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Interculturality in HLM

2022-05-11T05:39:47Z

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

The ''Red Chamber Dreams'' already display in their contents interculturality, both, the mixture of Manchu and Han culture as well as the impact of foreign culture in late Qing China. Like the time claimed by the novel to be timeless, the culture displayed in the novel is not genuinely Manchu or Han Chinese, but Cao Xueqin draws a picture of a Chinese culture, which has successfully integrated both Manchu and Han culture into Qing Chinese culture. Cao Xueqin also often plays with the cultural elements of both Manchu and Han by mixing them, which can be deciphered easily for the readers of his time.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The ''Red Chamber Dreams'' function worldwide. The ''Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;““If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）

Reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned,Randall Nakano, in the nonsinging role of the Monk, eloquently delivers the opera’s abiding message about reality, illusion and destiny. And that early, shining image of the boat on the river returns in the production’s touching final moments. Much has changed since that first scene: lives lost, love spent, fortunes come and gone. It’s all part of the dream. This comment on the main theme of the opera is on target.

====Reference====
GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

====Reference====
*SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
*冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

*SFOpera https://www.sfopera.com/redchamber

*N.Y.TIMES ