China Studies Wiki - User contributions [en]

User:Zhou Yanhua

2025-06-19T07:25:41Z

Zhou Yanhua:

Dragon Boat Race

[[File:Dragonboat.png]]
龙舟竞渡：传统与现代的交响

周艳花

摘要：龙舟赛是中国传统端午节的重要活动，历史悠久，文化内涵丰富。它起源于对爱国诗人屈原的纪念，融合了龙图腾崇拜和民间习俗。龙舟赛不仅是团结协作的象征，也是文化传承的纽带，如今在国际上广泛传播，成为连接中国与世界的桥梁。

龙舟竞渡作为中国传统节日端午节的重要习俗，其历史源远流长，蕴含着深厚的文化底蕴。龙舟文化的萌芽可追溯至春秋时期（王娟. 《民俗学概论》. 北京大学出版社，2002）。据《穆天子传》记载，当时古人视龙为图腾，认为航行时遭遇的风浪乃龙在水中作祟，故而在船身绘制龙鳞，增添龙首和龙尾，以祈求航行平安，这便是龙舟的雏形，不过此时仅作观赏之用（转引自《赛龙舟 (端午节传统习俗，亚运会项目)_百科》）。

追溯赛龙舟的起源，最广为流传的是纪念战国时期爱国诗人屈原的传说。公元前 278 年，秦军攻破楚国郢都，屈原目睹家国破碎，悲愤交加，抱石投汨罗江自尽。当地百姓听闻噩耗，纷纷驾船竞渡，试图在滔滔江水中寻觅他的身影，又向江中抛洒饭团、鸡蛋，防止鱼虾啃食屈原遗体。此后，每年五月初五，人们便以赛龙舟、包粽子等形式缅怀这位爱国志士。近代著名学者闻一多在《端午考》和《端午节的历史教育》等著作中指出，端午节是龙的节日，是古代吴越人举行图腾祭祀的日子，赛龙舟是祭祀中兼具宗教与娱乐性质的节目，后来与屈原忌日巧合，这些习俗才逐渐演变为纪念屈原的方式，此说法已被学术界广泛接受和引用（闻一多. 《端午考》. 《闻一多全集》. 生活・读书・新知三联书店，1982）。

赛龙舟的筹备与赛事过程，处处彰显着传统与协作的魅力。赛前，龙舟的打造便是一门精细的传统工艺。工匠们选用坚韧的杉木、樟木，依循龙的形态设计，从龙头雕刻的龙须飞扬、龙眼炯炯，到龙身彩绘的绚丽花纹，再到龙尾的灵动造型，每一处细节都倾注着匠心。有的龙舟还会装饰象征吉祥的红绸、铜镜，赋予其驱邪纳福的寓意。待龙舟下水，赛事筹备进入关键环节 —— 组建队伍。参与者来自各行各业，有渔民、工人、学生，大家放下平日身份，为共同的目标磨合训练。鼓手是龙舟的 “灵魂指挥”，激昂的鼓点如战歌，控制着划桨节奏；锣手则以锣声辅助，提示节奏变化；划手们需动作整齐划一，如同被无形的线牵引，将力量汇聚于船桨，让龙舟化作水面的 “游龙”。（冯骥才. 《文化遗产日：民族的节日》. 《文汇报》, 2006 年 6 月 10 日）

比赛当日，江河两岸热闹非凡。观者里三层外三层，从白发老者到垂髫小儿，人人脸上洋溢着期待。随着一声令下，数艘龙舟如离弦之箭窜出。鼓手奋力击鼓，“咚！咚！咚！” 的声响震彻江面，划手们口号整齐，船桨翻飞，水花四溅。龙舟上，队员们目光坚定，盯着前方龙舟的尾迹，比拼速度与耐力；岸边，呐喊助威声此起彼伏，“加油” 声浪与江风、鼓声交织，点燃夏日的热情。此时，赛龙舟已超脱单纯的竞技，成为社群凝聚的纽带。邻里乡亲因观赛并肩而站，陌生人因助威声相视一笑，不同年龄、身份的人共享这份热烈，传承文化的同时，也编织着社区的情感网络。

赛龙舟承载的文化意义，多元而深刻。从精神层面看，它是团结协作的生动教科书。一艘龙舟上，数十人动作、呼吸、节奏高度统一，缺了任何一人的配合，都难以前行。这种协作，映射着中国人对 “和” 文化的追求 —— 个人融入集体，为共同目标携手奋进，如同在历史长河中，中华民族面对苦难时，凭借团结一心渡过大浪淘沙。从文化传承角度，赛龙舟让传统技艺、民俗仪式、文学记忆相互交融。孩童在岸边看龙舟，听长辈讲述屈原故事，便在潜移默化中触摸历史文脉；年轻人参与划桨，感受传统民俗的活力，让古老文化在青春血液中流淌。此外，赛龙舟还成为文化交流的名片。在海外华人聚居地，每逢端午，龙舟赛事同样热闹，华侨们以赛龙舟寄托乡愁，向世界展示中国文化的独特魅力，让这一民俗成为连接中外的文化桥梁，让 “中国龙” 的精神，在全球水域激起共鸣。（冯骥才. 《文化遗产日：民族的节日》. 《文汇报》, 2006 年 6 月 10 日）

在当代，赛龙舟也不断焕新活力。除传统端午赛事，许多城市打造 “龙舟嘉年华”，融入灯光秀、文化展览、美食市集，让白天的竞技与夜晚的文艺交融，吸引更多年轻人参与。高校间的龙舟赛，成为校园文化的特色符号，大学生们用青春朝气赋予龙舟新诠释。甚至，赛龙舟走进国际体育视野，与世界水上运动交流互鉴，让这一中国民俗，在新时代浪潮中，继续以竞渡之姿，传递文化温度，书写属于中华民族的精神长卷。赛龙舟，划动的是船桨，传承的是文化，凝聚的是民族魂，它在历史与现代的交汇中，永远破浪前行，让中国文化的江河，因这龙舟竞渡，奔腾得更加汹涌、灿烂。（张殿元. 《新媒体概论》. 复旦大学出版社，2013）

Dragon-Boat Racing: A Symphony of Tradition and Modernity

Zhou Yanhua

Abstract:Dragon-boat racing, a vital part of China's traditional Dragon Boat Festival, has a long history and profound cultural significance. Originating from commemorating the patriotic poet Qu Yuan, it integrates dragon totem worship and folk customs. As a symbol of unity and a bond for cultural heritage, dragon-boat racing has now spread globally, becoming a bridge connecting China with the world.

Dragon-boat racing, a vital custom of China's traditional Dragon Boat Festival, boasts a long-standing history and profound cultural heritage. Dragon-boat culture dates back to the Spring and Autumn Period (Wang Juan, *Introduction to Folklore*, Peking University Press, 2002). According to *The Biography of King Mu of Zhou*, ancient people regarded the dragon as a totem, believing that storms at sea were caused by dragons. They thus painted dragon scales on boat bodies and added dragon heads and tails to pray for safe voyages. This marked the embryonic form of the dragon boat, initially used for ornamental purposes (cited from *Dragon-Boat Racing (Traditional Custom of Dragon Boat Festival, Asian Games Event)*, Encyclopedia).

The Origin of Dragon-Boat Racing

The most widely circulated legend about the origin of dragon-boat racing is to commemorate Qu Yuan, a patriotic poet of the Warring States Period. In 278 BC, when the Qin army conquered Yingdu, the capital of the Chu State, Qu Yuan, witnessing the fall of his homeland, threw himself into the Miluo River in grief. Upon hearing the news, local people rowed boats frantically to search for his body and threw rice balls and eggs into the river to prevent fish from eating his remains. Since then, every fifth day of the fifth lunar month, people have honored Qu Yuan through activities like dragon-boat racing and making zongzi (sticky rice dumplings).

Modern scholar Wen Yiduo pointed out in works such as *The Study of Dragon Boat Festival* and *The Historical Education of Dragon Boat Festival* that the Dragon Boat Festival was originally a "Dragon Festival" for totem worship by the ancient Wu and Yue people. Dragon-boat racing was a religious and recreational event in their rituals, which later coincided with Qu Yuan's death day and gradually evolved into a way to commemorate him. This view has been widely accepted in academic circles (Wen Yiduo, *The Study of Dragon Boat Festival*, *Complete Works of Wen Yiduo*, SDX Joint Publishing Company, 1982).

The Charm of Tradition and Collaboration in Dragon-Boat Racing

Preparing for a dragon-boat race showcases the charm of tradition and teamwork. Crafting a dragon boat is a delicate traditional craft: carpenters choose tough fir or camphor wood and design it in the shape of a dragon. Every detail—from the flying dragon whiskers and bright dragon eyes carved on the head to the colorful patterns painted on the body and the agile tail—embodies exquisite craftsmanship. Some boats are decorated with red silk and bronze mirrors as symbols of good luck and exorcism.

When the boat is launched, team formation becomes crucial. Participants from all walks of life—fishermen, workers, students—set aside their daily roles to train together. The drummer, as the "soul conductor," controls the rowing rhythm with passionate beats like a battle cry; the gong player assists in signaling rhythm changes. Rowers move in perfect unison, channeling their strength into the oars to make the boat surge like a "swimming dragon" on the water (Feng Jicai, *Cultural Heritage Day: The Nation's Festival*, *Wenhui Daily*, June 10, 2006).

On race day, the riverbanks are bustling with crowds, from white-haired elders to young children, all brimming with anticipation. At the starting command, dragon boats shoot out like arrows. Drummers pound furiously, their "Dong! Dong! Dong!" reverberating across the water, while rowers chant in unison, oars splashing rhythmically. Onboard, team members fix their eyes on the leading boat, competing in speed and endurance; onshore, cheers of "Go for it!" blend with the river wind and drumbeats, igniting summer enthusiasm. Beyond mere competition, dragon-boat racing becomes a bond for community cohesion: neighbors stand side by side, strangers share smiles through cheers, and people of all ages and backgrounds unite in this fervor, weaving a network of shared emotions while inheriting culture.

The Cultural Significance of Dragon-Boat Racing

Spiritually, dragon-boat racing is a living textbook of unity. Dozens of people on a boat must synchronize their movements, breathing, and rhythm; the absence of any one member's cooperation halts progress. This collaboration reflects the Chinese pursuit of "harmony"—where individuals integrate into the collective to strive for common goals, just as the Chinese nation has navigated historical hardships through unity.

Culturally, dragon-boat racing merges traditional craftsmanship (boat-making), folk rituals (Dragon Boat Festival customs), and literary memories (Qu Yuan's poetry). Children listening to Qu Yuan's story by the river subtly connect with historical context, while young people rowing feel the vitality of traditional folk customs, allowing ancient culture to flow in youthful blood.

Internationally, dragon-boat racing serves as a cultural bridge, connecting China with the world. In overseas Chinese communities, dragon-boat races during the Dragon Boat Festival not only express homesickness but also showcase Chinese culture to the world, making this folk custom a symbol where the spirit of the "Chinese Dragon" resonates globally (Feng Jicai, *Cultural Heritage Day: The Nation's Festival*, *Wenhui Daily*, June 10, 2006).

Dragon-Boat Racing in the Modern Era

In contemporary times, dragon-boat racing continues to thrive. Many cities host "Dragon Boat Carnivals" that blend daytime races with nighttime light shows, cultural exhibitions, and food markets, attracting young people. University dragon-boat races have become a feature of campus culture, while the sport has entered international sports arenas, exchanging with global water sports. As noted in Zhang Dianyuan's *Introduction to New Media*, technologies like drone live-streaming and VR experiences have expanded its global reach, helping this Chinese custom convey cultural warmth in the new era (Zhang Dianyuan, *Introduction to New Media*, Fudan University Press, 2013).

Dragon-boat racing, with its oars rowing through time, inherits culture and binds the national spirit. At the intersection of history and modernity, it will always ride the waves, making the river of Chinese culture flow more powerfully and brilliantly.

References
Wang Juan. Introduction to Folklore. Peking University Press, 2002.
Wen Yiduo. The Study of Dragon Boat Festival. Complete Works of Wen Yiduo. SDX Joint Publishing Company, 1982.
Feng Jicai. "Cultural Heritage Day: The Nation's Festival." Wenhui Daily, June 10, 2006.
Zhang Dianyuan. Introduction to New Media. Fudan University Press, 2013.
Dragon-Boat Racing (Traditional Custom of Dragon Boat Festival, Asian Games Event). Encyclopedia.

Words
赛龙舟：Dragon - Boat Racing
端午节：Dragon Boat Festival
战国时期：Warring States Period
爱国诗人：patriotic poet
屈原：Qu Yuan
齐心协力：make joint efforts
鼓手：drummer
船桨：oar
传统工艺：traditional craftsmanship
团结协作：unity and cooperation

Questions
1.How does the legend of Qu Yuan contribute to the cultural significance of Dragon - Boat Racing, and what other historical origins might have influenced its formation?
The legend of Qu Yuan is central to the cultural significance of Dragon-Boat Racing. It commemorates his sacrifice and patriotism, turning the race into a symbol of national pride and collective memory. Additionally, the practice likely originated from ancient dragon totem worship in the Wu and Yue regions, where dragon-shaped boats were used in rituals to pray for safe voyages and blessings. This blend of commemoration and ritual has deepened its cultural roots.
2.In what ways does the process of making a dragon boat reflect traditional Chinese craftsmanship, and how do the decorative elements add cultural meanings?
Crafting a dragon boat showcases traditional Chinese craftsmanship through meticulous selection of materials like fir or camphor wood and intricate carving and painting. The dragon head with whiskers and bright eyes, along with colorful patterns on the body, symbolize power and good fortune. Decorations like red silk and bronze mirrors add meanings of exorcism and protection, reflecting cultural values and beliefs.
3.Beyond China, how does Dragon - Boat Racing serve as a cultural bridge for overseas Chinese, and what impact does it have on international cultural exchanges?
Dragon-Boat Racing serves as a cultural bridge for overseas Chinese by expressing their connection to Chinese heritage and traditions. It allows them to share their cultural identity with diverse communities. Internationally, it fosters cultural exchange by introducing global audiences to Chinese customs and values. The sport’s growing popularity worldwide also promotes cross-cultural understanding and unity.

Here I guarantee that I did not use AI to assist me in writing the final paper for this course.

User:Zhou Yanhua

2025-06-12T13:45:46Z

Zhou Yanhua:

Dragon Boat Race

[[File:Dragonboat.png]]

Dragon-Boat Racing, a resplendent pearl among traditional Chinese folk activities, has been shining on the rivers and lakes of China for thousands of years. Deeply rooted in the soil of historical and cultural heritage, it is particularly closely linked to the Dragon Boat Festival. It has become the most dynamic and visually striking symbol in the culture of the Dragon Boat Festival, carrying profound national memories, collective spirits, and cultural aspirations.

Tracing back to the origin of Dragon-Boat Racing, the most widely spread legend is to commemorate Qu Yuan, a patriotic poet during the Warring States Period. Qu Yuan, known for his loyalty and his sorrowful poems that mourned the hardships of the people, was overwhelmed by grief and anger when he witnessed the destruction of his homeland, the Chu State, by the Qin army in 278 BC. He threw himself into the Miluo River. Upon hearing the news, the local people immediately set out on boats to search for his body across the river. They also threw rice dumplings and eggs into the water to prevent fish and shrimp from devouring Qu Yuan's body. Since then, every year on the fifth day of the fifth lunar month, people have commemorated this patriotic figure through activities such as Dragon-Boat Racing and making zongzi, allowing the spirit of Qu Yuan to be passed down through generations along with the racing of dragon boats. However, the origins of Dragon-Boat Racing may date back even earlier, to the dragon totem worship in the Wu and Yue regions during ancient times. At that time, the ancestors shaped their boats like dragons and held sacrificial ceremonies on the water, praying for good weather, disaster relief, and blessings. This primitive sacrificial practice sowed the cultural seeds for the birth of Dragon-Boat Racing. Through historical evolution and cultural integration, it gradually became a folk activity with both commemorative significance and competitive fun.

The preparation and process of the Dragon-Boat Racing event vividly demonstrate the charm of tradition and cooperation. Before the race, the crafting of the dragon boat is a delicate traditional craft. Craftsmen select tough fir or camphor wood and design the boat according to the shape of a dragon. From the fluttering of the dragon's whiskers and the bright gaze of the dragon's eyes carved on the dragon head, to the gorgeous patterns painted on the dragon body, and then to the flexible shape of the dragon tail, every detail is infused with ingenuity. Some dragon boats are also decorated with red silk and bronze mirrors, symbolizing good luck and warding off evil. Once the dragon boat is launched into the water, the key stage of event preparation begins—forming a team. Participants come from all walks of life, including fishermen, workers, and students. They put aside their daily identities and undergo training to cooperate for a common goal. The drummer is the "soul conductor" of the dragon boat; the passionate drumbeats, like a battle song, control the rhythm of rowing. The gong player assists with gong sounds to indicate changes in rhythm. The rowers need to move in perfect unison, as if guided by an invisible force, channeling their strength into the oars to transform the dragon boat into a "swimming dragon" on the water.

