: 57）。名称中使用的颜色主要是红色、黄色、白色和绿色。根据心理学，这些颜色可以刺激食欲，而蓝色和青色则有可能导致生病。此外，明亮、闪亮和清澈的颜色会唤起愉悦感，而深色则产生相反的效果。 菜肴的命名也遵循这一原则：通常使用贵重且闪亮的物品来代替颜色，以增添菜肴的精致感。其中一些词汇包括&quot;金&quot;、&quot;玉&quot;、&quot;翡翠&quot;、&quot;琥珀&quot;、&quot;水晶&quot;、&quot;珍珠&quot;和&quot;锦&quot;。即使菜肴的颜色较深，也更常见地使用&quot;乌&quot;而不是&quot;黑&quot;，因为&quot;乌&quot;具有更高尚的意义并带有更积极的内涵（王学泰 1997：227-228）。<br /> <br /> ===中国菜肴的命名方法 (Methods of Naming Chinese Dishes)===<br /> <br /> 中国菜的命名是一门艺术，反映不同地区居民的各种文化传统、习俗和审美趣味。中国人喜欢诗意的隐喻，这也是给菜肴起精致名称的原因之一。这些名称不仅与菜肴本身有关，还指戏剧或中国传统文学作品中的神话、传说和历史故事。一些美食的起源可能包括丰富多彩的比喻或流行故事，而基于这些故事的名称使菜肴成为人们关注的对象（Kajdański 2011: 147）。这种命名方式不仅能刺激食欲，还能激发人们的好奇心，并使食物本身获得新的象征意义。 常敬宇（常敬宇 1998: 139-140）指出了以下几种命名新菜肴的方式：<br /> <br /> – 以人名、姓氏或头衔命名菜肴（“宫保鸡丁”、“麻婆豆腐”等）；<br /> <br /> – 以城市或地理区域命名菜肴（“北京烤鸭”、“西湖醋鱼”等）；<br /> <br /> – 根据食物的形态或形状来命名（“猫耳朵”、“龙须面”等）；<br /> <br /> – 根据菜肴的颜色或食材的颜色来命名（“红白豆腐”、“雪衣鱼条”等）；<br /> <br /> – 根据菜肴中的主要味道或香气来命名（“香酥鸡”、“麻辣烫”等）；<br /> <br /> – 根据菜肴中使用的油或酱来命名（“红油豆腐”、“蚝油牛肉”等）；<br /> <br /> – 根据烹制菜肴的容器来命名（“瓦罐面”、“火锅肉”等）；<br /> <br /> – 根据菜肴中使用的调料来命名（“糖醋鱼”、“红糟鱼片”等）；<br /> <br /> – 根据菜肴的烹制方法来命名（“炸大虾”、“红烧鲤鱼”等）；<br /> <br /> – 以神话、传说、信仰或历史故事命名菜肴（“过桥米线”、“佛跳墙”等）。<br /> <br /> 评论：在解释每个翻译方式中，你应该举几个例子<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 饮食在中国文化中占有非常重要的地位，而中国菜名不仅反映所用食材的多样性、烹调方法或菜肴的色、香、味、貌，还包含相关人物事件、重要地点和历史时期、文学作品和传说的提及等诸多文化元素。而且，许多食品的名称和与食品有关的词语都远远超出了字面的范畴，隐藏着丰富的象征意义、隐喻性和广泛的内涵，涉及人类生活的各个领域。<br /> <br /> ===参考资料 (References)===<br /> <br /> 常敬宇 1998. 汉语词汇与文化. 北京: 北京大学出版社.<br /> <br /> Kajdański, Edward 2011. Chiny: leksykon. Warszawa: Spółdzielnia Wydawniczo-Handlowa &quot;Książka i Wiedza”.<br /> <br /> Pimpaneau, Jacques 2001. Chiny: kultura i tradycje. Tłum. Irena Kałużyńska. Warszawa: Wydawnictwo Akademickie DIALOG.<br /> <br /> 杨德峰 2001. 汉语与文化交际. 北京: 北京大学出版社.<br /> <br /> 王学泰 1997. 华夏饮食文化. 北京: 中华书局.<br /> <br /> ===Questions===<br /> <br /> 1. 中国菜的许多新命名方式是什么时候出现的？<br /> <br /> 2. 中国菜肴的命名常使用哪些颜色？<br /> <br /> 3. 为什么中国菜肴的命名常常使用贵重且闪亮的物品来代替颜色？<br /> <br /> 4. 中国菜肴的命名方法有哪些？<br /> ==第十二周 Session 12 Jan 25 11:30-13:00 - 中国佛教 (Chinese Buddhism)= 苏诗美<br /> ===摘要 (Abstract)===<br /> 从公元一世纪起，佛教对中国文化的影响十分明显。在本土与外来高僧的努力下，大部分佛典被翻译成中文，助于形成中国佛教学派。这样，就出现了独特的中国佛教。<br /> <br /> ===关键词 (Key Words)===<br /> 中国佛教；禅宗；天台宗；净土宗；华严宗；白莲教；高僧；佛典<br /> <br /> ===引言 (Introduction)===<br /> 佛教是世界上最有名的宗教之一。佛教的教义也影响到了中国的文化。<br /> <br /> ===中国佛教史 (History of Buddhism in China)===<br /> 佛教于公元一世纪由印度传入中国，这主要得益于中国在西域扩展其影响力。这样才能跟印度建立联系。在这种情况下，东汉的第二位皇帝汉明帝（28-75年）公元64年派遣了第一批使节前往印度，为的是寻找佛教教义的发源地。三年后，当他们与两位高僧一起返回洛阳时，明帝非常高兴，并下令在首都修建白马寺。寺庙的名字与使者们骑的白色的马有关。这不但是中国最早建立的佛教寺庙，而且是翻译带来的经典的地方（Sang 2004：59）。从那时起，早期汉译佛典使佛教教义在中国得到快速的传播。中国本地与外来高僧对所取得的成就发挥了关键的作用。由于他们的努力，僧伽得以获得独立并成为文化教育机关。不过在东汉倒台后，佛教才得到快速的传播，尤其是在普通人中。从221年至589年，中国处于政治不稳定和冲突之中。在这种情况下，中国居民渴望逃离沉重的现实。佛教给予他们在来世获得更美好生活的希望（Zürcher 2007：2-5）。直到第六世纪，大部分重要的佛典被高僧从梵文翻译成中文。汉译佛典有助于形成中国佛教流派。研究者经常提到四个最著名的中国佛教学派，包括禅宗、天台宗、华严宗、净土宗，还提起白莲教（Snelling 1990：31-32）。<br /> <br /> ===中国佛教学派：净土宗、白莲教 (Chinese Buddhist Schools: Pure Land School, The White Lotus)===<br /> 402年一个叫释慧远的高僧（334-416年）创立了白莲教，与此同时，他创立了净土宗的大乘佛教传统，该学派延续了他的教诲。白莲教的成员承诺相互帮助，并履行自己的责任，以期在西方极乐世界中重生。白莲教的主要修行法门是念佛，特指修行人一心忆念阿弥陀佛的名号以及祈求死时升入佛国净土（Zürcher 2007：219-221）。<br /> <br /> ===中国佛教学派：华严宗 (Chinese Buddhist Schools: Huayan School)===<br /> 在公元6世纪初，在中国出现了华严宗，该学派也属于大乘佛教传统，其教义和修行基于《华严经》。华严宗的一个显著的特点是其教义和修行都受到本土道教的影响，因为华严宗涉及到道教的关键概念，宇宙真理——道（Harvey 2013：145-148）。 <br /> <br /> ===中国佛教学派：禅宗 (Chinese Buddhist Schools: Chan School)===<br /> 华严宗和道教都对禅宗的发展产生了重要影响。传统上，半传奇般的印度高僧叫菩提达摩（5-6世纪)于公元6世纪创建了禅宗。该学派的名称由坐禅而来。禅宗的信徒相信，只有修心养性，才能得到开悟。信徒也深信每个人都具有佛性，即成佛的潜力。因此，禅宗特别注重实践，同时将佛经视为精神成长的一种限制形式（Sang 2004：62）。<br /> <br /> '''(请加菩提达摩的出生日期，舒然）'''<br /> <br /> ===中国佛教学派：天台宗 (Chinese Buddhist Schools: Tiantai School)===<br /> <br /> 公元6世纪还出现了天台宗，由智顗（538-597）创立，该学派的名称取自位于浙江省的天台山。天台山上也是天台宗的主要总部——国清寺。天台宗信徒认为教义和冥想是宗教生活中同等重要的要素。天台宗的教义基于《妙法莲华经》，强调佛陀的永恒和智慧。由于其内容，《妙法莲华经》很快就成为最重要的中国佛教经典（Chen 2006：9）。<br /> <br /> '''(请加智顗的出生日期，舒然）'''<br /> <br /> ===结论 (Conclusion)===<br /> 总而言之，中国佛教学派与高僧的翻译事务的发展推动了与众不同的中国佛教。因此，一直到现在，在中国，佛教仍是最重要的宗教之一。<br /> <br /> ===参考资料 (References)===<br /> Chen Jian 陈坚 2006. “Chanzong: Shenghuo zhong yu jiaoyì, shenmei gao yu xinyang” 禅宗: 生活重于教义, 审美高于信仰 [Chan School: Life is more important than doctrine, aesthetics is more important than faith]. Xinyang shifan xueyuan xuebao 信阳师范学院学报 1, 9-13. <br /> <br /> Harvey, Peter 2013. An Introduction to Buddhism. Teachings, History and Practices. New York: Cambridge University Press.<br /> <br /> Sang Ji 2004. Religions and Religious Life in China. Translated by Li Zhurun. Beijing: China Intercontinental Press.<br /> <br /> Snelling, John 1990. The Elements of Buddhism. Shaftesbury: Element.<br /> <br /> Zürcher, E. 2007. The Buddhist Conquest of China. The Spread and Adaptation of Buddhism in Early Medieval China. Leiden: Brill.<br /> <br /> ===生词 (Terms and Expressions)===<br /> 西域：the Western Regions<br /> 高僧：eminent monk<br /> 大乘：Mahayana, the Great Vehicle<br /> 西方极乐世界：Western Pure Land of Ultimate Bliss<br /> 阿弥陀佛：Amitabha, Buddha of infinite light <br /> 开悟：to become enlightened <br /> 坐禅：to meditate<br /> 佛性：Buddhata<br /> <br /> ===Questions===<br /> 1. 哪位皇帝使佛教传入中国？<br /> 2. 第一座中国佛教寺庙叫什么？<br /> 3. 禅宗的修行法门“念佛”是什么？<br /> 4. “佛性”是什么意思？<br /> =第十三周 Session 13 Jan 25 13:15-14:45 - 缠足 (Foot-binding)=<br /> ==摘要 (Abstract)==<br /> 在中国传统社会，女人美丽的主要特征之一就是小脚。 于是，缠足的习俗出现了——一种极其痛苦的习俗，将脚上的骨头折断，然后用绷带包扎，使其尽可能小。<br /> <br /> ==引言 (Introduction)==<br /> <br /> '''中国传统社会的缠足习俗''' <br /> <br /> 在传统中国，有一种习俗被称为&quot;缠足&quot;，它在近现代已成为中国女性权益方面的巨大反面教材。这是一种从公元十世纪开始的极其痛苦的实践，目的是使脚尽可能地小。为了进行这个仪式，人们会为女孩准备特殊的饮食，以软化骨头，以便更容易裹绑。实践本身以将脚浸泡在加入不同草药和尿液的水中开始。然后，母亲会用明矾擦拭脚部，以收缩组织并减少出血。接下来，她会修剪指甲并浸湿绷带，当绷带干燥时，会更加紧缩脚部。她会从脚弓开始裹绑，弯曲四个小脚趾并用力旋转。然后，她会用绷带绕过脚后跟，并以一个小环收尾。这个过程需要每四天进行一次，以使脚部更加纤细，绑得更紧。在这个过程中，还需要使用绣花鞋作为必要的工具，其中有专门用于开始和结束过程的不同款式。（杨思蒙 2022, 46-48) <br /> <br /> ==起源及后果 (Orgins and Consequences)==<br /> <br /> 在行走过程中，脚弓和骨骼会断裂。如果这种情况没有发生，人们就会将小石块绑在女孩脚上，直到骨骼断裂为止。如果即使这样做也没有成功，或者女孩太小以至于无法行走，母亲会亲自用大石头折断骨骼。毋庸置疑，这个仪式给女性带来了难以形容的痛苦：极大地阻碍了行走，并导致许多健康并发症，甚至死亡。据估计，高达10％的女孩因为这种实践而丧生。在脚被绑好之初，母亲会照料，而成年女性则自己负责。这种习俗的起源并不完全清楚。据说它起源于关于姚宁的传说——她是李后主宫廷的皇妃。（杨兴梅，罗志田1999, 2） <br /> <br /> ==缠足的目的 ( The Aim of Foot-binding Practice)==<br /> <br /> <br /> 整个痛苦的仪式旨在确保女性将来嫁给一个好丈夫，从而实现社会晋升。被称为&quot;三寸金莲&quot;（因为绑脚的被称为&quot;三寸金莲&quot;）被认为代表女性的品格和价值，似乎证明了她的内在纪律和忍耐痛苦的能力，显示她适合成为一个好母亲。选择潜在配偶时，不会考虑脚大的女性。小脚成为性感的象征，也是男性的恋物对象。此外，绷带和鞋子本身也成为&quot;黄金莲&quot;的情趣元素。（Li Fajun 2022, 674-678) <br /> <br /> ==缠足的结束 (The End of Foot-binding Practice)==<br /> <br /> <br /> 在1672年的康熙皇帝和1902年的慈禧太后的敕令下，这种实践受到了限制。然而，这个根深蒂固的传统习俗一直延续到20世纪30年代。直到全国范围内进行了&quot;放足&quot;运动后，才停止了这种实践。尽管如此，在农村地区仍有一段时间束缚着女孩们的脚。即使在今天，仍然有极少数女性保留着&quot;三寸金莲&quot;。 (Błaszczyk, Sikora 2015, 123)<br /> <br /> ==参考资料 References==<br /> <br /> A. Błaszczyk, M. Sikora, Kilka uwag o prawno-społecznym statusie kobiet w Chińskiej Republice Ludowej, „Kobieta w prawie i polityce” 2015, nr 9, s. 233<br /> <br /> 杨思蒙, 从缠足看宋代以后的大众审美观, 今古文创. 2022(32) Page:46-48<br /> <br /> 杨兴梅，罗志田，近代中国人对女性小脚美的否定 1999, Page: 2<br /> <br /> == 生词 Terms and Experessions==<br /> <br /> 缠足 - foot-binding<br /> <br /> &quot;三寸金莲&quot; - lotus feet<br /> <br /> 绑 - bind,tie<br /> <br /> &quot;放足&quot;运动 - Free-foot Movement<br /> <br /> ==Questions==<br /> <br /> 1.中国古代缠足的过程是怎样的？<br /> 2. 缠足的习俗源自什么传说？<br /> 3、什么是“三寸金莲”？<br /> 4. 缠足是哪一年开始禁止的？<br /> =第十三周 Session 13 Jan 25 13:15-14:45 - 鬼怪和辟邪 (Monsters and Exorcism)=<br /> ===摘要 （Abstract）===<br /> 鬼怪在中国文化中扮演着非常重要的角色。 人们别无选择，只能寻找各种方法来辟邪他们。<br /> ===关键词 （Key Words）===<br /> 鬼怪，辟邪，文化，恶意， 中元节<br /> === 引言 （Introduction） ===<br /> 在台湾或中国文化和历史中，有很多关于鬼怪的提及。绝大多数的恶魔生物都对人类怀有恶意。通常鬼怪总想要附身受害者，吞噬他或者给他带来不幸的生活。鬼怪在旧时代的人对世界的看法中有很重要的影响。人们总喜欢用鬼怪来解释不祥现象，不过更有趣是他们发明辟邪的方式。<br /> === 过年 ===<br /> 在中国人的文化有很多提到鬼怪的地方。比如说以前的人们过年的时候做桃符是为了辟开不好的事情，带来家的平安跟好运，还有据说桃木有镇邪驱邪的功效。但是它们很难做，也很贵，并非所有家庭都能负担得起，所以人们开始用纸作的红色春联，现在中国人贴春联在门窗上，作为装饰品，为了给家庭带来幸福和大好运。红色不但表示吉利，而且人们相信红色会帮助辟邪不好的事情。以前在过年的时候人们放鞭炮，目的是赶走山臊，这是一种像猴子一样的怪物。放鞭炮的传统也跟一个叫“年”的怪物有关。每年这个时候这个怪物都会袭击村庄，然后绑架人们的孩子。他们相信这个鬼怪除了鞭炮的响声音什么都不怕。现在人们不再相信鬼怪，但是放鞭炮仍然是华人新年庆祝活动的传统象征。另一个很有趣的是压岁钱的习俗，压岁钱是压制邪祟的钱。人们相信可以贿赂鬼怪，如果他们放钱在孩子床上，有鬼怪来，鬼怪就会只拿钱，不会靠近和伤害孩子，而是自行离开。现在，红包意味家庭成员的繁荣和善意。<br /> === 插艾草 ===<br /> 植物在文化中也发挥了重要的作用。比如说插艾草的习俗。实行这个习俗是为了辟邪和顺便驱蚊子。夏天，尤其是五月，因为天气非常热，所以蚊子很多。以前蚊子带来了很多疾病，医疗不发达，因此古代人们用鬼怪来解释疾病。鬼怪做恶事会影响人们的健康，所以如果人生病，都是鬼怪害的。如果一个人经常生病，他们就认为被鬼怪附体了。因为蚊子不喜欢艾草的味道，插艾草不让蚊子靠近，这样会驱逐蛟虫。现在也有插艾草的习俗，但是没有那么大的附加意义，只是一种习俗。<br /> === 戴香包 ===<br /> 别的一种辟邪鬼怪的方法是戴香包。里面有各种各样的草药，除了艾草，人们还用雄黄和菖蒲的植物，认为这种味道会让鬼怪不靠近。以前的人平常戴香包，妻子送给丈夫（及孩子），希望他平安，比如说他去很远的地方。香包确保辟邪，保护健康。第二个的原因是一般的人不会天天洗澡，所以他们味道真不好，戴香包让味道变得更好。人们感觉非常不方便，所以这是以前的常见的作法。<br /> === 喝午时水 ===<br /> 古代人认为从井拿水来喝是最好的水因为能祛除百病。于是，喝午时水的习俗就产生了。这个习俗跟华人道教和阴阳有关系。夏天来了，太阳表示阳。人类的时间是阳，鬼怪的时间是阴。不同的地方可能被阳气或阴气影响。对古代人来说不能去墓园散步因为在那里阴气很大。如果阳气比较多，鬼怪不会来，身体会健康。如果阴气比较多，一定会发生不好的事情或带来疾病。端午节是一年之中白天最长，晚上最短的时间，阳气最重的，所以从井喝午时水去除不好的影响，让人健康和辟邪鬼怪。<br /> === 中元节 ===<br /> 中元节跟道教有关，是超度亡灵的节日。普渡是农历七月十五号，传统上七月是鬼月。中元节不同的是祭拜的对象是鬼，不是神。祭拜灵鬼的原因是让过世的人去他们应该去的地方，超度他们。佛教认为每个人都一样，都可以接受这种普渡。在华人的观点，吃饱非常重要。饿鬼对人类一定会做不好的事情。饿鬼吃饱满足以后就会很开心，对给他们吃的主家不会做不好的事情。普渡的目的就是超度亡灵，祈求平安。现在普渡只是个习俗，没有人真的相信。<br /> === 结论 Conclusion ===<br /> 在过去，当人们遇到不好的事情时，他们常常责怪鬼怪。在医学还不够发达的时代，人们在寻找解决办法来解释没有明显答案的事情。驱邪的方法多种多样，从放鞭炮到在窗户上挂气味浓烈的植物，现在对现代人来说似乎很遥远的事情对古代人来说却有道理和深刻的意义。<br /> === 参考资料 References ===<br /> Zwoliński A. Satanizm. Polskie Wydawnictwo Encyklopedyczne Polwen, 2007.<br /> <br /> Eliade M. Aspekty mitu. Wydawnictwo KR, Warszawa 1998.<br /> <br /> Pimpaaneau J., Chine. Culture et traditions, Chiny, kultura i tradycje. Tłum. I. Kałużyńska, Dialog , Warszawa, 2000.<br /> <br /> Wasiliew L ., Kulty religie i tradycje Chin, przekł. A . Bogdański, PIW, Warszawa 1974.<br /> <br /> == 问题 (Questions) ==<br /> 1. 为什么人们想出各种方法来消灭蚊子？<br /> 2. 蚊子害怕什么气味？<br /> 3. 为什么人们要在中午喝井里的水？<br /> 4. 中元节是什么时候？<br /> <br /> =第十四周 Session 14 Feb 1 11:30-13:00 - 中医植物 (Herbs in Traditional Chinese Medicine)=<br /> === 摘要（Abstract）===<br /> 本文是关于中药的，植物在中药中起着非常重要的作用。尽管现代医学已经发展出许多先进的治疗方法，但中药植物仍在许多地方广泛使用，并在一些领域得到了科学研究的支持。本章选取了几种常见的中药植物，并对它们的用途进行了说明。<br /> === 关键词（Key Words）===<br /> 中医植物，中医，中医学，中药，药物，传统医药学<br /> === 引言（Introduction）===<br /> 中药是在中医理论指导下应用的药物。由于其来源包括植物、动物和矿物，椬物类药比例最多，使用也最普遍。中药涵义广泛，主要分为中药材（中草药和中药饮片）和中药制剂，包含传统临床制剂（丸、散、膏、丹、汤等）、中成药、供配伍用中药颗粒等。中药传统称为本草、生药等。目前，日韩等地仍称中药为汉药或汉方药。<br /> === 植物 —— 发展 (Plants - Development) ===<br /> 中医学是中国传统医学的重要组成部分，其中植物在中医疗法中扮演着重要的角色。中医植物指的是用于中医治疗的各种植物材料，包括根、茎、叶、花、果实、种子等。中医将人体看成是形、神、气的统一体，并且按照这一理念进行治疗，这是其与西医的一个重要区别。这种治疗方法已在中国使用了数千年。在药物之中，药草类（药用的植物）占绝大多数，人类在寻找食物的同时，发现了许多具有治疗作用的植物。各味药多遵循中医药理论组成各种方剂来应用和验证，加以总结，逐渐形成中国的传统医药学，也同时形成中国对药用植物使用的特点和优势。<br /> <br /> 中医学是中国传统医学的重要组成部分，其中植物在中医疗法中扮演着重要的角色。中医植物指的是用于中医治疗的各种植物材料，包括根、茎、叶、花、果实、种子等。中医将人体看成是形、神、气的统一体，并且按照这一理念进行治疗，这是其与西医的一个重要区别。这种治疗方法已在中国使用了数千年。药物之中因草类（药用植物 &lt;---去掉“的” Świeboda）占绝大多数，人类在寻找食物的同时，发现了许多具有治疗作用的植物。各味药多遵循中医药理论组成各种方剂来应用和验证，加以总结，逐渐形成中国的传统医药学，也同时形成中国对药用植物使用的特点和优势。<br /> <br /> === 植物 —— 化合物 (Plants - Compounds) ===<br /> 所有植物都产生化学化合物，这些化合物具有进化优势。这些植物化学物质具有作为药物的潜力，如科学证实，这些物质在药用植物中的含量和已知的药理活性是它们在现代医学中使用的科学依据。例如，水仙（Narcissus）含有九组生物碱，包括加兰他敏，许可用于治疗阿尔茨海默症，此外，生物碱是苦味和有毒的，并且浓缩在植物的部分，例如最容易被食草动物吃掉的茎，它们也可以防止寄生虫。虽然现代医学已经发展了许多先进的治疗方法，但中医植物在许多地方仍然被广泛使用，并且在一些领域中得到了科学研究的支持。<br /> <br /> 所有植物都产生化学化合物，这些化合物具有进化优势。这些植物化学物质具有作为药物的潜力，如果科学证实，这些物质在药用植物中的含量和已知的药理活性是他们（它们 Świeboda）在现代医学中使用的科学依据。例如，水仙（Narcissus）含有九组生物碱，包括加兰他敏，许可用于治疗阿尔茨海默症，再加上，生物碱是苦味和有毒的，并且浓缩在植物的部分，例如最容易被食草动物吃掉的茎，他们（它们）也可以防止寄生虫。虽然现代医学已经发展了许多先进的治疗方法，但中医植物在许多地方仍然被广泛使用，并且在一些领域中得到了科学研究的支持。<br /> <br /> === 植物 —— 使用（例子) (Plants - use (examples)) ===<br /> 与西方一样，也有许多标准混合物和药物可供使用。以下是一些常见的中医植物及其应用：<br /> <br /> 1. 人参（Panax ginseng）：人参是最著名的中药之一，被用于提高体力、增强免疫力、改善记忆和注意力等方面。<br /> <br /> 2. 田七（Panax notoginseng）：田七具有活血化瘀、止血、消肿等功效，常用于中医治疗创伤、出血以及心脑血管疾病等。<br /> <br /> 3. 黄芪（Astragalus membranaceus）：黄芪被广泛应用于中医药领域，具有补气、提升免疫力、益气补阳的作用, 改善疲劳等功效。<br /> <br /> 4. 当归（Angelica sinensis）：当归常用于妇科疾病的治疗，如调理月经、缓解经痛等，也常用于补血、活血的方剂中。<br /> <br /> 5. 丹参（Salvia miltiorrhiza）：丹参具有活血化瘀、消肿止痛等作用，常用于中医治疗心脑血管疾病、炎症等。<br /> <br /> 6. 五味子（Schisandra chinensis）：五味子被用作中药调剂剂型的重要成分，常用于增强肝脏功能、改善睡眠和抗衰老。<br /> <br /> 7. 党参（Codonopsis pilosula）：党参具有益气健脾、提升免疫力等功效，常用于中医治疗脾胃虚弱、疲劳等症状。<br /> <br /> 8. 白芍（Alba peony）：白芍具有活血化瘀、调经止痛的作用，常被用于妇科问题和痛经的治疗。<br /> <br /> === 结论（Conclusion）===<br /> 这只是一小部分现代中医常用的植物，还有许多其他植物在中医实践中被广泛应用。重要的是要理解，中医植物的使用需要经过专业的中医医生的指导和判断，以确保安全和有效性。在考虑使用中医植物进行治疗时，建议咨询专业的中医医生。<br /> <br /> 这只是一小部分现代中医常用的植物，还有许多其他植物在中医（应该是“在中医中” Świeboda）实践中被广泛应用。重要的是要理解，中医植物的使用需要经过专业的中医医生的指导和判断，以确保安全和有效性。在考虑使用中医植物进行治疗时，建议咨询专业的中医医生。<br /> <br /> === 参考资料（References）===<br /> <br /> Kierzkowski, K. Poszukiwanie nowych sposobów leczenia wobec zagrożeń cywilizacyjnych. O współczesnej wartości tradycyjnej medycyny chińskiej.<br /> <br /> Park, H. Tradycyjna medycyna chińska: wiosenne przebudzenie.<br /> <br /> Fibich, K. (2012). Tradycyjna Medycyna Chińska oczami Europejczyków. Studium recepcji nowości kulturowych.<br /> <br /> Hong Kong Baptist University 2022, Medicinal Plant Database URL: https://libproject.hkbu.edu.hk/was40/outline?lang=ch&amp;page=2&amp;channelid=1288&amp;ispage=yes&amp;trslc=50332160.1688399549.1<br /> <br /> === 问题 (Questions) ===<br /> 1. 中药涵义广泛是什么？<br /> <br /> 2. 中医是如何治疗人体的？<br /> <br /> 3. 哪种植物被批准用于治疗阿尔茨海默病？<br /> <br /> 4. 白芍是用来做什么的？<br /> =第十四周 Session 14 Feb 1 11:30-13:00 - 广东的文化饮食习惯：广东人为何爱吃野味？ The tradition of eating wild animals in Guangdong=<br /> <br /> ===摘要 (Abstract)===<br /> <br /> 食用野生动物是广州传统饮食文化的重要组成部分。本文分析了导致这一习俗普及的文化和社会因素。 <br /> <br /> ===引言 (Introduction)===<br /> <br /> 传统饮食习俗是广州文化遗产的重要组成部分，这一被称为“美食之地”的南方省份的美食闻名于全国。广州烹饪传统的一个重要元素是野生动物的肉。然而，随着人们逐渐意识到食用野生动物的危害，广东人对野味的喜爱引起了很大争议。本文将探讨野味在广东流行的文化和社会原因。 <br /> <br /> ===传统中医药文化 (The Culture of Traditional Chinese Medicine)===<br /> <br /> 在许多亚洲社会，特别是在偏远贫困的农村地区，中国传统医学的理论与实践仍然是日常生活中不可或缺的一部分（周珺 2013）。中医的坚定支持者认为可以通过人的内力和中草药、补品等来平衡人体健康。许多种治疗方法采用活的与死的野生动物，包含稀有濒危动植物的成分。中医在广州地区的广泛流行与其热带气候紧密相关。在炎热潮湿的气候下，极易传播疾病，过去生活比在其它地方更不容易。因此，土生的广东人惯于通过传统药物和食物来调节人体健康，治疗及预防疾病，包括有野生动物制成的药物 （宋雪梅 2004）。<br /> <br /> ===野味有营养价值的误解 (Misconceptions about the nutritional value of wild animals)===<br /> <br /> 许多野味爱好者认为，野生动物的肉是一种对身体更加健康、更加有营养的养殖动物肉的代替。不过，这个观点至今尚未得到证实。与此相反，专家们称，目前尚无证据表明野味比饲料喂养的肉类动物更有营养或滋补功效。华南理工大学食品学院教授、博士生导师郑健仙认为，“野味并不像想象中那么神秘，它也只是一种动物性食品，营养含量无非是蛋白质、脂肪等，在营养上并不比普通的饲养动物更有优势。” （宋雪梅 2004）几项研究证实了几乎所有的野生动物都携带大量寄生虫与病毒，这是众所周知的事实 。当野物肉一进入人体，就会易引发各类严重疾病，甚至可导致死亡。为了保住肉的鲜美和营养，不少广东人爱吃半生不熟的，有些做法甚至就是生吃，其结果是将微生物、病毒和寄生虫都引入体内（中历史网 2018）。<br /> <br /> 半部分还是宋雪梅说的吧？需要补充<br /> 黄旭明<br /> <br /> ===展示高地和财富 (Showing high position and wealth)===<br /> <br /> 专家们认为，在广州食野味逐渐成为人们摆阔的方式之一。吃野肉，请别人吃野肉都是公开展示财富和高地位的一种常用方法。以前广东地区曾经很贫困，当地百姓只能 “逮到什么吃什么”。随着社会经济的迅速发展和科学技术的全面进步，野生动物的肉在人们的意识中成为了高档的美味。省社科院经济学专家刘毅称道，“野味在过去可能并不值钱，但因为吃的人多了，加上生态环境受到严重破坏，野味变得越来越贵，最初人们可能比较重视它的滋补效果和口感，到后来，它开始成为人们显阔的方式之一。（宋雪梅 2004）” 除了以上的传统文化的因素以外，几位记者的调查显示， 提供野味菜肴的政府宴会是常见的。 在公务接待中，不乏有政府部门知法犯法，请人吃禾花雀、穿山甲等野生动物的行为（周珺 2013）。<br /> <br /> 语法出了一些问题 （...素以外，几位记者的调查， 提供野...）<br /> 黄旭明<br /> <br /> ===结论 (Conclusion)===<br /> <br /> 吃野生动物深深植根于广州文化中，而伴随着文化的进化，变成为一种保持健康，显示身份的方式。人们对野肉的营养和健康特性的误解尤其在农村地区是很普遍的。农村人主要依靠中医治愈疾病，他们认为以野生动物肉可以治疗许多疾病和健康问题。此外，在过去的几十年里，野生动物的肉已经成为了一种奢侈的食品，可以用来展示一个人的社会地位和财富。上述例子表明，野味在广东的流行主要是由文化因素和社会对潜在的损害和威胁的认识不足所决定的。 <br /> <br /> ===参考资料 (References)===<br /> <br /> 宋雪梅 2004. 探源：广东人为何嗜吃野味 专家学者众说纷纭 [online] https://www.chinanews.com.cn/n/2004-01-07/26/389066.html<br /> <br /> 周珺 2013. 专家称吃野味成为人们显身份摆阔方式之一 [online] https://news.jxnews.com.cn/system/2013/02/09/012286286.shtml<br /> <br /> 中历史网 2018. 广东人为什么爱吃野味？[online] https://www.y5000.com/shbt/dcsh/28025.html<br /> <br /> <br /> ===关键词 (Key words)===<br /> <br /> 野味，中医，广东，饮食文化<br /> <br /> ===生词 (Terms and Expressions)===<br /> <br /> 野味 bush meat<br /> 稀有濒危动植物 rare and endangered animals and plants<br /> 显阔 show off wealth and status<br /> 寄生虫 parasites<br /> <br /> ===问题 (Questions)===<br /> <br /> 1.对传统中医来说，怎样可以平衡人体健康？<br /> 2.根据目前的科学知识，野生动物肉比养殖动物肉对身体更有营养吗？<br /> 3.吃野味对身体有什么危害？<br /> 4.为什么野味成为了奢侈的食品？<br /> <br /> =第十五周 Session 15 Feb 15 11:30-13:00 - Final Paper=<br /> The deadline to submit the final exam paper is January 31. The papers will be graded until Feb 15. Please follow this link to the [[20240131_cult_finals|final paper]] page.<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> &lt;h1&gt;Basic information&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.23K.03201.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Hsiu-Ting Yu&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Hsiu-Ting Yu&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_002.png&quot;<br /> width=&quot;681&quot; height=&quot;55&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> 2&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_003.png&quot;<br /> width=&quot;681&quot; height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 2&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Exam&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_004.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 6&lt;/p&gt;<br /> &lt;h1&gt;Goals&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Presentation and discussion on selected topics<br /> in the field of traditional Chinese culture, art and<br /> theater - from the Zhou Dynasty to the end of the Qing<br /> Dynasty - in relation to the phenomena in contemporary<br /> Chinese culture, art and theater.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Developing the ability to independently read<br /> and analyse selected texts, understand discussed issues,<br /> deepen individual knowledge and compare distant phenomena<br /> in time.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_005.png&quot;<br /> width=&quot;6&quot; height=&quot;5&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> Completed courses in the history of China and the history of<br /> Chinese literature.&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_006.png&quot;<br /> width=&quot;6&quot; height=&quot;5&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> Fluent reading comprehension of Chinese texts at the B2 level of<br /> the Common European Framework of Reference for&lt;br&gt;<br /> Languages.&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has knowledge of selected aspects of Chinese<br /> culture, art, theater, drama and aesthetics&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;recognizes connections between culture, art,<br /> theater and drama of ancient and present China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;understands the idea of continuity of<br /> tradition and its modern interpretations and continuations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;performs critical analyzes of cultural texts<br /> in Chinese&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;participates in discussions on topics related<br /> to Chinese culture, presents own views and correctly<br /> arguing&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;them&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U06&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;understands the meaning of high culture and<br /> the need to promote the development of international<br /> cultural exchange&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K05, SNL_K2_K08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written exam, Written colloquium, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Categories of time and space in ancient<br /> Chinese culture&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_007.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 6&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Traditional Chinese painting and its<br /> contemporary continuations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Traditional Chinese calligraphy and modern<br /> calligraphy&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetics of Chinese traditional poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetics of Chinese traditional musical<br /> theater and its reference in avant-garde drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Space, line and theatricality in ancient<br /> Chinese garden art and modern shaping of the urban<br /> landscape&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Stylization, conventionality and symbolism in<br /> traditional Chinese culture&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Aesthetization and celebration of everyday<br /> life in ancient China and today&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, U1, U2, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;h2&gt;Semester 1&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Audio and/or video demonstrations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Attendance at classes is mandatory. The first<br /> semester of the course is passed on the basis of a written<br /> test.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Semester 2&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Audio and/or video demonstrations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The second semester of the course is passed on<br /> the basis of preparation of a multimedia presentation and<br /> a written exam.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_008.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 6&lt;/p&gt;<br /> &lt;h1&gt;Literature&lt;/h1&gt;<br /> &lt;h2&gt;Obligatory&lt;/h2&gt;<br /> &lt;p&gt;1. Chinese texts on culture, fine arts and aesthetics are provided<br /> during classes by the teacher.&lt;/p&gt;<br /> &lt;h2&gt;Optional&lt;/h2&gt;<br /> &lt;p&gt;1.&lt;br&gt;<br /> 2.&lt;br&gt;<br /> 3.&lt;br&gt;<br /> 4.&lt;br&gt;<br /> 5.&lt;br&gt;<br /> 6.&lt;br&gt;<br /> 7.&lt;br&gt;<br /> 8.&lt;br&gt;<br /> 9.&lt;br&gt;<br /> 10.&lt;br&gt;<br /> 11.&lt;br&gt;<br /> 12.&lt;br&gt;<br /> 13.&lt;br&gt;<br /> 14.&lt;br&gt;<br /> 15.&lt;br&gt;<br /> 16.&lt;br&gt;<br /> Witold Rodziński, Historia Chin, Wrocław 1974 – rozdziały<br /> poświęcone kulturze, literaturze, nauce chińskiej od dyn. Zhou do<br /> Qing.&lt;br&gt;<br /> John King Fairbank, Historia Chin. Nowe spojrzenie, Gdańsk 1996.<br /> Patricia Buckley Ebrey , Ilustrowana historia Chin, Warszawa 2002.&lt;br&gt;<br /> Laurence Sickman, Aleksander Soper, Sztuka i architektura w<br /> Chinach, Warszawa 1984. Craig Clunas, Art In China, Oxford 1997.&lt;br&gt;<br /> 5000 lat sztuki chińskiej [album], Warszawa 2014.&lt;br&gt;<br /> Adina Zemanek (red.), Estetyka chińska . Antologia, Kraków 2007,<br /> Universitas. JeeLoo Liu, Wprowadzenie do filozofii chińskiej, Kraków<br /> 2010.&lt;br&gt;<br /> Hajime Nakamura, Systemy myślenia ludów Wschodu, Kraków 2003.<br /> Benjamin I. Schwartz, Starożytna myśl chińska, Kraków 2009.&lt;br&gt;<br /> Livia Kohn, Taoizm. Wprowadzenie, Kraków 2012.&lt;br&gt;<br /> Xinzhong Yao, Konfucjanizm. Wprowadzenie, Kraków 2000. Francois<br /> Jullien, Drogą okrężną i wprost do celu, Kraków 2006. Francois<br /> Jullien, Pochwała nieokreśloności, Kraków 2006.&lt;br&gt;<br /> William Dolby, A History of Chinese Drama, London 1976, Paul Elek.&lt;br&gt;<br /> Izabella Łabędzka, Obrzędowy teatr Dalekiego Wschodu, Poznań 1999,<br /> Wyd. UAM.&lt;/p&gt;<br /> &lt;h1&gt;Calculation of ECTS points&lt;/h1&gt;<br /> &lt;h2&gt;Semester 1&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;60&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;/p&gt;<br /> &lt;h2&gt;Semester 2&lt;/h2&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img<br /> src=&quot;kultura-chinska-09snls-23k-03201-23/Image_009.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 6&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;15&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the exam&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;15&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;kultura-chinska-09snls-23k-03201-23/Image_010.png&quot;<br /> width=&quot;682&quot; height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;5 / 6&lt;/p&gt;<br /> &lt;h1&gt;Learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to aktywnego działania w<br /> społecznościach wielokulturowych i międzynarodowych na<br /> rzecz rozwoju wymiany kulturalnej w interesie publicznym w<br /> stopniu zaawansowanym.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to doceniania dorobku<br /> sinologii w zakresie zachowania dziedzictwa kulturowego<br /> Azji&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Wschodniej i uczestnictwo w działaniach na<br /> rzecz jego rozwoju.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can dobierać odpowiednie źródła i<br /> udostępniane przez nie informacje, dokonywać ich oceny,<br /> krytycznej analizy, syntezy i wykorzystywać w optymalny<br /> sposób.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U06&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can komunikować się w języku<br /> chińskim na tematy specjalistyczne ze zróżnicowanymi<br /> kręgami odbiorców przy użyciu różnych kanałów i technik<br /> komunikacyjnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158366 2024-01-18T01:29:33Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: https://avidreaders.ru/read-book/the-ancient-ship.html <br /> <br /> Title:《古船》The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei <br /> <br /> Presentation: [https://docs.google.com/presentation/d/1WB_mzwkKCC9txf3Z_PTKRf6ff9E6UiM7/edit#slide=id.p1]<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> This is a description of an elderly woman named Zhang Wangshi. She's entering a large store with her handcrafted products such as clay tigers<br /> and small iron whistles. Despite her age and physical fragility, she is skilled in her craft, particularly in molding clay tigers that reflect her own facial expressions. Zhang Wangshi, over sixty years old, is depicted as a chain-smoker with a weathered appearance. She confidently proposes selling her handcrafted items expressing a willingness to pay a consignment costs. Her decades-long business also involved fortune-telling on the side to earn extra income.<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。<br /> <br /> Jian Su talks casually with the elderly woman called Zhang Wang in her store. The woman smokes a cigarette after a cigarette, examining the young man. She is quite fond of his appearance, noticing that his eyes are full of energy, which sparks her curiosity. However, he calls her an ugly old woman, which is quite justified considering that the woman's teeth are black. She continues to praise him and touches his arms and chest, while he tries to push her away. He contemplates that her face looks just as the expressions of the clay tigers of her handcraft and finds it difficult to refrain from laughter. He buys a few handmade products and after that, leaves. 🐅🚬<br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> This paragraph states that Jiansu found the factory more to his liking, and that is the reason why he stayed away from the shop. He would go to the shop only once a month. The name of the factory had changed and those who didn't want to work for Zhao Duoduo had left. The vast majority of those who replaced them were women. Jiansu could check on the work whenever he wanted. He would stare with delight at the women-workers in the slumber during the night-shift. After he would stare at them awhile, the women would wake up yawning.<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> Jiansu sat on a wooden stool and smoked a cigarette, without saying a word. He sat like that for over half an hour. Suddenly, he stood up and walked out of the room without looking back. He rushed towards a concrete platform, gazing at the stars and listening to the flowing river. From there, Jiansu looked at the dimly lit windows along the riverbank, behind one of which would sit Baopu. Jiansu stared at the small window, as if hoping it would suddenly open. Disappointed, he walked down the platform and stopped in front of the building around the corner of the processing room. After standing there for a while, he held his breath and slowly pushed the door open. Once inside, he carefully closed the door behind him and then turned around cautiously.<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158307 2024-01-14T18:13:49Z

<p>Zhang Yuxuan: /* Session 11: Contemporary literature I */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China during those days.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> ==Grades for translation homework - Contemporary literature I==<br /> <br /> *Gabriela Krukowska<br /> *Ewa Kopania<br /> *Zyta Rydz<br /> *Asia (Joanna) Zawada<br /> *Karol Perka<br /> *Anna Proskura<br /> *Julia Dereżyṅska<br /> *Paweł Andraszak<br /> *Aleksandra Urbanska<br /> *Natalia Gloc<br /> *Edyta Skorupa<br /> *Wiktoria Wolny<br /> *Ada Dan<br /> *Lena Rzeźnikowska<br /> *Malwina Filipowicz<br /> *Karolina Englert<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158306 2024-01-14T17:47:45Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: https://avidreaders.ru/read-book/the-ancient-ship.html <br /> <br /> Title:《古船》The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei <br /> <br /> Presentation:<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> This is a description of an elderly woman named Zhang Wangshi. She's entering a large store with her handcrafted products such as clay tigers<br /> and small iron whistles. Despite her age and physical fragility, she is skilled in her craft, particularly in molding clay tigers that reflect her own facial expressions. Zhang Wangshi, over sixty years old, is depicted as a chain-smoker with a weathered appearance. She confidently proposes selling her handcrafted items expressing a willingness to pay a consignment costs. Her decades-long business also involved fortune-telling on the side to earn extra income.<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158304 2024-01-14T17:36:56Z

<p>Zhang Yuxuan: </p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> Title:《古船》The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei <br /> <br /> Presentation:<br /> <br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158303 2024-01-14T17:36:01Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> Title:《古船》The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei <br /> <br /> Presentation:<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158301 2024-01-14T17:26:16Z

<p>Zhang Yuxuan: /* Session 11: Contemporary literature I */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China at that time.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> ==Grades for translation homework - Contemporary literature I==<br /> <br /> *Gabriela Krukowska<br /> *Ewa Kopania<br /> *Zyta Rydz<br /> *Asia (Joanna) Zawada<br /> *Karol Perka<br /> *Anna Proskura<br /> *Julia Dereżyṅska<br /> *Paweł Andraszak<br /> *Aleksandra Urbanska<br /> *Natalia Gloc<br /> *Edyta Skorupa<br /> *Wiktoria Wolny<br /> *Ada Dan<br /> *Lena Rzeźnikowska<br /> *Malwina Filipowicz<br /> *Karolina Englert<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158300 2024-01-14T17:25:07Z

<p>Zhang Yuxuan: /* Grades for translation homework - Contemporary literature I= */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China at that time.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> <br /> ==Grades for translation homework - Contemporary literature I==<br /> <br /> *Gabriela Krukowska<br /> *Ewa Kopania<br /> *Zyta Rydz<br /> *Asia (Joanna) Zawada<br /> *Karol Perka<br /> *Anna Proskura<br /> *Julia Dereżyṅska<br /> *Paweł Andraszak<br /> *Aleksandra Urbanska<br /> *Natalia Gloc<br /> *Edyta Skorupa<br /> *Wiktoria Wolny<br /> *Ada Dan<br /> *Lena Rzeźnikowska<br /> *Malwina Filipowicz<br /> *Karolina Englert<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158299 2024-01-14T17:23:32Z

<p>Zhang Yuxuan: /* Session 11: Contemporary literature I */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China at that time.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> <br /> =Grades for translation homework - Contemporary literature I==<br /> <br /> *Gabriela Krukowska<br /> *Ewa Kopania<br /> *Zyta Rydz<br /> *Asia (Joanna) Zawada<br /> *Karol Perka<br /> *Anna Proskura<br /> *Julia Dereżyṅska<br /> *Paweł Andraszak<br /> *Aleksandra Urbanska<br /> *Natalia Gloc<br /> *Edyta Skorupa<br /> *Wiktoria Wolny<br /> *Ada Dan<br /> *Lena Rzeźnikowska<br /> *Malwina Filipowicz<br /> *Karolina Englert<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158298 2024-01-14T17:12:35Z

<p>Zhang Yuxuan: /* Session 11: Contemporary literature I */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China at that time.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158297 2024-01-14T17:09:30Z

<p>Zhang Yuxuan: /* Session 11: Contemporary literature I */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> <br /> Short introduction: Zhang Wei's novel “The Ancient Ship” is set during the first forty years after the founding of the People's Republic of China (PRC). The main events of the novel take place with three generations of the Sui, Zhao and Li families living in the fictional city of Wali in Shandong province, who face the major campaigns from the late 1940s to the 1980s, beginning with the land reform and ending with the Cultural Revolution. The author, with the help of the characters in his story &quot;The Ancient Ship&quot;, reveals to readers the circumstances in which people lived at that time, helping to provide a glimpse into the history of China at that time.<br /> The main setting is an old noodle factory, which has always been in the hands of one Sui family but has now been taken over by Zhao Duoduo, leading to a confrontation between Sui Jiansu and Zhao Duoduo. In addition, in the novel, the author describes to us the hard fates of the characters, as well as the idea that it is impossible to escape from paying for the atrocities, which of course leads to a terrible ending. Furthermore, one of the main themes of the novel is a person's moral values and how fragile they are when inhibitions are removed and a person's cruel side can be revealed.<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158296 2024-01-14T13:46:42Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158295 2024-01-14T13:46:21Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 (The Ancient Ship)<br /> <br /> Author: 张炜 (Zhang Wei)<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158294 2024-01-14T13:45:21Z

<p>Zhang Yuxuan: </p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158293 2024-01-14T13:44:47Z

<p>Zhang Yuxuan: </p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158292 2024-01-14T13:39:59Z

<p>Zhang Yuxuan: </p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158291 2024-01-14T13:39:17Z

<p>Zhang Yuxuan: </p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158290 2024-01-14T13:38:17Z

<p>Zhang Yuxuan: /* 《古船》第三章 */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158289 2024-01-14T13:37:48Z

<p>Zhang Yuxuan: /* Ada Dan */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。 <br /> <br /> <br /> ==Ewa Kopania==<br /> <br /> 这以后张王氏每天都要到店里来，在柜台上一个一个摆弄她的泥老虎。生意越来越好，不知多少老太太来给家里的娃娃买泥老虎玩。如果是娃娃们自己来，张王氏就教他们新的玩法：让一群小泥虎攻击大泥虎，头颅相撞。不过几下子小泥虎的头就破了。娃娃们问怎么办？“让你家奶奶买新的。”张王氏说。买卖渐渐白天做不尽，夜里还要点上油灯，有一天快半夜了，还有一群老头子围坐在酒坛边，手捏一块咸菜喝酒。见素常常伏在柜台上睡过去，张王氏就吸足了一口烟，对准他红润的嘴唇吹一下。见素觉得张王氏真是一个好帮手，商店的兴隆也有她一份功绩。张王氏说：“有老虎保佑我们呢。”见素听了，怀疑地盯着那一溜儿缩着嘴角的泥老虎。张王氏加上一句：“虎是山神。”他们没事了就天南地北地闲扯，张王氏常常说到隋不召。她一说到这里就笑，露出黑黑的牙根。她说：“老东西瘦成一把骨头了，还坏。早些年多少水光溜滑的大姑娘乐得凑付这把骨头。我也凑付过。老东西从根就没胖过，不过从根就是把好手。<br /> <br /> <br /> ==Gabriela Krukowska==<br /> <br /> ”有一次她还问道：“你知道他怎么和史迪新老怪结成了仇人吗？”见素盯着她，好奇地摇着头。张王氏从货架上摸了一支烟点上，说起来。<br /> <br /> “说到底也就是为那么一点点东西。那几年洼狸镇比现在还热闹，你没经过。太热闹的地方男人没有一个老实的，你记住我这句话。他们不老实，有点力气都使到女人身上了，干正经事倒有气无力。你叔父他们连一个三十斤的粉坨子也扛不动，小腿绊呀绊呀，噗哧一声就把粉坨摔成一堆雪。大伙儿那个笑。那些跑船的人一上了码头，就跟狼狗差不多，眼睛都是红的。他们个个样子吓人，真和他们好起来倒也没什么。你叔父对付人的法儿，有不少就是从跑船的那儿学来的。老隋家就出了这么一个不学正经的人。不过他也真是为咱镇上人做了点好事情。怎么说呢？他从船上弄来一块黑溜溜的脏东西，又香又臭，听说是麝香又加进了什么别的东西。谁家姑娘肚子胖起来，你叔父就把那块东西拳在掌心里，对在她的鼻子上。就这么几下子，姑娘家呕泻几次，也就和原来一样了。你说这有多么省心。<br /> <br /> <br /> ==Julia Dereżyńska==<br /> <br /> 后来就活该让史迪新知道了，你不知道他有多么假正经，找到你叔父就拼命。你叔父往码头上跑，他就在身后穷追。他就跑，他就穷追。”张王氏又点了一支烟。她的烟从鼻孔缓缓地流出来，说道：“他穷追，要不也追不上。不过也是天意，你叔父眼看就要跑到码头上了，不巧两只小腿就交绊了一下。他跌倒了，史迪新老怪就顺手拎起小腿，倒提着一拧。你叔父用沙子扬他，他又是一拧。那时候河滩上的碎石块比现在多，你叔父头皮在上面转动，一会儿就流出血来。他不停地骂，史迪新倒不吱一声。最后还是史迪新用一块石头把你叔父的拳头砸开，才把那块东西抢到手。接下去厮打得更凶，两人身上都是血。史迪新料定了洼狸镇早早晚晚要毁在这块黑溜溜的东西上，可是年轻人看着它亲哪。你想这场厮打还能不凶！打到后来，史迪新力气尽了，一扬手把那个东西扔进河里去了。厮打立刻停了。他俩满脸是血，面对面地瞅着……”<br /> 张王氏讲完了，见素久久地沉默着。几十年前的那场厮打令他神往。他想如果当时他也在场的话，那么被扔进河里的只能是史迪新自己。<br /> <br /> <br /> ==Karol Perka==<br /> <br /> 粉丝大厂里的工人常在空闲时间跑进店里，老头子喝零酒，年轻人吃野糖。野糖在嘴里含一会儿，揪住糖棒一拉可以拉出一条长长的细线，有不少姑娘小伙子就为了这长长的细线而来。他们一边吃一边拉，嘻嘻地笑。姑娘吃糖时，见素就趁机揪住糖棒，拉出长线来在她脖子上绕。有一次闹闹来了，穿了白围裙工作服，露着两条白红的胳膊。她一进来就显得十分兴奋，学着“迪斯科”动作，伸手握拳，“啊、啊”地先左右来那么两下子。见素直眼瞅着她，手里紧紧握着刚收到的两毛钱。当闹闹吃起野糖时，见素就走过去。闹闹一双黑亮的眸子频频转动，看着货架上的东西，野糖棒棒在嘴里悠悠旋动。见素刚要抬手去揪糖棒，闹闹举起一根食指，利落而准确地点了一下他的胸脯。见素一个踉跄，觉得她刚才正巧点在了一个穴位上，有些麻胀。他坐下来，冷冷地望着闹闹这团火在柜台近前滚来滚去，最后又滚动着出了门。他长长地吸进一口气。<br /> <br /> <br /> ==Karolina Englert==<br /> <br /> 老多多的粉丝大厂开张以来第一次发生了倒缸。<br /> <br /> 这一次足足折腾了五天，虽然比几年前的那一次损失小多了，可也让赵多多惊慌失措。他三番五次地进老磨屋，求隋抱朴出任大厂的技术员。抱朴都拒绝了。他一下一下用木勺摊着湿胀的绿豆，摊完之后，又坐在那只看磨人坐了几辈子的方凳上。老多多走出磨屋就骂起来，说早晚把这个木头人一枪干掉。成了木头人了，为什么不把他干掉？土改以后的几十年里，老多多一直是高顶街的民兵头儿，可干掉了一些人。他觉得现在老隋家的这个人最好还是干掉。不过他老了，也没有了枪。<br /> <br /> <br /> ==Lena Rzeźnikowska==<br /> <br /> 回到大厂里，人们老问多多为什么没有请出抱朴来，老多多脸色铁青地哼一句：“这个人在老磨屋里坐木了。”他从此坐卧不安，老在屋里走来走去。最后他想起了老隋家的另一个人来，于是就到“洼狸大商店”去了。他开门见山，请见素担任技术员。见素说他不行。老多多笑了：“老隋家的人做这个行当没有不行的。我给你最高工资，你先干着。倒缸自有人扶。”见素心里冷笑起来，他知道赵多多仍旧在打哥哥的主意。他的心里正活动着，张王氏在一边劝起他来，说那个差事好极了，到底有多么好你得干上才知道。见素反问：“我的店怎么办？”张王氏抖着颈上的黑肉，像个鹰隼一样盯住他说：“店还是你的！我来照看。我哪天不替你张罗生意？”见素不做声了。他从商店的门口往外望着天色，微微笑了。<br /> <br /> <br /> ==Malwina Filipowicz==<br /> <br /> 见素重新回到了粉丝大厂。张王氏全面接管了“洼狸大商店”。她每天定时在柜台后面坐上两个钟头，做成的买卖却与以前相同。她还偷偷往酒坛里放了橘子皮，也多少添一点冷水。余下的时间被她精心安排，除了做些家里杂事，天蒙蒙亮时还要放下一切去为四爷爷捏背。一切她都能应付自如，唯有捏背近来使她怵心。四爷爷再有两年就六十岁了，无比健壮，虎气生生。可是他毕竟肥胖起来，背肉越来越厚。捏背的人就怕背厚。张王氏为四爷爷捏了几十年背，这双捏泥老虎的手掌指法灵活，曾经给了四爷爷无限欢乐。可是她近来渐渐觉得有些力不从心了。含章是四爷爷的干女儿，张王氏常常在四爷爷屋里遇见她。有一次张王氏一边捏背，一边说今后该让含章捏背了。当时四爷爷卧在炕上，光光的上身蒙了一块白布。他听了，胖胖的身子烦躁地扭动一下，鼻子里发出“呣”的一声。张王氏从此再不敢提让含章捏背的事了。她每天从四爷爷屋里出来，又圆又红的太阳也正好升起。她直奔店里，站在柜台后面还稍微有些喘息。<br /> <br /> <br /> ==Paweł Andraszak==<br /> <br /> 见素不怎么回他的店，觉得大厂到底比那个店有意思。他只是每隔一个月到店里结一次账。大厂仍旧如同作坊，只不过是名称换了而已。但原来的不少人不愿替多多做活，也就离开了，新添的人中女工居多。粉丝工厂必须连续作业，人要分成两拨子。入了深夜，温吞吞的热气老让人打瞌睡。看着姑娘们在浆子缸边、在冷水盆下迷迷糊糊地东倒西歪，真让人亲哪。见素身为技术指导员，上班不需守时，高兴了随时可以进粉丝屋子巡视一番。他夜间来的时候，上身只穿一件浅紫色的秋衣，下身是挺直的青裤。长筒胶靴锃亮闪光，裤脚就掖在里面。他的头发那么浓黑，脸也就显得更白了。他一个一个端量着姑娘们的睡相，嘴角挂着一丝揶揄。这样看一会儿，他的脸就更加苍白，目光却如炬火一般明亮。奇怪的是他这样站立不久，姑娘们也就一个一个醒来了，向他打着哈欠。<br /> <br /> <br /> ==Natalia Gloc==<br /> <br /> 一个叫大喜的胖姑娘见了他就咳嗽，直咳得脸色赤红才算罢休。大喜做活总不利索，她洗粉丝，常有一团团青白的粉丝落在冷水盆跟前。她咳着，见素走过去狠狠地踢了那团粉丝一脚。她立刻不咳了，可是又打起嗝来，两眼直盯盯地瞅着见素。见素大步从她面前跨过去，崭新的长筒胶靴发出“阔阔”的声音。姑娘们打过哈欠就懒洋洋地做起来，一下一下晃动着筛粉渣的罗子，雪白的围裙在变浓了的雾气中飘动着。粉丝房里特有的芬芳飞快地漾开来，很像是胭脂的香味儿。一个底上钻了无数洞眼的铁瓢就悬在高处，里面盛满了稀溜溜的淀粉糊糊，有人用手在上面拍打，无数条银色的粉线就漏下来。粉线跌入热气腾腾的锅里，立刻变为晶莹透亮的粉丝了。坐在高处拍打铁瓢的是一个黑汉，他刚刚醒来，呐喊一声就摇头晃脑地打起来。整个粉丝房里都是一种节奏分明的声音：“砰砰砰、砰砰砰！” <br /> <br /> <br /> ==Wiktoria Wolny==<br /> <br /> 见素坐在一个木凳上吸起了烟，眼睛在一绺黑发下闪动着。他不吭一声。这样坐了半个多钟头，他突然站起来，踏踏踏地走出了屋子，头也没有回一下。这个挺拔的身影从做活的姑娘们身边一闪而过。<br /> 见素一口气跑上了粉丝房外那个晒粉坨用的高高水泥平台，不停地喘息。他仰脸看天上湿漉漉的星星，又静静地倾听芦青河夜间流淌的声音。老磨还在呜隆隆地转，这使他转过脸去，看河边上那一溜儿灯火昏暗的小窗户。抱朴此刻就坐在方木凳上，守着他的老磨。见素注视着他那个小窗户，似乎盼望它能够突然打开一下，至少是一明一暗地闪动一次。他失望地走下平台，到粉丝房拐角处那个宽敞的大屋跟前站住了。里面亮着灯，传出了鼾声。他知道厂长老多多睡在里面，这样站了一会儿，他的手不由自主地按住了门把手。他屏住了呼吸，一丝一丝把门推开；进了屋子，又轻轻地把门扇合上，然后小心地转过身子。<br /> <br /> <br /> ==Zyta Rydz==<br /> <br /> 老多多仰躺在温热的炕上，只穿一件黑布裤头。黑布又厚又硬的样子，闪着亮光，令人厌恶。老一茬洼狸镇人，除了隋不召几乎都无一例外地肥胖起来了。老多多肚子光光绵绵，让人怀疑有些肿胀。他胡须斑白，满脸横肉，两腮有些奇怪的紫斑。有些发绿的嘴唇微微开启，一颗食牙从里面显露出来。见素看着这张脸，突然发现左边的一只眼是睁着的，心立刻怦怦跳动起来。他脚步牢牢地挺住，伸出一根手指在左眼上方移动，那半睁的眼睛一动不动。他轻轻地舒了口气。老多多粗粗地喘着，巨大的喉结活动不停。紧贴土炕的窄窄的窗台上，莫名其妙地放了一把砍骨刀。这把刀铁锈斑斑，刀背有指头那么厚，但刀刃儿极其锋锐。见素看着砍骨刀，突然脸上没有一点血色。他呆呆地站了一会儿，最后无声无响地退出门去。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158288 2024-01-14T13:30:47Z

<p>Zhang Yuxuan: /* Aleksandra Urbańska */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158287 2024-01-14T13:29:36Z

<p>Zhang Yuxuan: /* Edyta Skorupa */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158286 2024-01-14T13:29:12Z

<p>Zhang Yuxuan: /* Asia Zawada */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。<br /> <br /> <br /> ==Edyta Skorupa==<br /> <br /> 大商店的买卖刚刚开始兴隆，一个叫张王氏的老女人哼哼着跨进店来。她要求店里出售她的手工产品。<br /> <br /> 张王氏的产品无非就是野糖、泥老虎和小铁哨子之类。她经营这些已经几十年了，前些年风声再紧，她也能使产品脱手。她还明里暗里给人算命看相，挣些零钱。她如今六十多岁了，不停地吸烟，嘴角瘪着，样子十分苍老。她的脖颈像胳膊那么细，下巴尖尖地向里弯去，满面灰尘。腰弓了，腿也发抖，不说话也要哼哼。可她做手工的技艺已经到了炉火纯青、出神入化的地步了，比如捏泥老虎，她能把它们捏得像自己一样瘪着嘴角，看上去一个个老气横秋，面慈心软。泥老虎越做越大了，最大的有枕头那么大，要两个孩子合伙才能玩得起来。她提出将泥老虎之类摆在“洼狸大商店”的柜台上出售，她可以缴代售费。<br /> <br /> <br /> ==Ada Dan==<br /> <br /> 见素笑嘻嘻地盯着她颈上的灰，并不认真跟她讲话。她自己取了货架上的香烟抽个不停，眼神尖尖地盯住见素的脸。三十五六岁的小伙子，头发油黑，脸上有几点粉刺。这副漫长脸漂亮，眼神看上去机敏警觉，又透着油气。不用说这是个姑娘们喜欢的角色。他到现在还没有结婚，那是受了家庭的影响，那年头没有谁敢嫁给老隋家的这两个人：他和抱朴。抱朴早年跟老隋家一个打杂的小丫头结了婚，小丫头不久害痨病死了，抱朴也就打起光棍来。张王氏知道见素可不像他哥哥那么老实。她看着他，嘿嘿笑着，露出一口乌黑的短牙齿。见素的脸有些红，用手推了她一把，让她有话快说，还说她是个丑老婆子。张王氏从衣兜里掏出几个泥老虎放到柜台上，见素觉得那虎的脸跟她的脸可真是一模一样。他笑了。张王氏用手抚摸着他的胳膊、硬实实的胸脯，夸奖说：“真是个壮实孩子。”见素老在笑。张王氏拍了一下他的屁股，虎起脸说：“好生跟你老奶奶说话！”见素“嗯”了一声，不敢笑了。他们盘算起手工产品的本利来，直到点灯时分还在盘算。张王氏离开的时候，他们已经谈妥了。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158285 2024-01-14T13:27:49Z

<p>Zhang Yuxuan: /* Asia Zawada */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158284 2024-01-14T13:27:34Z

<p>Zhang Yuxuan: /* Asia Zawada */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158283 2024-01-14T13:26:36Z

<p>Zhang Yuxuan: /* 《古船》第三章 */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==<br /> <br /> ==Aleksandra Urbańska== <br /> <br /> 隋见素终于辞掉了粉丝大厂的工作。很多人都对老隋家的一个人离开了这个行当感到惊讶。隋见素却无比轻松。他到工商部门去申请，又多次找高顶街书记李玉明和主任栾春记，终于在大街上设了个烟酒小摊。一个月之后，他又寻了一间临街的闲房，准备开一个商店。他几次到老磨屋里请哥哥跟他一起干，抱朴总是摇头。见素沮丧地说：“你的字好，那就给店写个匾额吧。”<br /> 老磨隆隆地转动。抱朴取起见素拿来的笔，大声问：“什么店名？”见素一字一顿地说：“‘洼狸大商店’。”抱朴在方木凳上伸展着纸，手突然抖个不停。他去蘸墨，手抖得更厉害了。<br /> <br /> <br /> ==Asia Zawada==<br /> <br /> 匾额终于没有写成。见素不得不去求了镇小学的校长长脖吴。校长五十多岁，颈肉出奇的松弛。写匾额时，他不用瓶装墨汁，而让见素在一个半尺长的老砚台上研墨。见素整整研磨了一个钟点。长脖吴取出一杆秃头大笔，蘸饱了墨就在崭新的红纸上揉动起来。见素看到他瘦瘦的手腕上突然就凸起三道青筋，当青筋慢慢消下去的时候，“洼狸大商店”五个大字已成。其中有三个字与所有人的写法都不同。看着这几个字，不知怎么老让人想起生了锈的铁器。匾额悬到门上，身材颀长、面孔白皙的隋见素斜倚在门框上，看上去这个店多少有些怪异。开张的前一个星期只卖出三瓶香油、一盒香烟。隋不召第一个走进侄子的店里当顾客了，他四下里看着，临走时建议店里要卖零酒及下酒用的咸菜，墙壁上还要用油漆画个大酒坛。见素一一采纳，并且能够举一反三，在门侧外墙上贴了电影女演员的画。洼狸镇上的老人都在庙会上蹲着喝过零酒，酒坛勾起了他们一片怀旧之情。这样店里先多了老头子，接上又有了年轻人拥进来。一个店开始热闹起来了。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158282 2024-01-14T13:22:45Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei<br /> <br /> ==《古船》第三章==</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158281 2024-01-14T13:15:08Z

<p>Zhang Yuxuan: /* The Ancient Ship by Zhang Wei */</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> <br /> Original text: https://www.feiku6.com/book/s3-guchuan.html <br /> <br /> English translation: <br /> <br /> Title:《古船》 The Ancient Ship<br /> <br /> Author: 张炜 Zhang Wei</div>

Zhang Yuxuan https://bou.de/u/index.php?title=The_Ancient_Ship&diff=158280 2024-01-14T13:13:23Z

<p>Zhang Yuxuan: Created page with &quot; ==The Ancient Ship by Zhang Wei== Original text:https://www.feiku6.com/book/s3-guchuan.html English translation: Title:《古船》 The Ancient Ship Author: 张炜 Zhang Wei&quot;</p> <hr /> <div><br /> ==The Ancient Ship by Zhang Wei== <br /> Original text:https://www.feiku6.com/book/s3-guchuan.html <br /> English translation: <br /> Title:《古船》 The Ancient Ship<br /> Author: 张炜 Zhang Wei</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158279 2024-01-14T12:57:29Z

<p>Zhang Yuxuan: /* Session 11: Contemporary literature I */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> Presentation and homework: [[The Ancient Ship]] by Anna Proskura 张宇璇<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Critical_Review_of_Chinese_Literature&diff=158278 2024-01-14T12:54:08Z

<p>Zhang Yuxuan: /* Session 11: Contemporary literature I */</p> <hr /> <div>FRI 9:45-11:15 sal. 413 Critical Review of Chinese Literature Krytyczny przeglad literatury <br /> chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;Please follow this link to the [[crit_lit_20230131|final paper]] page.&lt;/span&gt; Please list your topics there and start writing as soon as you get the ok by the teacher.<br /> =Session 1: Organizational Things and Self-Introduction=<br /> *教学助理 - Karolina [[Teaching assistant]]<br /> *维基管理员 - Malwina [[Wiki admin]]<br /> ==Student roll (1st year Master)==<br /> #Gabriela Krukowska 王美芬 大學老師和教育 翻譯 電腦游戲本地化<br /> #Ewa Kopania 田小龍 外交官 對亞洲、歷史感興趣，因爲瞭解到日本的歷史責任轉到對中國感興趣 喜歡讀書 23，畢業以後參加外交部的考試<br /> #Zyta Rydz 魏雨昕 新疆 語言政策 筆譯翻譯 喜歡文學<br /> #Asia (Joanna) Zawada 金樂 金乐 中国人觉得他们的精英怎么样？ 古代和20世紀的中國人 翻譯波蘭文學翻譯成漢語，數學 數據分析<br /> #Karol Perka 康明傑在中國文學裏翻譯成中文的西方外文名稱，外語，老師<br /> #Malwina Filipowicz 李美琳 對中國文化感興趣，外語，翻譯<br /> #Anna Proskura 張宇璇 外語（俄語、烏克蘭語、波蘭語、漢語、英語）<br /> #Julia Dereżyṅska 楊思藝 外語（俄語、英語、漢語、波蘭語、韓文）、lgbt的詞語、語言分析<br /> #Paweł Andraszak 安浩阳 中國文化，文學，歷史 中國農村宗教 （武俠電影）<br /> #Aleksandra Urbanska 晏黎 动物象征，对仙侠电视剧的影响 外语（英語老師、波蘭語、漢語）以後要學韓語、泰語 西哈(Hip Hop)跳舞<br /> #Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> #Natalia Gloc 裴夢姣 翻譯 粵語、中國方言和文字<br /> #Edyta Skorupa 艾希 從小對中國文化感興趣，要儅漢語老師 成都方言（語法）<br /> #Wiktoria Wolny 王曉彤 中國文化和文學、喜歡看文學、相當筆譯，翻譯小説，奇幻小説（Fantasy） 中國長篇小説的兩種英文翻譯<br /> #Ada Dan 愛答 外語、俄語、學西班牙語 營業代表 喜歡音樂，自己創造音樂 跳舞（Dance Hall）美國和中國在天空的比賽 現在：文學題目 <br /> <br /> ===课程安排 Schedule of Literary Works (schedule, topics and presenters - please add your name)===<br /> Please write your names behind the topics<br /> *1 Oct 6, 2023 9:45-11:15 424 Organizational things<br /> *2 Oct 13 9:45-11:15 Song Poems (ci): Su Dongpo: &quot;Trampled Green&quot;<br /> *3 Oct 27 9:45-11:15 Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> *4 Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) 康明杰 Karol Perka, 艾希 Edyta Skorupa <br /> *5 Dec 7 8:00-9:30 Ming novels II (The Scholars, Outlaws of the Marsh) 杨思艺 Julia Dereżyṅska <br /> *6 Dec 8 9:45-11:15 Qing novels (Cao Xueqin: Red Chamber Dreams) 裴梦姣 Natalia Gloc<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature (Liang Qichao: The Future of New China) 李美琳 Malwina Filipowicz, (Kang Youwei: Datong shu) 王晓彤 Wiktoria Wolny<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕 Zyta Rydz<br /> *9 Jan 12 9:45-11:15 Modern literature (Underground poets, Mo Yan) 安浩阳 Paweł Andraszak, （Wang Meng） 苏诗美 Lena Rzeznikowska<br /> *10 Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> *11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> *12 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> *13 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> *14 Feb 9 9:45-11:15 Wrap up discussion<br /> ONLINE: Final Paper (homework)<br /> <br /> Karolina Englert 安凱榕 華沙大學、中醫：氣功的發展<br /> <br /> =Session 2: Su Dongpo - Families on a Spring Outing=<br /> '''和子由踏青'''<br /> Go on a Spring Outing with [my little brother] Ziyou<br /> <br /> 朝代：宋朝|作者：蘇軾<br /> <br /> 春風陌上驚微塵，遊人初樂歲華新。<br /> <br /> The spring wind surprisingly whirls small dust onto the paths<br /> <br /> Strollers enjoy the new season for the first time,<br /> <br /> 人閑正好路旁飲，麥短未怕遊車輪。<br /> <br /> For the idle people there are rightly prepared (?) drinks at the roadside, <br /> <br /> the grain sprouts fearless of the wheels of the strollers' vehicles.<br /> <br /> 城中居人厭城郭，喧闐①曉出空四鄰。<br /> <br /> The city inhabitants detest the city walls<br /> <br /> at daybreak, the voices' and drums' noise drives out all the neighbors from the city.<br /> <br /> 歌鼓驚山草木動，簞②瓢散野烏鳶馴。<br /> <br /> The sound of songs and drums alarm the mountains and the plants tremble,<br /> <br /> baskets are scattered on the fields, crows and milans pick without fear.<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Wiktoria: Who is he who calls himself a Taoist among the crowd gathered around him? He blocks the way and sells talismans with an angry expression. <br /> <br /> Julia: Who’s the one that claims to be a Taoist? Everyone gathers around him as he’s blocking the pathway, selling talismans with an angry expression.<br /> <br /> Malwina: Who gathered the crowd and calls himself a Taoist?<br /> The one that is blocking the road, who sells talismans with angry expression.<br /> <br /> Sandra: Who is gathering a crowd, calling himself a Taoist? <br /> Blocking the road and selling Taoist charms in anger:<br /> <br /> Ada: Who draws the crowd? The taoist, who is blocking the road and is selling talismans with an angry frown.<br /> <br /> Asia: Who is there that claims to be a Taoist, attracting everyone around to watch?<br /> I saw him blocking the road to sell talismans, blushing and boasting about them<br /> <br /> Anna: Who calls himself a Taoist, gathering crowds of people to watch?<br /> He is blocking the road and selling talismans with an angry expression on his face:<br /> <br /> Natalia: Who is that person, this Taoist priest? Blocking the way and selling talismans - with an angry expression he proclaims:<br /> <br /> Edyta: Who is the person who calls himself a Taoist? The crowd gathering among him covers the road. He sells talismans with an angry expression saying:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Wiktoria: “It should cause your silkworms to make cocoons as big as urns, it should cause your sheep to become as big as deer.”<br /> <br /> Julia: „It will make your silkworm cocoons as big as clay jars and your sheep as meaty as deer .”<br /> <br /> Malwina: “It will cause the cocoons of your silkworms to be as big as urns, your sheep to be as big as deer.”<br /> <br /> Sandra: &quot;Suitable for silkworms, their cocoons will be like urns, <br /> suitable for livestock, it will be like elk.&quot;<br /> <br /> Ada: “It will make your silkworms build cocoons as firm as a jar and will make your sheep grow as big as a stag”<br /> <br /> Asia: “My talisman can make your domestic silkworm cocoon as big as an urn, and your sheep as round as a roe.”<br /> <br /> Anna: &quot;My talisman will enable you to raise silkworms with cocoons as big as urns, and sheep as round as deer.&quot;<br /> <br /> Natalia: „Your silkworm cocoons will be as solid as urns, your sheep will be as vital as stags.”<br /> <br /> Edyta: &quot;My talismans will provide silkworms with cocoons as large as clay jars, and sheep the size of deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Wiktoria: Passers-by may not believe in these words. Still, they reluctantly buy talismans to wear them for good luck in the New Year.<br /> <br /> Julia: The people walking by don’t necessarily believe these words, but they reluctantly buy the talismans for good luck in the New Year anyway.<br /> <br /> Malwina: People walking by may not necessarily believe his words,but they still reluctantly buy the talismans to wear them for good luck in the New Year.<br /> <br /> Sandra: Passers-by may not believe his words, <br /> but they reluctantly buy the charms to celebrate the New Year.<br /> <br /> Ada: The crowd does not really trust these words, yet they buy the talismans to pray for blessings with the New Year.<br /> <br /> Asia: People may not believe what he said, but they reluctantly bought it and wore it on their bodies just to show their good luck in the New Year.<br /> <br /> Anna: Passers-by on the street may not necessarily believe his words, but they reluctantly bought and wore it just for the sake of good luck in the New Year.<br /> <br /> Natalia: The people on the streets may not believed the Taoist’s words, yet still they reluctantly bought his talismans – just to secure good fortune for this New Year.<br /> <br /> Edyta: Passers-by may not be entirely convinced of the truth of the Taoist's words, but reluctantly bought his talismans in order to protect good fortune in the New Year. <br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Wiktoria: The Taoist earns the money and goes directly to buy some wine. Drunk, he says to himself: “My talismans truly are effective!”<br /> <br /> Julia: When the Taoist earns enough money from the sale, he goes and buys some wine. Drunk, he says to himself: „My talismans really are working!”<br /> <br /> Malwina：When the Taoist earned enough money, he went straight to buy himself some wine, in a drunken state he declared himself a talisman god!<br /> <br /> Sandra: After obtaining the money, the Taoist buys wine straight away,<br /> drunkenly calling himself a charm god!<br /> <br /> Ada: After collecting the money, the taoist goes straight to buy wine. He collapses drunkenly and calls himself the talisman god.<br /> <br /> Asia: When the Taoist could finally afford it, he went to buy wine and drink it by himself. After he got drunk, he ensured himself that his talismans were really spiritual.<br /> <br /> Anna: The Taoist earned money from the sale and went to buy wine to drink, got drunk and said to himself: &quot;My talisman can really work!&quot;<br /> <br /> Natalia: When the Taoist obtained the money, he directly went to buy some wine, and then in a drunk state, he called himself the god of talismans.<br /> <br /> Edyta: When the Taoist had earned enough money, he went to buy some wine. After he got drunk, proudly called himself the god of talismans!<br /> <br /> 何人聚眾稱道人？③遮道④賣符色怒嗔：<br /> <br /> Karol: Who in the crowd is a Taoist? <br /> The one blocking the road that sells talismans, visibly angry:<br /> <br /> “宜蠶使汝繭如甕，宜畜使汝羊如麇。”⑤<br /> <br /> Karol: &quot;It suits the silkworms - cocoons of your silkworms will be as thick as an urn, <br /> It suits the livestock, your sheep will be as big as deer.&quot;<br /> <br /> 路人未必信此語，強⑥為買服禳新春。<br /> <br /> Karol:Passers-by may not believe these words, yet they reluctantly buy talismans to wear them<br /> for protection from bad luck in the New Year.<br /> <br /> 道人得錢徑沽酒，醉倒自謂吾符神⑦！<br /> <br /> Karol: The Taoist earns the money and goes straightaway to buy some wine,<br /> Drunk, he says to himself: &quot;My talismans are working!&quot;.<br /> '''和子由踏青'''<br /> <br /> Paweł(安浩阳）: Treading the green<br /> Aleksandra（晏黎）：Green spring outing<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Paweł: East wind stirs fine dust on the pathways, <br /> <br /> fine opportunity for strollers to enjoy the new spring<br /> <br /> Aleksandra: Eastern spring wind flutters fine dust on paths,<br /> wanderers can enjoy the first taste of the new season.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Paweł: Season of idleness, just right for drinking by the side of the road,<br /> <br /> to be crushed by carriage wheels - too short is the grain,<br /> <br /> Aleksandra: Idleness period, just in time for drinks by the roadside,<br /> even the short grain does not fear the carriage wheels.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Paweł: City people detest the walls which surround them, <br /> <br /> they bustle loudly at the break of day and leave the whole town empty,<br /> <br /> Aleksandra: Residents of the city loathe the surrounding walls,<br /> thundering at daybreak, vacating the town.<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Paweł: Songs and rhythms shake the hills, grass and trees tremble, <br /> <br /> picnic baskets scattered in the fields where crows pick them over,<br /> <br /> Aleksandra: Songs and drums rattle the mountains, flora trembles,<br /> baskets and ladles scattered on the fields where crows batten.<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Paweł: Who is the one who draws the crowds there? A Taoist priest, <br /> <br /> blocking the pathway, selling charms and frowning,<br /> <br /> Aleksandra: Who is the one known as the Taoist priest gathering the crowds?<br /> Blocks the way, selling talismans and scowling:<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> Paweł: &quot;It is good for silkworms - cocoons will be just like pots of water, <br /> <br /> it is good for livestock, your sheep will be as big as a deer&quot;,<br /> <br /> Aleksandra: &quot;Ideal for silkworms, your cocoons will be as urns,<br /> ideal for livestock, you sheep will be as deer.&quot;<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Paweł: People passing by are not sure they believe his words, <br /> <br /> yet they buy these charms in order to consecrate the spring,<br /> <br /> Aleksandra: Passing people do not necessarily trust those words,<br /> yet reluctantly buy the talismans to bless the new spring.<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Paweł: The Taoist priest takes their money, and goes to a winehouse, <br /> <br /> completely drunk he mumbles: &quot;The charms, they really work!&quot;<br /> <br /> Aleksandra: The Taoist priest takes the money, directly goes to buy the wine,<br /> and drunkenly proclaims himself a talisman god!<br /> <br /> '''Hé zǐ yóu tàqīng'''<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> '''和子由踏青'''<br /> <br /> Hé zǐ yóu tàqīng<br /> <br /> 朝代：宋朝|作者：苏轼<br /> <br /> Cháodài: Sòngcháo | zuòzhě: Sū Shì<br /> <br /> 春风陌上惊微尘，游人初乐岁华新。<br /> <br /> Chūnfēng mò shàng jīng wēichén, yóurén chū lè suìhuá xīn.<br /> <br /> 人闲正好路旁饮，麦短未怕游车轮。<br /> <br /> Rén xián zhènghǎo lùpáng yǐn, mài duǎn wèi pà yóu chēlún.<br /> <br /> 城中居人厌城郭，喧阗①晓出空四邻。<br /> <br /> Chéngzhōng jū rén yàn chéngguō, xuāntián xiǎo chū kōng sìlín.<br /> <br /> ①喧阗——形容人声、鼓声相杂。<br /> <br /> 歌鼓惊山草木动，箪②瓢散野乌鸢驯。<br /> <br /> Gē gǔ jīng shān cǎomù dòng, dān piáo sàn yě wū yuān xùn.<br /> <br /> ②箪，食器；瓢，炊具。这句形容郊游的人有许多在那儿野餐，乌鸢也来捡食，并不避人。<br /> <br /> 何人聚众称道人？③遮道④卖符色怒嗔：<br /> <br /> Hérén jùzhòng chēngdào rén? Zhēdào mài fú sè nù chēn:<br /> <br /> ③何人聚众称道人 这句是倒装句，意思是说：那称道人的是什么人，众人都聚观他。<br /> <br /> ④遮道——拦路。<br /> <br /> “宜蚕使汝茧如瓮，宜畜使汝羊如麇。”⑤<br /> <br /> “Yí cán shǐ rǔ jiǎn rú wèng, yí xù shǐ rǔ yáng rú jūn.”<br /> <br /> ⑤瓮——瓦坛子。麇（jūn）——野獐子。这两句是说道人吹嘘他的符十分灵验；能使你的蚕茧像坛子那样粗大，羊饲得像獐子那样肥、那样健、那样活泼。<br /> <br /> 路人未必信此语，强⑥为买服禳新春。<br /> <br /> Lùrén wèibì xìn cǐ yǔ, qiáng wèi mǎi fú ráng xīnchūn.<br /> <br /> ⑥强——勉强。服——佩带在身上。禳——祈福除灾。<br /> <br /> 道人得钱径沽酒，醉倒自谓吾符神⑦！<br /> <br /> Dàoren de qián jìng gūjiǔ, zuìdǎo zì wèi wú fú shén!<br /> <br /> ⑦神——灵验。这句是说道人自己相信自己的符，颇有骗钱买酒的“灵验”。<br /> <br /> 此诗为公元1063年（嘉祐八年）正月苏轼在凤翔所作。苏轼弟苏辙时在京师侍父，当看到北方新年之初的异域风俗，不由想起了家乡眉山岁首乡俗，便写下了《踏青》、《蚕市》诗二首。苏轼应弟之作也和诗二首。这是其中之一。 此诗描写了苏轼青少年时在家乡新春之际，与家人及“城中居人”游春踏青的盛况，具有浓郁的乡情。后四句刻化了一位骗钱道人的生动形象，增添了郊游的喜庆气氛。故乡的风俗民情令人倍感亲切，耐人回味。<br /> <br /> 译文：东风微排的田间小路上惊起了微尘，游人们开始来到野外感受春天的喜悦与温馨。人们难得清闲，正好停车在路旁小饮，麦苗短而柔韧，不怕那辗轧过来的车轮。城里人厌倦了高高的城墙，向往着郊外的景致，许多人家一大早就爬起来，用腾腾地涌出城来踏青。鼓乐声惊醒了冬眠的山岭，草木在欢歌笑语中摇动。野餐用的箪瓢遍野都是，前来捡食的乌鸢像列养熟了一样全不避人。那边是个什么人在自称道人，引得众人都来围观？ 只见他挡在路上卖符，脸红脖子粗地夸说它是多么灵：我这符能使你家养蚕结茧似瓮大，养羊如獐圆滚滚。路上的人未必就信他的话，只是为了图个新春吉利，才勉强买下佩带在身。道人卖得了钱就径自去买酒喝，醉倒后还自言自语说我这符可真灵。<br /> <br /> Su Dongpo / Su Shi:<br /> <br /> '''Trampled green'''<br /> <br /> East wind whirls fine dust onto the streets:<br /> <br /> First possibility for walkers,<br /> <br /> to enjoy the new spring.<br /> <br /> Season of idleness, just right<br /> <br /> for refreshment at the roadside<br /> <br /> The grain is still too short,<br /> <br /> to be crushed by agricultural machinery.<br /> <br /> City people sick through the walls around them.<br /> <br /> Noisy start at daybreak,<br /> <br /> leaving the whole city empty.<br /> <br /> Songs and rhythms measure the hills,<br /> <br /> Grass and trees shake,<br /> <br /> Picnic baskets scattered in the fields,<br /> <br /> where crows peck them out.<br /> <br /> [[File:Trampled_Green.jpg|500px|thumb|left|Su Shi: Trampled Green]]<br /> <br /> ==End of Session 2==<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> *<br /> <br /> =Session 3: Oct 27 9:45-11:15 Yuan Drama (Zaju)=<br /> ===Task: Please read the [[English Summary of Dou E]]===<br /> ===Original Text: Guan Hanqing: “The Injustice to [[Dou E]]”===<br /> See also the Reader.<br /> <br /> ===Task: Please read your part of the original text and make a 3-sentence summary at the end of our part===<br /> <br /> =Session 4: Ming novels I=<br /> Dec 1 9:45-11:15 Ming novels I (Three Kingdoms, Journey to the West) <br /> ==Journey to the West==<br /> '''Presentation''' and homework [[Journey to the West]] by 康明杰 Karol Perka<br /> <br /> The novel is extremely popular among children in Asia. This novel is one of the 4 Outstanding Novels 四大名著, and especially in Japan and Korea a best seller, next to the Three Kingdoms. The novel &quot;Red Chamber Dreams&quot; is more popular in Europe. One of the reasons may be, that the novel has animal characters and especially animals which are not so famous like monkeys and pigs.<br /> <br /> The historical background of the novel is that from the 1st Century AD buddhism came to China. In Tang Dynasty, Buddhist religion flourished in China and among the first monks who travelled from China to India to collect Buddhist scriptures was 玄奘 Xuánzàng (600-664) n. 〈hist.〉 Budd. priest, also known as San Zang or Tripitaka. He visited India 629-645 and returned with many Buddhist scriptures, so called &quot;sutra&quot;. The novel uses this historical setting, but one of the legendary accompaniers, Sun Wukong, the monkey king, becomes the new protagonist.<br /> <br /> ==Three Kingdoms==<br /> '''Presentation''' and homework [[Romance of the Three Kingdoms]] by 艾希 Edyta Skorupa<br /> <br /> '''Explanations to prepare ppt and texts:'''<br /> <br /> Every student preparing a topic in class is asked to find the original Chinese text (they are all available on the internet), create a link under the respective session with a second page (the wiki admin can help with it), copy the full text there (if the text is too long, you will have to be split it in several websites (the wiki admin can help) or you simply select only extracts from it which you find worth reading. Please also select a part of the text, which the wiki admin can split again into small sections, each student only needs to read a small section and write a short summary in English beneath (as you know from the Yuan zaju). The Wiki admin then makes another link from the course homepage to the homework section of the text.<br /> <br /> The presentations should be in powerpoint format, be uploaded to the course website in advance and should introduce the text, embed it in its social-historical context including relevant information about the author etc. You should also take some examples from the text and explain them, so that the fellow students understand your approach to the text. This presentation can be about 15 minutes. I will continue to present the text after the powerpoint, but the student should stay in front in order to develop the teaching sometimes in dialogue form. For the 2nd part of the class, the presenting student should prepare something interactive, e.g. hand out paper sheets with short texts and ask fellow students to enact the story with the help of the paper sheets. You should also use mentimeter.com to make a short survey or get feedback etc.<br /> <br /> You cannot read so many books in just a few days. Don't forget that you still have other courses and homework. So please just provide summaries to read for the students and small extracts which the students should actually read to get an impression of the original text.<br /> <br /> Every student should do a presentation. If there are less sessions than students, two students will have to present in the same session. However, every student should still have his/her own topic. In some sessions, there are more works in one session, and then two students can pick one work each.<br /> <br /> There are not many sessions covered with the Reader. You will have to look for most of the texts online, but they are easy to find.<br /> <br /> ==Grades for transaltion homework &quot;Romance of the Three Kingdoms&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka <br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> ==Grades for translation homework - &quot;The Journey to the West&quot; text==<br /> <br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada (+100)<br /> *Karol Perka (+100)<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa (+100)<br /> *Wiktoria Wolny (+100)<br /> *Ada Dan <br /> *Lena Rzeźnikowska <br /> *Sandra Piechowiak (+100)<br /> <br /> =Session 5: Ming novels II=<br /> Dec 7 8:00-9:30 (This is session no. 5 Ming novels II (Outlaws of the Marsh, The Scholars) 杨思艺<br /> ==Outlaws of the Marsh==<br /> Dec 7, 2023, 8:00-9:30, room 413<br /> <br /> '''Presentation''' and homework [[Outlaws of the Marsh]] by Julia 杨思艺 Julia Dereżyṅska<br /> <br /> Outlaws of the Marsh is a long heroic legend and it is one of the long masterpieces in ancient China. The story is created on the basis of Song Jiang uprising as the clue. The novel is one of the classical long vernacular novels loved mostly by Chinese. It is written in the Ming Dynasty. On the basis of stories, colloquial stories and dramas about the Marsh since the Song and Yuan Dynasties, the author processed stories and created the novel. The book takes the peasant uprising led by Song Jiang as the main subject and presents an artistic reproduction of moving and tragic picture of ancient Chinese fighting against oppression to carry out heroic struggles. It fully exposes corruption and brutality of the feudal ruling class, revealing sharp and opposing social conflicts and the cruel reality that &quot;people are forced to rebel by officials &quot;.<br /> <br /> ==Grades for translation homework - &quot;Outlaws of the Marsh&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska (+100)<br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska (+100)<br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> ==The Scholars==<br /> 儒林外史 Inofficial History of Confucian Scholars<br /> <br /> =Session 6: Qing novel I=<br /> Dec 8 9:45-11:15 Qing novel I (Cao Xueqin: Red Chamber Dreams I) 裴梦姣 Natalia Gloc<br /> <br /> See Reader.<br /> <br /> ==Dream of the Red Chamber==<br /> '''Presentation''' and homework [[Dream of the Red Chamber]] by 裴梦姣 Natalia Gloc<br /> <br /> Short introduction: &quot;Dream of the Red Chamber&quot; is one of the most important classical novels in the history of Chinese literature (one of the 四大著名). It was written in the 18th century (during the reign of the Qing dynasty) by Cao Xueqin. The author's approach shattered conventions in traditional Chinese fiction, setting a new standard for literary expression, as the characters created by him, are neither fully good nor fully bad. The whole number of characters that appeared in the novel is almost 400 (with 40 major characters). The main plot of this book is focused on 贾宝玉 and his affection towards 林黛玉, however, we can not overlook the fact that it also presents a detailed portrayal of Chinese culture and Chinese society during that time.<br /> <br /> ==Grades for transaltion homework - &quot;Dream of the Red Chamber&quot; text==<br /> <br /> *Gabriela Krukowska (+100)<br /> *Ewa Kopania <br /> *Zyta Rydz (+100)<br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura (+100)<br /> *Julia Dereżyṅska (+100)<br /> *Paweł Andraszak (+100)<br /> *Aleksandra Urbanska <br /> *Natalia Gloc (+100)<br /> *Edyta Skorupa <br /> *Wiktoria Wolny (+100)<br /> *Ada Dan (+100)<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz (+100)<br /> *Karolina Englert (+100)<br /> <br /> =Session 7: Dec 14 8:00-9:30 Dystopian literature=<br /> *7 Dec 14 8:00-9:30 Late Qing dystopian literature<br /> #Liang Qichao: The Future of New China 李美琳 Malwina Filipowicz<br /> #Kang Youwei: Datong shu 王晓彤 Wiktoria Wolny<br /> <br /> ==The Book of Great Unity==<br /> <br /> '''Presentation''' and homework: [[Datong Shu]] by Wiktoria 王晓彤<br /> <br /> Short introduction: In the early twentieth century, the great Chinese thinker and reformer Kang Youwei wrote a book entitled ''Datong shu'' (The Book of Great Unity) in which he put forward an original and radical interpretation of “datong”. The book describes the long march of mankind from division to unity, while defying any strict categorization. It describes the “world of tomorrow” with its technological, political, and social wonders, it also includes significant pieces of historical, political, religious, and scientific literature dealing with the past and the present.<br /> <br /> ==The Future of New China==<br /> <br /> Presentation and homework: <br /> <br /> [[The Future of New China]] ૮ ・ﻌ・ა by Malwina Filipowicz 李美琳<br /> <br /> The Future of New China is a political novel by Liang Qichao. The novel was published in the year 1902 and predicts the prosperity of the &quot;New China&quot; 60 years later. One of the main characters Huang Keqiang (黃興) advocates a constitutional monarchy, and on the other hand, his son Li Laijie (李去病) advocates a french-style revolution. The two sides engage in a heated debate!<br /> <br /> ==Teacher information: Liang Qichao==<br /> Liang Qichao, An account of the Future of New China, 1902<br /> <br /> Liang Qichao, offered an alternative reading of the stages China would take on the road to Great Harmony in an unfinished work on the future, composed in 1902, entitled An Account of the Future of New China (Liang, 1902). The centrepiece of the story is a series of speeches on 'China's History these Sixty Years Past' delivered to an international assembly in Shanghai, 'on the first day of the first month in the Year of Confucius 2513 ... or 1962 on the Western calendar'. The fictional speaker was Kong Juemin, a descendant of Confucius (Kong) whose given name (Juemin) meant 'awaken the people'. The fictional occasion was the 50th anniversary of the birth of New China, an anniversary that fortuitously marked the founding of the International Peace Congress in 1962 following the 'Hungarian Conference' some years before. The event marked the birth of Great Harmony on earth.<br /> <br /> By Liang's account, world leaders selected New China to host the launch of the new international body in recognition of that country's role in planning and creating the new global order. Leaders and dignitaries from all major countries gathered in China in January 1962 to attend the two ceremonies, one commemorating the achievements of New China and the other the birth of the new global order. Visiting dignitaries included the King and Queen of Britain, the Emperor and Empress of Japan, and the Presidents (take note: &quot;presidents&quot; predicts Liang) of Russia, Hungary and the Philippines. Lesser dignatories, including religious leaders of all persuasions ('this is known as Great Harmony') met in Shanghai along with thousands of scholars and tens of thousands of university students from around the globe (Liang, 1902: 2-3).<br /> <br /> Among the men and women who crowded into Kong's lectures on the history of the past 60 years were 1000 foreigners, all fluent in Chinese. Since the start of the reform era, the author points out, thousands of American and European students had come to learn the language in order to keep up with developments in China. By 1962, some 30,000 foreign students were enrolled in local universities and colleges. Most preferred to stay in China. To the time in question (1962) fewer than 1200 students had returned to their home countries to work. The West had a serious brain-drain problem on its hands.<br /> <br /> Kong began his lectures reflecting on the qualities that had made China a great power, specifically patriotism, selflessness and democracy. China succeeded because its people had learned to put their country before themselves (Liang, 1902: 5). This marked a radical break with 'Old China': 'Our China died long ago ... in fact this is the point [of departure] for the continuation of New China'. By 1962, China had become a liberal democracy with three major parties competing for ascendancy: a centralist State Power Party (guoquandang), a decentralist Patriotic Self-Government Party (Aiguo zizhidang) and a party committed to the well-being of the individual, the Liberal Party (ziyoudang). Each of these parties had its origins in an earlier Constitutional Party (xianzhengdang), founded in 1902, consisting of a grand alliance of all existing reformist, revolutionary and secret society organisations which combined forces to introduce constitutional government to China. Three core principles governed the organisation of this seminal political alliance: first, that the choice of a monarchical, republican or federalist constitution should be determined by public plebiscite. That is to say, all members' agreed to implement constitutional rule according to the wishes of the people, irrespective of their differences over the form that the constitution should take.<br /> <br /> Second, the party's rules and procedures for dealing with internal matters should reflect those that an enlightened government would employ in governing a country. Third, party membership was open to all who shared the constitutional aims of the party, and conferred equality on members regardless of their social status, profession or gender (Liang, 1902: 7-8).<br /> <br /> This brief narrative history of New China to 1962 occupies only a small part of Kong Juemin's talks. By far the longest section of the lectures is devoted to a verbatim account of an old debate between two founding members of the Constitutional Party about China's future. One was Huang Keqiang, son of a noted Cantonese scholar. Old Mr Huang despatched his son and another student, Li Yunbing, to Britain to study English and learn the ways of the West. He prepared them for their departure by exposing them to the works of Kang Youwei (Liang Qichao's own teacher, and the author of Great Harmony Philosophy, 1902 [1935]), and by introducing them to Tan Sitong, who was just completing his Renxue (1896, noted above). They were among the first to read the work.<br /> <br /> On reaching England they gained entry to Oxford. They graduated around the time of the 'Hundred Days Reform', in 1898, an actual historical event associated with Kang Youwei and Tan Sitong and a party of their supporters and students, including the author of the story himself, Liang Qichao.<br /> <br /> The tragic outcome of the reforms forced the two students to delay their return to China.<br /> <br /> Their return was precipitated by the discovery that the universal truths they had been seeking in Europe were compromised by the Europeans themselves.<br /> <br /> The prevailing mood in Europe soured against China around the time of the Boxer Uprising in 1900. The two young men observed that Kaiser Wilhelm II, author of the Yellow Peril scare, now 'said many things that were not in keeping with human morality' and that the German press resorted to terms such as 'pigtails' and 'yellow monkeys' in referring to the Chinese people. This encounter with racism in Europe inaugurates their journey home, and launches them into their dialogue on the future of China (Liang 1902: 17).<br /> <br /> 'Which country will be China's future master?', they ask on their journey home. And what of the 'future of New China'? Their disagreements centre on what was to be done to ensure that the Chinese people achieved mastery over their own national destiny - Huang arguing that the best solution lay in working with the present Manchu court, and Li that the Manchu court was part of the problem. Their contrasting positions reflected the reformist and revolutionary positions of the day. Liang Qichao gave each side a fair hearing over 25 pages of his 40-page story but came down strongly on the side of the reformers who wished to preserve the Manchu Dynasty under a form of constitutional rule. On the question of how to involve China's 'four hundred million citizens' in the struggle they were in basic agreement. Both conceded that the majority of the Chinese people were 'asleep, living in dreams' [emphasis added], and that it was the responsibility of the awakened few such as themselves ('people who already know') to wake them up.<br /> <br /> ====Original====<br /> <br /> Liang Qichao (1902 [1936]) 梁啓超 Liang Qichao, 新中國未來記 An account of the Future of New China, 1902, in Liang Qichao, Yinbingshi zhuanji [Monographs from the Ice Drinker's Studio]. Shanghai: Zhonghua shuju.<br /> <br /> English summary<br /> <br /> John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17<br /> <br /> <br /> ===Foreword to the Publication of Political Novels in Translation===<br /> <br /> Liang Qichao<br /> <br /> The genre of political novel originated in the West. It is human nature to dread the solemn and to take delight in the humorous. Hence, classical music puts us to sleep, whereas songs of the States of Zheng and Wei cause us to lose ourselves in lewdness and become oblivious to our fatigue. This is indeed a characteristic trait of human nature, and even the sages could not tamper with it. A.good teacher should guide his pupil in the direction that his temperament will naturally proceed. Thus, he sometimes resorts to subtle humour and sometimes uses parables to convey his meanings. Mencius, for instance, draws an analogy between King Xuan of Qi and the ancient wise men who were fond of wealth and women as banter to conceal his [p. 72] subtle remonstrations. and Qu Yuan compares the King of Chu to a beautiful lady and fragrant plants to express his loyalty to and love for the state of Chu. These two works in many ways yield a greater impact than solemn discourses and imposing argumentation; they should not be snubbed merely because they lack a satirical and tendentious edge.<br /> Although Chinese fiction is included in the nine schools of literature and philosophy, very few good works have been written since the time of Yu Chu. Stories about heroes are all patterned after The Water Margin, whereas those about love imitate The Dream of the Red Chamber. Taken as a whole, Chinese novels invariably teach us either robbery or lust. Lost in a vicious circle, the novelists are unable to rise above the quagmire. For this reason, knowledgeable men often scorn the mere mention of fiction. <br /> However, as human nature detests the solemn and finds delight in the humorous, even serious pedagogues read The Dream of the Red Chamber and talk about The Water Margin during their spare time. Works of fiction are, in the end, very difficult to ban. Instead of banning the reading of fiction, then, would it not be much better to allow people to follow their natural inclinations and guide them accordingly?<br /> There is indeed a great deal of truth in Mr. Kang Youwei's observation that people with low levels of literacy will often stay away from the classics but cannot do without fiction. Fiction should therefore seek to teach where the Six Classics have failed to teach, to convey lessons where the official histories have failed to convey, to illuminatewhere the recorded sayings<br /> are unable to illuminate, and to govern where laws have failed. In the world, experienced men are few, and the ignorant are innumerable; those well-versed in literature are few, and those who can barely read legion. The Six Classics are indeed elegant, but if they are not read and understood, they are just pearls cast before swine.<br /> <br /> [p. 73]<br /> <br /> A story goes that Confucius once lost his horse. His disciple Zi Gong failed in retrieving the horse, whereas the man who had reared the horse succeeded in recovering it. Does this mean that Zi Gong was intellectually inferior to the horseman? Things are grouped according to their kind and men according to their class. If the giant Dragon Earl spoke in his language to the dwarf of the Jiaoyao of Kingdom, he would not be understood. Now there are few people in China who can read, and those who are well versed in literature are even rarer. In view of this, fiction could be added to increase the numerical classifications of writing from seven to eight, or appended to the four bibliographic categories as a fifth component. <br /> <br /> When the Reformation was first launched in the countries of Europe, men of great learning and dedicated scholars would often use fiction as a vehicle to record their political views. Serious pedagogues would read and discuss these works during their leisure. Novels were read and discussed by soldiers, merchants, peasants, artisans, cabmen, grooms, women, and young children. A newly published book could often influence and change the views and arguments of the whole nation. Indeed, political novels should be given the highest credit for being instrumental in the steady progress made in the political sphere in America, England, Germany, France, Austria, Italy, and Japan. A celebrated scholar in England once remarked that fiction is the soul of the people. How true! How true! It is precisely for this reason that we are now specially selecting works by celebrated foreign scholars that are relevant to the current situation in China and then translating and publishing them by installment in this newspaper. In so doing, we hope to make them accessible to our compatriots.<br /> <br /> Translated by Gek Nai Cheng<br /> <br /> Notes<br /> Liang Qichao &quot;Yi yinzhengzhi xiaoshuo xu&quot; [chin. characters] Qingyi bao [chin. characters] (1898); reprinted in ZGJDWLX 1:155-56. This essay was a &quot;foreword to a projected series of political novels to be translated into Chinese and published in Liang s journal Qing yi bao (The China discussion).<br /> <br /> Mencius, 1B.5. In a reply to King Xuan of Qi [chin. characters], who gives as excuses for not implementing the kingly government his weaknesses for wealth and women, Mencius cites the examples of Duke Liu [chin. characters], who was fond of wealth, and King Tai of Zhou [chin. characters], who was fond of women. Despite their weaknesses these two men could still practice kingly government. Hence Mencius admonishes King Xuanof Qi that if only he could give the people power to gratify the same feelings, there would be no difficulty in attaining the royal power.<br /> <br /> According to the Bibliographic Section in Han shu [chin. characters], compiled by Ban Gu [chin. characters], there are ten schools of literature and philosophy (Confucian, Daoist, J?ivination, Legalist, Logician, Mohist, olitics, Miscellaneous, Agriculture, and Xiaoshuo [chin. characters]), although &quot;only nine of them are worth reading&quot; (qi keguanzhe jiu iia eryi; [chin. characters]). Fiction, thert,was not included in the nine schools.<br /> <br /> According to the Bibliographic Section in Han shu, Yu Chu [chin. characters] (ca. 104 B.C.) compi1ed Zhou shuo [chin. characters]. (Tales of the Zhou dynasty) , a work in the tradition of Shal1 hai jing [chin. characters] and Mu tianzi zhuan [chin. characters]. The work is no longer extant.<br /> <br /> Qilüe 七略 are the seven classifications of writing as compiled by Liu Xin 劉歆 (ca. 46 B.C. - A.D. 23) in he Han dynasty around 7 B.C. They are classics, arts, philosophy, poetry, divination and numerics, medicine and surgery. '.<br /> <br /> Sibu 四部 are the four bibliographic classifications of classics, history, philosophy, an literature, devised by Xun Xu 荀勖 (d. AD. 289) to categorize all books.<br /> <br /> =Session 8: Republican literature I=<br /> *8 Dec 15 9:45-11:15 Republican literature (Lu Xun, Guo Moruo) 魏雨昕<br /> Presentation and homework [[A Madman's Diary]] by 魏雨昕 Zyta Rydz<br /> <br /> ==Grades for translation homework - Republican literature I==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> ==Grades for translation homework - Republican literature==<br /> *Gabriela Krukowska<br /> <br /> =Session 9: Modern literature=<br /> *9, Jan 12 9:45-11:15 Modern literature <br /> Presentation and homework <br /> #Underground poets, Mo Yan, [[Mo Yan ppt]] by 安浩阳 Paweł Andraszak<br /> #Wang Meng [[Wang Meng ppt]] 苏诗美 Lena Rzeznikowska<br /> ==Grades for translation homework - Modern literature ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 10: Republican literature=<br /> (Zhou Zuoren, Yu Dafu)<br /> *10, Jan 18 8:00-9:30 Republican literature (Zhou Zuoren, Yu Dafu)<br /> Presentation and homework by 张宇璇 Anna Proskura; 金乐 Asia (Joanna) Zawada<br /> <br /> =Session 11: Contemporary literature I=<br /> 11 Jan 19 9:45-11:15 Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) 张宇璇<br /> <br /> [[The Ancient Ship]] by Anna Proskura<br /> <br /> =Session 12: Contemporary literature II=<br /> 12 Jan 19 9:45-11:15 Contemporary literature II (Xu Zechen, Han Shaogong, Yan Lianke) 金乐<br /> <br /> Presentation and homework: [[Maqiao Cidian]] by Asia 金乐<br /> <br /> Short introduction: <br /> From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.<br /> Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.<br /> <br /> ==Grades for translation homework - Contemporary literature II ==<br /> *Gabriela Krukowska <br /> *Ewa Kopania <br /> *Zyta Rydz <br /> *Asia (Joanna) Zawada <br /> *Karol Perka<br /> *Anna Proskura <br /> *Julia Dereżyṅska <br /> *Paweł Andraszak <br /> *Aleksandra Urbanska <br /> *Natalia Gloc <br /> *Edyta Skorupa <br /> *Wiktoria Wolny <br /> *Ada Dan<br /> *Lena Rzeźnikowska <br /> *Malwina Filipowicz <br /> *Karolina Englert<br /> <br /> =Session 13: Web literature=<br /> 13 Jan 26 9:45-11:15 Web literature (excerpts live on http://qidian.com) 王美芬 Gabriela Krukowska, 晏黎 Aleksandra Urbanska<br /> <br /> Presentation and homework: [[The Grandmaster of Demonic Cultivation]] by 晏黎 Aleksandra Urbańska<br /> <br /> =Session 14: Science Fiction=<br /> 14 Feb 2 9:45-11:15 Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth) 爱答 Ada Dan, 田小龙 Ewa Kopania<br /> <br /> =Session 15: Final Paper=<br /> *15 Feb 9 9:45-11:15 Wrap up discussion and/or Final Paper (homework)<br /> <br /> =Syllabus=<br /> &lt;p class=&quot;s1&quot;&gt;Krytyczny przegląd literatury chińskiej&lt;/p&gt;<br /> &lt;p class=&quot;s2&quot;&gt;Educational subject description sheet&lt;/p&gt;<br /> ==Basic information==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Field of study&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Sinologia&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Speciality&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;-&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Department&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Faculty of Modern Languages and Literatures&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study level&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Second-cycle programme&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Study form&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Full-time&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Education profile&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;General academic&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Didactic cycle&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2023/24&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject code&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;09SNLS.21K.05754.23&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecture languages&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Chinese&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Mandatory&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Obligatory&lt;/p&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Block&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Major subjects&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject coordinator&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Lecturer&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Kamil Burkiewicz&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h2&gt;Period&lt;/h2&gt;<br /> &lt;p&gt;Semester 1&lt;/p&gt;<br /> &lt;h2&gt;Activities and hours&lt;/h2&gt;<br /> &lt;p&gt;• Conversatory classes: 30, Graded credit&lt;/p&gt;<br /> &lt;h2&gt;Number of&lt;/h2&gt;<br /> &lt;h2&gt;ECTS points&lt;/h2&gt;<br /> &lt;p&gt;3&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_002.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_003.png&quot; width=&quot;681&quot;<br /> height=&quot;55&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;1 / 5&lt;/p&gt;<br /> ==Goals==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Goal&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students get an<br /> overview and understand certain characteristics of Chinese<br /> literature from 2,500 years ago until today by reading<br /> prominent examples and increasing reading ability in<br /> Chinese as a Foreign Language.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The selection of works aims at displaying the<br /> continuity and development over 2,500 years and showing<br /> the great variety of genres, styles and forms.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;C3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The course aims to let students understand<br /> research methods, compare literary works, learn the<br /> relevant terminology, understand challenges and topics of<br /> Chinese civilization, are able to trace back cultural<br /> roots of contemporary phenomena/beliefs, appreciate the<br /> work of experts in the field, critically evaluate their<br /> knowledge and update it.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Entry requirements&lt;/h1&gt;<br /> &lt;p&gt;Chinese level of at least B2 of the European Framework of<br /> References for Languages (CEFR).&lt;/p&gt;<br /> &lt;h1&gt;Subject's learning outcomes&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Outcomes in terms of&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Examination methods&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Knowledge – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;has a wide knowledge of Chinese literature<br /> from classical to modern&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02, SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the theories and research methodology in<br /> the field of sinology in relation to literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows selected issues of comparative<br /> literature against the background of the ongoing processes<br /> of cultural exchange and globalization&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W4&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows the rich terminology in the field of<br /> sinology in the field of literary studies&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;knows and understand deeply the fundamental<br /> dilemmas and challenges of contemporary civilization<br /> related to the literature of East Asia/China&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Skills – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;U1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;formulates and tests hypotheses related to<br /> simple research problems and tasks, as well as communicate<br /> their observations&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Social competences – Student:&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically evaluate the acquired<br /> knowledge of Chinese literature and to constantly update<br /> it&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to deeply appreciate the importance<br /> of specialist knowledge in solving cognitive problems<br /> related to multiculturalism and intercultural<br /> communication&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_004.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;2 / 5&lt;/p&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;is ready to critically consult problems that<br /> he/she is unable to solve on his/her own with experts in<br /> relevant scientific fields and to actively cooperate with<br /> them in search of appropriate solutions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Written colloquium, Essay, Multimedia<br /> presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Study content&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;No.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Course content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Subject's learning outcomes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;1.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Song Poetry&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;2.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Yuan Drama&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Ming Novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, U1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;4.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Qing novels&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Late Qing literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, K2, K3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;6.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Republican literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W3, W4, U1, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;7.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Modern literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W2, W4, W5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;8.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Contemporary literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;9.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Web literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W4, W5, K1&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Science fiction&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;W1, W5, K2&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;h1&gt;Course advanced&lt;/h1&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Teaching and learning methods and activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversation lecture, Discussion, Work with<br /> text, Problem-based learning, Work in groups, Creative<br /> writing and reviewing fellow students' work&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activities&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Credit conditions&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Students are required to prepare for each<br /> class, including preliminary reading of indicated texts<br /> and checking of new words. The completion of this<br /> obligation will be checked through online multiple-choice<br /> tests.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Each student will prepare one short oral<br /> presentation.&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The semester essay should contain at least<br /> 1000 Chinese characters.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;&lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_005.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;3 / 5&lt;/p&gt;<br /> ==Literature==<br /> ===Obligatory===<br /> &lt;p&gt;1. Woesler Martin (ed.) 2023. Reader Chinese Literature –<br /> Selections, Bochum: European University Press [free e-book copies<br /> provided].&lt;/p&gt;<br /> ===Optional===<br /> #Song Poems (ci): Su Dongpo: “Autumn day in Kui Prefecture” <br /> #Yuan Drama (Zaju): Guan Hanqing: “The Injustice to Dou E”<br /> #Ming novels (Three Kingdoms, Journey to the West, Outlaws of the Marsh, The Scholars) <br /> #Qing novels (Cao Xueqin: Red Chamber Dreams)<br /> #Late Qing dystopian literature (Liang Qichao: The Future of New China, Kang Youwei: Datong shu) <br /> #Republican literature (Lu Xun, Guo Moruo, Zhou Zuoren, Yu Dafu)<br /> #Modern literature (Underground poets, Wang Meng, Mo Yan)<br /> #Contemporary literature (Han Han, Zhang Wei, Xu Zechen, Han Shaogong) <br /> #Web literature (excerpts live on http://qidian.com)<br /> #Science fiction (Liu Cixin: The Three Body Problem, The Wandering Earth)<br /> <br /> ==Calculation of ECTS points==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity form&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Activity hours*&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Conversatory classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;30&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for classes&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Reading the indicated literature&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;20&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation of a multimedia presentation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Other&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Paper preparation&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;5&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;Preparation for the assessment&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;10&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;&lt;br&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Student workload&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Hours&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;90&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Number of ECTS points&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;ECTS&lt;/p&gt;<br /> &lt;p class=&quot;s4&quot;&gt;3&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;<br /> &lt;p&gt;* hour means 45 minutes&lt;br&gt;<br /> &lt;span&gt;&lt;img src=&quot;09snls-21k-05754-23/Image_006.png&quot; width=&quot;682&quot;<br /> height=&quot;1&quot;&gt;&lt;/span&gt;&lt;/p&gt;<br /> &lt;p class=&quot;s5&quot;&gt;4 / 5&lt;/p&gt;<br /> ==Learning outcomes==<br /> &lt;table style=&quot;border-collapse:collapse&quot; cellspacing=&quot;0&quot; border=&quot;1&quot;&gt;<br /> &lt;tbody&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Code&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s3&quot;&gt;Content&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznej oceny<br /> zdobywanej wiedzy o języku i literaturze chińskiej i<br /> ciągłego jej aktualizowania.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to dogłębnego doceniania<br /> znaczenia wiedzy specjalistycznej w rozwiązywaniu<br /> problemów poznawczych i językowych związanych z<br /> wielokulturowością i komunikacją międzykulturową.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_K03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate is ready to krytycznego<br /> konsultowania problemów, których nie jest w stanie<br /> samodzielnie rozwiązać, z ekspertami w odpowiednich<br /> dziedzinach naukowych i aktywnego współdziałania z nimi w<br /> poszukiwaniu właściwych rozwiązań.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_U01&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate can formułować i testować<br /> hipotezy związane z prostymi problemami badawczymi i<br /> realizowanymi zadaniami, a także komunikować swoje<br /> spostrzeżenia.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W02&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu wybrane fakty, pojęcia i kluczowe<br /> zagadnienia z językoznawstwa, literaturoznawstwa i badań<br /> interdyscyplinarnych w obszarze sinologii.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W03&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands teorie i<br /> metodologie badań z wybranej dyscypliny (językoznawstwo<br /> bądź literaturoznawstwo sinologiczne) właściwe dla różnych<br /> szkół badawczych i paradygmatów, a także ich główne<br /> tendencje rozwojowe.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W04&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands wybrane<br /> zagadnienia komparatystyki językowej lub literackiej i<br /> translatoryki na tle zachodzących procesów wymiany<br /> kulturowej i globalizacji.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W05&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands bogatą<br /> terminologię z zakresu sinologii w obszarze badań<br /> językoznawczych, literaturoznawczych i<br /> interdyscyplinarnych.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;SNL_K2_W08&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;p class=&quot;s4&quot;&gt;The graduate knows and understands w<br /> pogłębionym stopniu fundamentalne dylematy i wyzwania<br /> współczesnej cywilizacji związane z językami, literaturą i<br /> kulturą Azji Wschodniej.&lt;/p&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/tbody&gt;<br /> &lt;/table&gt;</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Crit_lit_20230131&diff=158230 2024-01-11T22:32:51Z

<p>Zhang Yuxuan: /* List of final exam papers (please also add your English name) */</p> <hr /> <div>Back to course homepage: [[Critical_Review_of_Chinese_Literature#Final_Exam_Paper]]<br /> <br /> =List of final exam papers (please also add your English name)=<br /> * 王晓彤：将曹雪芹《红楼梦》中的人名翻译成英文时使用的策略 （Translation strategies used in translating personal names in Cao Xueqin's “The Dream of the Red Chamber” into English）OK<br /> * 今乐：语言如何塑造我们的世界观:《马桥词典》书的分析（How language shapes our worldview - analysis of the book 《Dictionary of Maqiao》）OK<br /> * 晏黎：墨香铜臭网络小说《魔道祖师》的取名策略及其对人物解读的影响。(The strategy of creating names in web novel &quot;The Grandmaster of Demonic Cultivation&quot; by Mo Xiang Tong Xiu and how it affects our interpretation of the characters) OK<br /> * 康明杰<br /> * 安浩阳: 萧红小说《呼兰河传》中的中国乡村神灵与信仰。（Chinese gods and beliefs in the countryside in Xiao Hong's novel &quot;Tales of Hulan River&quot;)<br /> * 李美琳:孙悟空 - 人物研究 (Sun Wukong - Character Analysis)<br /> * 苏诗美 意识流技巧在王蒙的著作<br /> * 裴梦姣<br /> * 安凱容<br /> * 爱答 The portrayal of xenocide concept in two different approaches: The Three-Body Problem by Liu Cixin and Ender's Game by Orson S. Card (philosophical comparison) <br /> * 杨思艺<br /> * 张宇璇: 张炜小说《古船》中的人物及其意识形态分析 (Analysis of the characters and their ideology in Zhang Wei's novel &quot;The Ancient Ship&quot;)<br /> * 王美芬 Gabriela Krukowska 莫言《酒国》与米哈伊尔·布尔加科夫《大师与玛格丽特》的比较 (Comparison of Mo Yan's &quot;Republic of wine&quot; and Mikhail Bulgakov's &quot;Master and Margarita&quot;)<br /> <br /> =Tips=<br /> #Since you are Master students, I think you should try to write your thoughts on books already analyzed using academic paper format, as if you want to submit your paper to an academic journal. This would also be a good training. You can e.g. compare two works of literature we worked with in class and compare them, or you can pick a theory or research approach you find fitting and analyse just one of the works. You can also look at translation strategies and compare different translations of the same work.<br /> # You can choose any work of Chinese literature (or if you want to do a comparison: two works of literature, of which at least one needs to be a work of Chinese literature). <br /> # You may apply a theory, e.g. a translation theory and then compare different translations, what theory or strategy the translator has applied and how far the translations correspond to this theory/strategy and maybe which translation is better and how far this has to do with the strategy applied. You can also apply totally different theories, e.g. from psychology etc.<br /> # You need to write in English and give a Chinese translation. <br /> # Length: 1,000 characters in Chinese, the corresponding length in English. <br /> # Due date: Jan 31, 2024. However, I recommend to finish the paper earlier, e.g. until Jan 10, 2024. <br /> # Final corrections: Please correct your fellow student's paper - the one beneath your own paper - until Jan 15, 2024, so that the original student still has time to work your recommendations into the paper.<br /> # Do not copy and paste from existing literature. Do not use ChatGPT or other AI because I need to grade you and if you use it, I do not know exactly, which part of the paper is written by you and which part by AI. <br /> # For all quotations, please indicate exact page numbers (except from internet online publications).<br /> =First student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第一个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> =Second student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第二个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> ==...==</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Crit_lit_20230131&diff=158229 2024-01-11T22:26:01Z