On the day of the competition, the riverside is bustling with activity as spectators of all ages gather from, white-haired elders to young children, their faces filled with anticipation. With the sound of a command, several dragon boats shoot out like arrows off a string. The drummer pounds the drum with all his might; the sound of "Dong! Dong! Dong!" reverberates across the river. The rowers chant in unison, oars flutter, and water splashes. On the dragon boat, the team members have focused eyes, fixated on the wake of the dragon boat ahead, competing in speed and endurance. On the shore, the cheers and shouts of "Go for it" blend with the river breeze and drumbeats, igniting the summer enthusiasm. At this moment, Dragon-Boat Racing transcends mere competition; it becomes a bond for community cohesion. Neighbors stand side by side to watch the race, strangers exchange smiles due to the cheers, and people of different ages and identities share this fervor. While inheriting the culture, it also weaves the emotional network of the community.

The cultural significance of Dragon-Boat Racing is both diverse and profound. On a spiritual level, it is a vivid textbook of unity and cooperation. On a single dragon boat, dozens of people must achieve a high degree of unity in movement, breathing, and rhythm. Without the cooperation of any one person, it is difficult to move forward. This kind of cooperation reflects the Chinese pursuit of the "harmony" culture—individuals integrate into the collective and strive hand in hand for a common goal, just as the Chinese nation, in the face of hardships throughout history, has navigated the rough tides through unity. From the perspective of cultural inheritance, Dragon-Boat Racing integrates traditional crafts (dragon boat making), folk rituals (Dragon Boat Festival customs), and literary memories (Qu Yuan's poetry). When children watch the dragon boats on the shore and listen to their elders tell the story of Qu Yuan, they subtly touch the pulse of historical context. Young people participate in rowing, feeling the vitality of traditional folk customs, allowing ancient culture to flow in the blood of youth. In addition, Dragon-Boat Racing has become a cultural calling card for exchange. In overseas Chinese communities, whenever the Dragon Boat Festival arrives, dragon boat races are equally lively. Overseas Chinese use Dragon-Boat Racing to express their homesickness and showcase the unique charm of Chinese culture to the world, making this folk custom a cultural bridge connecting China and foreign countries, and letting the spirit of the "Chinese Dragon" resonate in global waters.

In contemporary times, Dragon-Boat Racing continues to thrive. Besides traditional Dragon Boat Festival races, many cities have created "Dragon Boat Carnivals," integrating light shows, cultural exhibitions, and food markets, blending daytime competitions with nighttime art and culture, attracting more young people to participate. Dragon boat races among universities have become a distinctive symbol of campus culture, with college students giving new interpretations to dragon boats with their youthful vigor. Even Dragon-Boat Racing has entered the international sports arena, exchanging and learning from world water sports, allowing this Chinese folk custom to continue, in the tide of the new era, to transmit cultural warmth with the posture of racing waves and write a spiritual long scroll belonging to the Chinese nation. Dragon-Boat Racing, with oars rowing, inherits culture and unites the national soul. At the intersection of history and modernity, it will always break through the waves, making the river of Chinese culture surge more powerfully and brilliantly due to this dragon boat racing.

Words
赛龙舟：Dragon - Boat Racing
端午节：Dragon Boat Festival
战国时期：Warring States Period
爱国诗人：patriotic poet
屈原：Qu Yuan
齐心协力：make joint efforts
鼓手：drummer
船桨：oar
传统工艺：traditional craftsmanship
团结协作：unity and cooperation

Questions
1.How does the legend of Qu Yuan contribute to the cultural significance of Dragon - Boat Racing, and what other historical origins might have influenced its formation?
2.In what ways does the process of making a dragon boat reflect traditional Chinese craftsmanship, and how do the decorative elements add cultural meanings?
3.Beyond China, how does Dragon - Boat Racing serve as a cultural bridge for overseas Chinese, and what impact does it have on international cultural exchanges?

User:Zhou Yanhua

2025-06-12T13:43:21Z

Zhou Yanhua:

Cult Ov Fin Exam Spring 2025

2025-06-05T09:30:05Z

Zhou Yanhua: /* https://wiki.rub.de/uvu/index.php/User:Zheng_Xiaotong 郓城壮馍 Yuncheng Zhangmo#Final_Paper */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==中国名茶

==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua#Final_Paper 划龙舟比赛Dragon boat race==

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==

==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper 《藏海传》Legend of Zang Hai==

==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 鱼丸==
==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture==

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==道家思想 Daoist Thought

道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan 滕王阁 Tengwang Pavilion #Final_Paper==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper 中国井盐 Chinese Well Salt==