<p>Zhang Yuxuan: /* List of final exam papers (please also add your English name) */</p> <hr /> <div>Back to course homepage: [[Critical_Review_of_Chinese_Literature#Final_Exam_Paper]]<br /> <br /> =List of final exam papers (please also add your English name)=<br /> * 王晓彤：将曹雪芹《红楼梦》中的人名翻译成英文时使用的策略 （Translation strategies used in translating personal names in Cao Xueqin's “The Dream of the Red Chamber” into English）OK<br /> * 今乐：语言如何塑造我们的世界观:《马桥词典》书的分析（How language shapes our worldview - analysis of the book 《Dictionary of Maqiao》）OK<br /> * 晏黎：墨香铜臭网络小说《魔道祖师》的取名策略及其对人物解读的影响。(The strategy of creating names in web novel &quot;The Grandmaster of Demonic Cultivation&quot; by Mo Xiang Tong Xiu and how it affects our interpretation of the characters) OK<br /> * 康明杰<br /> * 安浩阳: 萧红小说《呼兰河传》中的中国乡村神灵与信仰。（Chinese gods and beliefs in the countryside in Xiao Hong's novel &quot;Tales of Hulan River&quot;)<br /> * 李美琳:孙悟空 - 人物研究 (Sun Wukong - Character Analysis)<br /> * 苏诗美 意识流技巧在王蒙的著作<br /> * 裴梦姣<br /> * 安凱容<br /> * 爱答 The portrayal of xenocide concept in two different approaches: The Three-Body Problem by Liu Cixin and Ender's Game by Orson S. Card (philosophical comparison) <br /> * 杨思艺<br /> * 张宇璇: 张炜小说《古船》中的人物及其意识形态分析 (Analysis of the characters and their ideology in Zhang Wei's novel &quot;The Ancient Ship&quot;.)<br /> * 王美芬 Gabriela Krukowska 莫言《酒国》与米哈伊尔·布尔加科夫《大师与玛格丽特》的比较 (Comparison of Mo Yan's &quot;Republic of wine&quot; and Mikhail Bulgakov's &quot;Master and Margarita&quot;)<br /> <br /> =Tips=<br /> #Since you are Master students, I think you should try to write your thoughts on books already analyzed using academic paper format, as if you want to submit your paper to an academic journal. This would also be a good training. You can e.g. compare two works of literature we worked with in class and compare them, or you can pick a theory or research approach you find fitting and analyse just one of the works. You can also look at translation strategies and compare different translations of the same work.<br /> # You can choose any work of Chinese literature (or if you want to do a comparison: two works of literature, of which at least one needs to be a work of Chinese literature). <br /> # You may apply a theory, e.g. a translation theory and then compare different translations, what theory or strategy the translator has applied and how far the translations correspond to this theory/strategy and maybe which translation is better and how far this has to do with the strategy applied. You can also apply totally different theories, e.g. from psychology etc.<br /> # You need to write in English and give a Chinese translation. <br /> # Length: 1,000 characters in Chinese, the corresponding length in English. <br /> # Due date: Jan 31, 2024. However, I recommend to finish the paper earlier, e.g. until Jan 10, 2024. <br /> # Final corrections: Please correct your fellow student's paper - the one beneath your own paper - until Jan 15, 2024, so that the original student still has time to work your recommendations into the paper.<br /> # Do not copy and paste from existing literature. Do not use ChatGPT or other AI because I need to grade you and if you use it, I do not know exactly, which part of the paper is written by you and which part by AI. <br /> # For all quotations, please indicate exact page numbers (except from internet online publications).<br /> =First student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第一个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> =Second student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第二个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> ==...==</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Crit_lit_20230131&diff=158228 2024-01-11T21:07:23Z

<p>Zhang Yuxuan: /* List of final exam papers (please also add your English name) */</p> <hr /> <div>Back to course homepage: [[Critical_Review_of_Chinese_Literature#Final_Exam_Paper]]<br /> <br /> =List of final exam papers (please also add your English name)=<br /> * 王晓彤：将曹雪芹《红楼梦》中的人名翻译成英文时使用的策略 （Translation strategies used in translating personal names in Cao Xueqin's “The Dream of the Red Chamber” into English）OK<br /> * 今乐：语言如何塑造我们的世界观:《马桥词典》书的分析（How language shapes our worldview - analysis of the book 《Dictionary of Maqiao》）OK<br /> * 晏黎：墨香铜臭网络小说《魔道祖师》的取名策略及其对人物解读的影响。(The strategy of creating names in web novel &quot;The Grandmaster of Demonic Cultivation&quot; by Mo Xiang Tong Xiu and how it affects our interpretation of the characters) OK<br /> * 康明杰<br /> * 安浩阳: 萧红小说《呼兰河传》中的中国乡村神灵与信仰。（Chinese gods and beliefs in the countryside in Xiao Hong's novel &quot;Tales of Hulan River&quot;)<br /> * 李美琳:孙悟空 - 人物研究 (Sun Wukong - Character Analysis)<br /> * 苏诗美 意识流技巧在王蒙的著作<br /> * 裴梦姣<br /> * 安凱容<br /> * 爱答 The portrayal of xenocide concept in two different approaches: The Three-Body Problem by Liu Cixin and Ender's Game by Orson S. Card (philosophical comparison) <br /> * 杨思艺<br /> * 张宇璇: 张炜小说《古船》中的人物及其意识形态分析。 (Analysis of the characters and their ideology in Zhang Wei's novel &quot;The Ancient Ship&quot;.)<br /> * 王美芬 Gabriela Krukowska 莫言《酒国》与米哈伊尔·布尔加科夫《大师与玛格丽特》的比较 (Comparison of Mo Yan's &quot;Republic of wine&quot; and Mikhail Bulgakov's &quot;Master and Margarita&quot;)<br /> <br /> =Tips=<br /> #Since you are Master students, I think you should try to write your thoughts on books already analyzed using academic paper format, as if you want to submit your paper to an academic journal. This would also be a good training. You can e.g. compare two works of literature we worked with in class and compare them, or you can pick a theory or research approach you find fitting and analyse just one of the works. You can also look at translation strategies and compare different translations of the same work.<br /> # You can choose any work of Chinese literature (or if you want to do a comparison: two works of literature, of which at least one needs to be a work of Chinese literature). <br /> # You may apply a theory, e.g. a translation theory and then compare different translations, what theory or strategy the translator has applied and how far the translations correspond to this theory/strategy and maybe which translation is better and how far this has to do with the strategy applied. You can also apply totally different theories, e.g. from psychology etc.<br /> # You need to write in English and give a Chinese translation. <br /> # Length: 1,000 characters in Chinese, the corresponding length in English. <br /> # Due date: Jan 31, 2024. However, I recommend to finish the paper earlier, e.g. until Jan 10, 2024. <br /> # Final corrections: Please correct your fellow student's paper - the one beneath your own paper - until Jan 15, 2024, so that the original student still has time to work your recommendations into the paper.<br /> # Do not copy and paste from existing literature. Do not use ChatGPT or other AI because I need to grade you and if you use it, I do not know exactly, which part of the paper is written by you and which part by AI. <br /> # For all quotations, please indicate exact page numbers (except from internet online publications).<br /> =First student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第一个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> =Second student: topic=<br /> ==Student name, affiliation, country==<br /> ==Abstract==<br /> ==Key words==<br /> ==Introduction==<br /> ==(Systematic) literature review==<br /> ==Research question, research methods and design==<br /> ==First part==<br /> ==Second part==<br /> ==Third part==<br /> ==Conclusion==<br /> ==References==<br /> ==第二个学生：主题==<br /> ==学生姓名、所属单位、国家==<br /> ==摘要==<br /> ==关键词==<br /> ==导言==<br /> ==（系统）文献综述==<br /> ==研究问题、研究方法和设计==<br /> ==第一部分==<br /> ==第二部分==<br /> ==第三部分==<br /> ==结论==<br /> ==参考文献==<br /> ==...==</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Wang_Meng_ppt&diff=158176 2024-01-10T20:19:17Z

<p>Zhang Yuxuan: /* Anna Proskura */</p> <hr /> <div>==Wang Meng 苏诗美 Homework==<br /> <br /> =Introduction to the text=<br /> <br /> <br /> Introduction to the text: Zhong Yicheng, a young Communist Party backer, and Ling Xue have their happy new marriage interrupted when a children's poem that Zhong has written is deemed by authorities to be politically &quot;&quot;subversive.&quot;&quot; Following Cultural Revolutionary custom, he loses his party membership and is sent to work in the country. Zhong Yicheng has a psychological crisis and fights with his thoughts about his sins against the Party. The Party has him brainwashed and he starts to believe he really has done something wrong.He is blindly loyal, even when they torture him.<br /> 年轻的共产党支持者钟一成和凌雪的幸福新婚因为钟一成写的一首儿童诗被当局认定为政治“颠覆”而中断。被派往国内工作。钟宜城出现心理危机，并与自己对党犯下的罪孽进行斗争。党对他进行了洗脑，他开始相信自己确实做错了事。他盲目忠诚，即使他们折磨他。<br /> <br /> =Aleksandra Urbańska=<br /> 劳动，劳动，劳动！几十万年前，劳动使猿猴变成了人。几十万年后的中国，体力劳动也正发挥着它净化思想、再造灵魂的伟力。钟亦成深信这一点。他的对祖国山川和人民大众的热爱，他的献身的愿望，他的赎罪的狂热，他的青春的活力，他的不论在什么处境之下都无法中断的、不断从生活中获得补充和激发的诗情，全都倾注在山区农村的笨重的、应该说是还相当原始的体力劳动里。<br /> <br /> =Anna Proskura=<br /> 他背着满满的一篓子羊粪蛋上山，给梯田施肥，刚起步两分钟，就像做豆腐的最后一道工序——用石板压一样，汗水像豆腐水一样地从四面溢了出来。他爬梁越坡，沿着蜿蜒崎岖的山径前行。他的腰背弯成七十度，尽力学着老农的样子，两腿叉开，略略拳曲以利于维持平衡。<br /> <br /> He carried a basket full of sheep's dung eggs up the mountain to fertilize the terraced fields, and just two minutes after starting, like the last process of making tofu – pressing it with a stone slab - sweat poured out from all sides like tofu water. He climbed beams and slopes, travelling along the winding and rugged mountain paths. His back was bent at seventy degrees and he did his best to act like an old farmer, with his legs spread and slightly fist-curved to help maintain his balance.<br /> <br /> =Asia Zawada= <br /> 两只手是自由的，有时甩来甩去，觉得上肢轻松得令人飘飘然。有时交插手指放在胸前，一副虔诚的样子。有时用两手拢成一个圆环，这是一个练气功的姿势，为了拔步陡坡，必须气运丹田。每走一步他都觉得腿在长劲，腰在长劲，他确实是脚跟站稳，脚踏实地，在把自己的体力和热情，把饱含着农作物所需要的氮、磷、钾和有机质的肥料，献给哺育着我们的共和国的农田。<br /> <br /> =Ada Dan=<br /> 他掏大粪。粪的臭味使他觉得光荣和心安。一挑一挑粪稀和黄土拌在一起，他确实从心眼里觉得可爱，拌匀了，发酵了，滤细了，黄土变得黑油油的了，粘土也变得疏松，然后装上马车，拉到地里，撒开，风把粪渣送到嘴里。他觉得舒畅，因为，他已经被大地妈妈养活了二十多年，如今第一次把礼物献给大地妈妈……<br /> <br /> Because of his mental and physical exhaustion he starts to perceive his tiresome and humiliating work as honorable. When he mixes stinky dung to fertilize the soil, he thinks about Mother Earth, about how he can &quot;repay&quot; her feeding him for his whole life.<br /> <br /> =Ewa Kopania=<br /> 春天了，他深翻地，目不斜视，耳不旁听，全部肌肉和全部灵魂的能力集中在三个动作上：直腰竖锨，下蹬，翻土；然后又是直腰竖锨……他变成了一台翻地机，除了这三个动作他的生命再没有其他的运动。他飞速地，像是被电马达所连动，像是在参加一场国际比赛一样地做着这三位一体的动作。腰疼了，他狠狠心，腿软了，他咬咬牙。<br /> <br /> <br /> =Gabriela Krukowska=<br /> 腿完全无力了，他便跳起来，把全身的重量集中到蹬锨的一条腿上，于是，借身体下落的重力一压，扑哧，锨头直溜溜地插到田地里……头昏了，这只能使他更加机械地、身不由己地加速着三段式的轮转。忘我的劳动，艰苦而又欢乐。刹那间，一个小时过去了，三个小时过去了，十二个小时也过去了，他翻了多么大一片土地！都是带着墒、带着铁锨的脖颈印儿的褐黑色土块，你想数一数有多少锨土吗？简直比你的头发还多……人原来可以做这么多切实有益的事。<br /> <br /> <br /> =Julia Dereżyńska=<br /> 这些事不会在一个早上被彻底否定，被批判得体无完肤…… 夏天，他割麦子，上身脱个精光，弯下腰来把脊背袒露在阳光下面。镰刀原来是那么精巧，那么富有生命，像灵巧的手指一样，它不但能斩断麦秸，而且可以归拢，可以捡拾，可以搬运。他学会用镰刀了，而且还能使出一些花招，嚓嚓嚓，腾出了一片地，嚓嚓嚓，又是一片地。<br /> <br /> Those things cannot be completely denied and criticized on one morning. In the summer, when he was cutting wheat, his upper body all shiny, he bent down to expose his back to the sunlight. The sickle turned out to be so exquisite, so full of life, just like nimble fingers, not only could it cut the wheat straw, but also could gather it, pick it up and transport it. He learned how to use the sickle but also how to perform some tricks. Swoosh, and a piece of land was clear, swoosh, and another one was cleared up.<br /> <br /> =Karol Perka= <br /> 多么可爱的眉毛，每个人都有两道眉毛，这样的安排是多么好，不然，汗水流 得就会糊住眼睛。直一下腰吧，刚才还是密不透风的麦田一下子开阔了许多，看见了在另一边劳动的农民，看到山和水。 一阵风吹来，真凉快，真自豪……秋天，他打荆条，腰里缠着绳子，手里握着镰刀。几个月没有摸镰刀了，再拿起来，就像重新造访疏于问候的老友一样令人欢欣。<br /> <br /> =Karolina Englert=<br /> 他登高涉险，行走在无路之处如履平地，一年的时间，他爱上了山区，他成了山里人。如同一个狩猎者，远远一瞭望，啊，发现了，在群石和杂草之中，有一簇当年生的荆条，长短合度，精细匀调，无斑无节，不嫩不老，令人心神俱往，令人心花怒放。他几个箭步，蹿上去了，左手捏紧，右手轻挥镰刀，嚓地一声，一束优质荆条已经在握了，捆好，挂在腰间的绳子上；<br /> <br /> =Lena Rzeźnikowska=<br /> 又一抬头，又发现了目标，他又攀登上去了，像黄羊一样灵活，像麋鹿一样敏捷，身手矫健，目光如电…… 除了和农民、和下放干部们一起劳动以外，他和几个“分子”还主动地或被动地给自己加了成倍的额外任务。夜里三点，好像脑袋才刚挨枕头，就起来“早战”了，把粪背到梯田上，把核桃、枣、甘薯、萝卜背下去。<br /> <br /> <br /> =Malwina Filipowicz=<br /> 在星空下走小路，星星好像就在人的身边，随手都可以抓到。中午嘴里还啃着咸菜和窝头，又开始“午战”了。晚上喝完两大碗稀粥，又是“夜战”。夜战的时间长了，有时候也犯迷糊，分不清早战和夜战了。除了星宿的位置有些不同，别的区别很少能觉察到。人真是有本事，把加班说成什么什么“战”，马上就增加了一层非凡的革命的色彩，<br /> <br /> =Natalia Gloc=<br /> 原来他们是在战，在打仗，在向资产阶级、向自己思想中的敌人开火，不是你死，就是我活，谁能懈怠呢？ 干就干吧，还要竞赛，还要批评表扬，一得空就要评比，还要按劳动和遵守纪律的情况划分类别，改造得较好的——一类，一般的——二类，较差的——三类，继续反党、反社会主义的准备带着花岗岩脑袋见上帝的——四类。这种评比可真有刺激的力量！<br /> <br /> =Paweł Andraszak=<br /> 所以农民反映：“分子”们劳动是拼命，像“砸明火”一样气急败坏，看着他们干活我们都害怕——他们重载上山的时候是跑步，下山的时候是跳跃，喘气的声音两里地外都听得见。这还不算，一有空他们还得考虑自己的罪行，考虑通过这种“砸明火”的劳动如何进一步认识自己的丑恶面目，进一步感谢党的挽救……<br /> <br /> =Wiktoria Wolny=<br /> 钟亦成出身城市贫民，从小家境不好，在他发育成长的关键时期——十一岁至十四岁的时候，正是家里吃了上顿没有下顿的时候，所以，他身材瘦小，手腕和脚踝特别细，解放后的繁忙的会议、工作之中，他也没有年轻人应有的娱乐、体育锻炼和足够的休息。来山区后营养又差，农民还可以从供销社买点点心吃，而他们的纪律是不准买任何吃的东西。<br /> <br /> Zhong Yicheng came from an urban poor background, he grew up in a poor family. During the critical period of his growth and development, so between the ages of eleven and fourteen, his family could barely put food on the table. Because of that, he was emaciated and small, with particularly thin wrists and ankles. After liberation, in the midst of the busy meetings and work, he did not have the entertainment, physical exercise and sufficient rest that young people should have. When he came to the mountains, he was malnourished once again. The peasants could buy some snacks from the supply and marketing cooperatives, whereas their discipline did not allow them to buy anthing to eat.<br /> <br /> =Zyta Rydz=<br /> 但不知道是一股什么样的内在的、神奇的力量，支持着钟亦成，使他在如此严酷沉重的劳动中没有垮下来——许多比他们干活少得多的下放干部这个住了院，那个请了假，有的一回城就半年不见影子——他咬紧牙关，勇往直前，在严酷的劳动中体味到新的乐趣，新的安慰。他甚至觉得，以往不从事体力劳动的岁月全是浮夸，全是高高在上，虚度年华。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Wang_Meng_ppt&diff=158175 2024-01-10T20:18:31Z

<p>Zhang Yuxuan: /* Anna Proskura */</p> <hr /> <div>==Wang Meng 苏诗美 Homework==<br /> <br /> =Introduction to the text=<br /> <br /> <br /> Introduction to the text: Zhong Yicheng, a young Communist Party backer, and Ling Xue have their happy new marriage interrupted when a children's poem that Zhong has written is deemed by authorities to be politically &quot;&quot;subversive.&quot;&quot; Following Cultural Revolutionary custom, he loses his party membership and is sent to work in the country. Zhong Yicheng has a psychological crisis and fights with his thoughts about his sins against the Party. The Party has him brainwashed and he starts to believe he really has done something wrong.He is blindly loyal, even when they torture him.<br /> 年轻的共产党支持者钟一成和凌雪的幸福新婚因为钟一成写的一首儿童诗被当局认定为政治“颠覆”而中断。被派往国内工作。钟宜城出现心理危机，并与自己对党犯下的罪孽进行斗争。党对他进行了洗脑，他开始相信自己确实做错了事。他盲目忠诚，即使他们折磨他。<br /> <br /> =Aleksandra Urbańska=<br /> 劳动，劳动，劳动！几十万年前，劳动使猿猴变成了人。几十万年后的中国，体力劳动也正发挥着它净化思想、再造灵魂的伟力。钟亦成深信这一点。他的对祖国山川和人民大众的热爱，他的献身的愿望，他的赎罪的狂热，他的青春的活力，他的不论在什么处境之下都无法中断的、不断从生活中获得补充和激发的诗情，全都倾注在山区农村的笨重的、应该说是还相当原始的体力劳动里。<br /> <br /> =Anna Proskura=<br /> 他背着满满的一篓子羊粪蛋上山，给梯田施肥，刚起步两分钟，就像做豆腐的最后一道工序——用石板压一样，汗水像豆腐水一样地从四面溢了出来。他爬梁越坡，沿着蜿蜒崎岖的山径前行。他的腰背弯成七十度，尽力学着老农的样子，两腿叉开，略略拳曲以利于维持平衡。<br /> <br /> He carried a basket full of sheep's dung eggs up the mountain to fertilize the terraced fields, and just two minutes after starting, like the last process of making tofu - pressing it with a stone slab - sweat poured out from all sides like tofu water. He climbed beams and slopes, travelling along the winding and rugged mountain paths. His back was bent at seventy degrees and he did his best to act like an old farmer, with his legs spread and slightly fist-curved to help maintain his balance.<br /> <br /> =Asia Zawada= <br /> 两只手是自由的，有时甩来甩去，觉得上肢轻松得令人飘飘然。有时交插手指放在胸前，一副虔诚的样子。有时用两手拢成一个圆环，这是一个练气功的姿势，为了拔步陡坡，必须气运丹田。每走一步他都觉得腿在长劲，腰在长劲，他确实是脚跟站稳，脚踏实地，在把自己的体力和热情，把饱含着农作物所需要的氮、磷、钾和有机质的肥料，献给哺育着我们的共和国的农田。<br /> <br /> =Ada Dan=<br /> 他掏大粪。粪的臭味使他觉得光荣和心安。一挑一挑粪稀和黄土拌在一起，他确实从心眼里觉得可爱，拌匀了，发酵了，滤细了，黄土变得黑油油的了，粘土也变得疏松，然后装上马车，拉到地里，撒开，风把粪渣送到嘴里。他觉得舒畅，因为，他已经被大地妈妈养活了二十多年，如今第一次把礼物献给大地妈妈……<br /> <br /> Because of his mental and physical exhaustion he starts to perceive his tiresome and humiliating work as honorable. When he mixes stinky dung to fertilize the soil, he thinks about Mother Earth, about how he can &quot;repay&quot; her feeding him for his whole life.<br /> <br /> =Ewa Kopania=<br /> 春天了，他深翻地，目不斜视，耳不旁听，全部肌肉和全部灵魂的能力集中在三个动作上：直腰竖锨，下蹬，翻土；然后又是直腰竖锨……他变成了一台翻地机，除了这三个动作他的生命再没有其他的运动。他飞速地，像是被电马达所连动，像是在参加一场国际比赛一样地做着这三位一体的动作。腰疼了，他狠狠心，腿软了，他咬咬牙。<br /> <br /> <br /> =Gabriela Krukowska=<br /> 腿完全无力了，他便跳起来，把全身的重量集中到蹬锨的一条腿上，于是，借身体下落的重力一压，扑哧，锨头直溜溜地插到田地里……头昏了，这只能使他更加机械地、身不由己地加速着三段式的轮转。忘我的劳动，艰苦而又欢乐。刹那间，一个小时过去了，三个小时过去了，十二个小时也过去了，他翻了多么大一片土地！都是带着墒、带着铁锨的脖颈印儿的褐黑色土块，你想数一数有多少锨土吗？简直比你的头发还多……人原来可以做这么多切实有益的事。<br /> <br /> <br /> =Julia Dereżyńska=<br /> 这些事不会在一个早上被彻底否定，被批判得体无完肤…… 夏天，他割麦子，上身脱个精光，弯下腰来把脊背袒露在阳光下面。镰刀原来是那么精巧，那么富有生命，像灵巧的手指一样，它不但能斩断麦秸，而且可以归拢，可以捡拾，可以搬运。他学会用镰刀了，而且还能使出一些花招，嚓嚓嚓，腾出了一片地，嚓嚓嚓，又是一片地。<br /> <br /> Those things cannot be completely denied and criticized on one morning. In the summer, when he was cutting wheat, his upper body all shiny, he bent down to expose his back to the sunlight. The sickle turned out to be so exquisite, so full of life, just like nimble fingers, not only could it cut the wheat straw, but also could gather it, pick it up and transport it. He learned how to use the sickle but also how to perform some tricks. Swoosh, and a piece of land was clear, swoosh, and another one was cleared up.<br /> <br /> =Karol Perka= <br /> 多么可爱的眉毛，每个人都有两道眉毛，这样的安排是多么好，不然，汗水流 得就会糊住眼睛。直一下腰吧，刚才还是密不透风的麦田一下子开阔了许多，看见了在另一边劳动的农民，看到山和水。 一阵风吹来，真凉快，真自豪……秋天，他打荆条，腰里缠着绳子，手里握着镰刀。几个月没有摸镰刀了，再拿起来，就像重新造访疏于问候的老友一样令人欢欣。<br /> <br /> =Karolina Englert=<br /> 他登高涉险，行走在无路之处如履平地，一年的时间，他爱上了山区，他成了山里人。如同一个狩猎者，远远一瞭望，啊，发现了，在群石和杂草之中，有一簇当年生的荆条，长短合度，精细匀调，无斑无节，不嫩不老，令人心神俱往，令人心花怒放。他几个箭步，蹿上去了，左手捏紧，右手轻挥镰刀，嚓地一声，一束优质荆条已经在握了，捆好，挂在腰间的绳子上；<br /> <br /> =Lena Rzeźnikowska=<br /> 又一抬头，又发现了目标，他又攀登上去了，像黄羊一样灵活，像麋鹿一样敏捷，身手矫健，目光如电…… 除了和农民、和下放干部们一起劳动以外，他和几个“分子”还主动地或被动地给自己加了成倍的额外任务。夜里三点，好像脑袋才刚挨枕头，就起来“早战”了，把粪背到梯田上，把核桃、枣、甘薯、萝卜背下去。<br /> <br /> <br /> =Malwina Filipowicz=<br /> 在星空下走小路，星星好像就在人的身边，随手都可以抓到。中午嘴里还啃着咸菜和窝头，又开始“午战”了。晚上喝完两大碗稀粥，又是“夜战”。夜战的时间长了，有时候也犯迷糊，分不清早战和夜战了。除了星宿的位置有些不同，别的区别很少能觉察到。人真是有本事，把加班说成什么什么“战”，马上就增加了一层非凡的革命的色彩，<br /> <br /> =Natalia Gloc=<br /> 原来他们是在战，在打仗，在向资产阶级、向自己思想中的敌人开火，不是你死，就是我活，谁能懈怠呢？ 干就干吧，还要竞赛，还要批评表扬，一得空就要评比，还要按劳动和遵守纪律的情况划分类别，改造得较好的——一类，一般的——二类，较差的——三类，继续反党、反社会主义的准备带着花岗岩脑袋见上帝的——四类。这种评比可真有刺激的力量！<br /> <br /> =Paweł Andraszak=<br /> 所以农民反映：“分子”们劳动是拼命，像“砸明火”一样气急败坏，看着他们干活我们都害怕——他们重载上山的时候是跑步，下山的时候是跳跃，喘气的声音两里地外都听得见。这还不算，一有空他们还得考虑自己的罪行，考虑通过这种“砸明火”的劳动如何进一步认识自己的丑恶面目，进一步感谢党的挽救……<br /> <br /> =Wiktoria Wolny=<br /> 钟亦成出身城市贫民，从小家境不好，在他发育成长的关键时期——十一岁至十四岁的时候，正是家里吃了上顿没有下顿的时候，所以，他身材瘦小，手腕和脚踝特别细，解放后的繁忙的会议、工作之中，他也没有年轻人应有的娱乐、体育锻炼和足够的休息。来山区后营养又差，农民还可以从供销社买点点心吃，而他们的纪律是不准买任何吃的东西。<br /> <br /> Zhong Yicheng came from an urban poor background, he grew up in a poor family. During the critical period of his growth and development, so between the ages of eleven and fourteen, his family could barely put food on the table. Because of that, he was emaciated and small, with particularly thin wrists and ankles. After liberation, in the midst of the busy meetings and work, he did not have the entertainment, physical exercise and sufficient rest that young people should have. When he came to the mountains, he was malnourished once again. The peasants could buy some snacks from the supply and marketing cooperatives, whereas their discipline did not allow them to buy anthing to eat.<br /> <br /> =Zyta Rydz=<br /> 但不知道是一股什么样的内在的、神奇的力量，支持着钟亦成，使他在如此严酷沉重的劳动中没有垮下来——许多比他们干活少得多的下放干部这个住了院，那个请了假，有的一回城就半年不见影子——他咬紧牙关，勇往直前，在严酷的劳动中体味到新的乐趣，新的安慰。他甚至觉得，以往不从事体力劳动的岁月全是浮夸，全是高高在上，虚度年华。</div>

Zhang Yuxuan https://bou.de/u/index.php?title=Wang_Meng_ppt&diff=158174 2024-01-10T20:17:51Z

<p>Zhang Yuxuan: /* Anna Proskura */</p> <hr /> <div>==Wang Meng 苏诗美 Homework==<br /> <br /> =Introduction to the text=<br /> <br /> <br /> Introduction to the text: Zhong Yicheng, a young Communist Party backer, and Ling Xue have their happy new marriage interrupted when a children's poem that Zhong has written is deemed by authorities to be politically &quot;&quot;subversive.&quot;&quot; Following Cultural Revolutionary custom, he loses his party membership and is sent to work in the country. Zhong Yicheng has a psychological crisis and fights with his thoughts about his sins against the Party. The Party has him brainwashed and he starts to believe he really has done something wrong.He is blindly loyal, even when they torture him.<br /> 年轻的共产党支持者钟一成和凌雪的幸福新婚因为钟一成写的一首儿童诗被当局认定为政治“颠覆”而中断。被派往国内工作。钟宜城出现心理危机，并与自己对党犯下的罪孽进行斗争。党对他进行了洗脑，他开始相信自己确实做错了事。他盲目忠诚，即使他们折磨他。<br /> <br /> =Aleksandra Urbańska=<br /> 劳动，劳动，劳动！几十万年前，劳动使猿猴变成了人。几十万年后的中国，体力劳动也正发挥着它净化思想、再造灵魂的伟力。钟亦成深信这一点。他的对祖国山川和人民大众的热爱，他的献身的愿望，他的赎罪的狂热，他的青春的活力，他的不论在什么处境之下都无法中断的、不断从生活中获得补充和激发的诗情，全都倾注在山区农村的笨重的、应该说是还相当原始的体力劳动里。<br /> <br /> =Anna Proskura=<br /> 他背着满满的一篓子羊粪蛋上山，给梯田施肥，刚起步两分钟，就像做豆腐的最后一道工序——用石板压一样，汗水像豆腐水一样地从四面溢了出来。他爬梁越坡，沿着蜿蜒崎岖的山径前行。他的腰背弯成七十度，尽力学着老农的样子，两腿叉开，略略拳曲以利于维持平衡。<br /> <br /> He carried a basket full of sheep's dung eggs up the mountain to fertilize the terraced fields, and just two minutes after starting, like the last process of making tofu - pressing it with a stone slab - sweat poured out from all sides like tofu water. He climbed beams and slopes, travelling along the winding and rugged mountain paths. His back was bent at seventy degrees and he did his best to act like an old farmer, with his legs spread and slightly fist-curved to help maintain his balance.<br /> <br /> =Asia Zawada= <br /> 两只手是自由的，有时甩来甩去，觉得上肢轻松得令人飘飘然。有时交插手指放在胸前，一副虔诚的样子。有时用两手拢成一个圆环，这是一个练气功的姿势，为了拔步陡坡，必须气运丹田。每走一步他都觉得腿在长劲，腰在长劲，他确实是脚跟站稳，脚踏实地，在把自己的体力和热情，把饱含着农作物所需要的氮、磷、钾和有机质的肥料，献给哺育着我们的共和国的农田。<br /> <br /> =Ada Dan=<br /> 他掏大粪。粪的臭味使他觉得光荣和心安。一挑一挑粪稀和黄土拌在一起，他确实从心眼里觉得可爱，拌匀了，发酵了，滤细了，黄土变得黑油油的了，粘土也变得疏松，然后装上马车，拉到地里，撒开，风把粪渣送到嘴里。他觉得舒畅，因为，他已经被大地妈妈养活了二十多年，如今第一次把礼物献给大地妈妈……<br /> <br /> Because of his mental and physical exhaustion he starts to perceive his tiresome and humiliating work as honorable. When he mixes stinky dung to fertilize the soil, he thinks about Mother Earth, about how he can &quot;repay&quot; her feeding him for his whole life.<br /> <br /> =Ewa Kopania=<br /> 春天了，他深翻地，目不斜视，耳不旁听，全部肌肉和全部灵魂的能力集中在三个动作上：直腰竖锨，下蹬，翻土；然后又是直腰竖锨……他变成了一台翻地机，除了这三个动作他的生命再没有其他的运动。他飞速地，像是被电马达所连动，像是在参加一场国际比赛一样地做着这三位一体的动作。腰疼了，他狠狠心，腿软了，他咬咬牙。<br /> <br /> <br /> =Gabriela Krukowska=<br /> 腿完全无力了，他便跳起来，把全身的重量集中到蹬锨的一条腿上，于是，借身体下落的重力一压，扑哧，锨头直溜溜地插到田地里……头昏了，这只能使他更加机械地、身不由己地加速着三段式的轮转。忘我的劳动，艰苦而又欢乐。刹那间，一个小时过去了，三个小时过去了，十二个小时也过去了，他翻了多么大一片土地！都是带着墒、带着铁锨的脖颈印儿的褐黑色土块，你想数一数有多少锨土吗？简直比你的头发还多……人原来可以做这么多切实有益的事。<br /> <br /> <br /> =Julia Dereżyńska=<br /> 这些事不会在一个早上被彻底否定，被批判得体无完肤…… 夏天，他割麦子，上身脱个精光，弯下腰来把脊背袒露在阳光下面。镰刀原来是那么精巧，那么富有生命，像灵巧的手指一样，它不但能斩断麦秸，而且可以归拢，可以捡拾，可以搬运。他学会用镰刀了，而且还能使出一些花招，嚓嚓嚓，腾出了一片地，嚓嚓嚓，又是一片地。<br /> <br /> Those things cannot be completely denied and criticized on one morning. In the summer, when he was cutting wheat, his upper body all shiny, he bent down to expose his back to the sunlight. The sickle turned out to be so exquisite, so full of life, just like nimble fingers, not only could it cut the wheat straw, but also could gather it, pick it up and transport it. He learned how to use the sickle but also how to perform some tricks. Swoosh, and a piece of land was clear, swoosh, and another one was cleared up.<br /> <br /> =Karol Perka= <br /> 多么可爱的眉毛，每个人都有两道眉毛，这样的安排是多么好，不然，汗水流 得就会糊住眼睛。直一下腰吧，刚才还是密不透风的麦田一下子开阔了许多，看见了在另一边劳动的农民，看到山和水。 一阵风吹来，真凉快，真自豪……秋天，他打荆条，腰里缠着绳子，手里握着镰刀。几个月没有摸镰刀了，再拿起来，就像重新造访疏于问候的老友一样令人欢欣。<br /> <br /> =Karolina Englert=<br /> 他登高涉险，行走在无路之处如履平地，一年的时间，他爱上了山区，他成了山里人。如同一个狩猎者，远远一瞭望，啊，发现了，在群石和杂草之中，有一簇当年生的荆条，长短合度，精细匀调，无斑无节，不嫩不老，令人心神俱往，令人心花怒放。他几个箭步，蹿上去了，左手捏紧，右手轻挥镰刀，嚓地一声，一束优质荆条已经在握了，捆好，挂在腰间的绳子上；<br /> <br /> =Lena Rzeźnikowska=<br /> 又一抬头，又发现了目标，他又攀登上去了，像黄羊一样灵活，像麋鹿一样敏捷，身手矫健，目光如电…… 除了和农民、和下放干部们一起劳动以外，他和几个“分子”还主动地或被动地给自己加了成倍的额外任务。夜里三点，好像脑袋才刚挨枕头，就起来“早战”了，把粪背到梯田上，把核桃、枣、甘薯、萝卜背下去。<br /> <br /> <br /> =Malwina Filipowicz=<br /> 在星空下走小路，星星好像就在人的身边，随手都可以抓到。中午嘴里还啃着咸菜和窝头，又开始“午战”了。晚上喝完两大碗稀粥，又是“夜战”。夜战的时间长了，有时候也犯迷糊，分不清早战和夜战了。除了星宿的位置有些不同，别的区别很少能觉察到。人真是有本事，把加班说成什么什么“战”，马上就增加了一层非凡的革命的色彩，<br /> <br /> =Natalia Gloc=<br /> 原来他们是在战，在打仗，在向资产阶级、向自己思想中的敌人开火，不是你死，就是我活，谁能懈怠呢？ 干就干吧，还要竞赛，还要批评表扬，一得空就要评比，还要按劳动和遵守纪律的情况划分类别，改造得较好的——一类，一般的——二类，较差的——三类，继续反党、反社会主义的准备带着花岗岩脑袋见上帝的——四类。这种评比可真有刺激的力量！<br /> <br /> =Paweł Andraszak=<br /> 所以农民反映：“分子”们劳动是拼命，像“砸明火”一样气急败坏，看着他们干活我们都害怕——他们重载上山的时候是跑步，下山的时候是跳跃，喘气的声音两里地外都听得见。这还不算，一有空他们还得考虑自己的罪行，考虑通过这种“砸明火”的劳动如何进一步认识自己的丑恶面目，进一步感谢党的挽救……<br /> <br /> =Wiktoria Wolny=<br /> 钟亦成出身城市贫民，从小家境不好，在他发育成长的关键时期——十一岁至十四岁的时候，正是家里吃了上顿没有下顿的时候，所以，他身材瘦小，手腕和脚踝特别细，解放后的繁忙的会议、工作之中，他也没有年轻人应有的娱乐、体育锻炼和足够的休息。来山区后营养又差，农民还可以从供销社买点点心吃，而他们的纪律是不准买任何吃的东西。<br /> <br /> Zhong Yicheng came from an urban poor background, he grew up in a poor family. During the critical period of his growth and development, so between the ages of eleven and fourteen, his family could barely put food on the table. Because of that, he was emaciated and small, with particularly thin wrists and ankles. After liberation, in the midst of the busy meetings and work, he did not have the entertainment, physical exercise and sufficient rest that young people should have. When he came to the mountains, he was malnourished once again. The peasants could buy some snacks from the supply and marketing cooperatives, whereas their discipline did not allow them to buy anthing to eat.<br /> <br /> =Zyta Rydz=<br /> 但不知道是一股什么样的内在的、神奇的力量，支持着钟亦成，使他在如此严酷沉重的劳动中没有垮下来——许多比他们干活少得多的下放干部这个住了院，那个请了假，有的一回城就半年不见影子——他咬紧牙关，勇往直前，在严酷的劳动中体味到新的乐趣，新的安慰。他甚至觉得，以往不从事体力劳动的岁月全是浮夸，全是高高在上，虚度年华。</div>

Zhang Yuxuan