==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper 盗墓笔记 The Grave Robbers’ Chronicles==

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong#Final_Paper 郓城壮馍 Yuncheng Zhangmo ==

==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen==

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==

旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Cult Ov Fin Exam Spring 2025

2025-06-05T09:24:42Z

Zhou Yanhua: /* https://wiki.rub.de/uvu/index.php/User:Zhou_Yanhua#Final_Paper划龙舟比赛Dragon boat race */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua#Final_Paper==划龙舟比赛Dragon boat race

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper 《藏海传》Legend of Zang Hai==

==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 鱼丸==
==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture==

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==道家思想 Daoist Thought

道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan 滕王阁 Tengwang Pavilion #Final_Paper==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper==
==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper== 盗墓笔记 The Grave Robbers’ Chronicles

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong郓城壮馍Yuncheng Zhangmo#Final_Paper==

==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen==

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==
旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Cult Ov Fin Exam Spring 2025

2025-06-05T09:23:35Z

Zhou Yanhua: /* https://wiki.rub.de/uvu/index.php/User:Zhou_Yanhua划龙舟比赛Dragon boat race#Final_Paper */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua#Final_Paper划龙舟比赛Dragon boat race==

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper 《藏海传》Legend of Zang Hai==

==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 鱼丸==
==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture==

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==道家思想 Daoist Thought

道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan 滕王阁 Tengwang Pavilion #Final_Paper==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper==
==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper== 盗墓笔记 The Grave Robbers’ Chronicles

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong郓城壮馍Yuncheng Zhangmo#Final_Paper==

==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen==

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==
旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Cult Ov Fin Exam Spring 2025

2025-06-05T09:20:39Z

Zhou Yanhua: /* https://wiki.rub.de/uvu/index.php/User:Zheng_Xiaotong#Final_Paper */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua划龙舟比赛Dragon boat race#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper==
==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 鱼丸

==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper== 二次元文化 ACG Culture

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==道家思想 Daoist Thought

道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan Tengwang Pavilion 滕王阁#Final_Paper==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper==
==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper== 盗墓笔记 The Grave Robbers’ Chronicles

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong郓城壮馍Yuncheng Zhangmo#Final_Paper==

==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==
旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Cult Ov Fin Exam Spring 2025

2025-06-05T09:13:27Z

Zhou Yanhua: /* https://wiki.rub.de/uvu/index.php/User:Zhou_Yanhua#Final_Paper */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua划龙舟比赛Dragon boat race#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper==
==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper==

==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==
道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan#Final_Paper==
==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper==
==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper==
==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong#Final_Paper==
==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper==中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==
旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

File:202 The Legend of Zhen Huan 2025.pptx

2025-06-03T06:31:37Z

Zhou Yanhua: Zhou Yanhua uploaded a new version of "File:202 The Legend of Zhen Huan 2025.pptx"

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2025-06-03T06:30:14Z

Zhou Yanhua:

File:Zhenhuanzhuan zhouyanhua.pptx

2025-06-03T06:26:43Z

Zhou Yanhua:

File:The legand of ZhenHuan.pptx

2025-02-25T12:21:07Z

Zhou Yanhua: Zhou Yanhua uploaded a new version of "File:The legand of ZhenHuan.pptx"

File:The legand of ZhenHuan.pptx

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2025-02-25T12:16:16Z

Zhou Yanhua:

Overview of Chinese Culture, Spring 2025

2025-02-25T11:51:41Z

Zhou Yanhua: /* Homework */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

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

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

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

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

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 (Chen Lin)

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845(Ou Huang)

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

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

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845 (Chen Lin)

242. Hunan Rice Noodles（湖南米粉） 1845(Ou Huang)

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845

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

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

256. Danmu (弹幕） 1845

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845(Ou Huang)

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Chen Zhen)

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845

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

281. Music and instruments: Yangqin（扬琴） 1845

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

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=
==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations==
清明节4月4日——4月6日
=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 09 Wed Apr 16 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 10 Wed Apr 23 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 11 Wed Apr 30 8:00-9:40 room 腾龙楼 407 - Student presentations==
劳动节5月1日——5月5日
=Session 12 Wed May 07 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 13 Wed May 14 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 14 Wed May 21 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 15 Wed May 28 8:00-9:40 room 腾龙楼 407 - Student presentations==
端午节5月31日——6月2日
=Session 16 Wed Jun 25 8:00-9:40 room 腾龙楼 407 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]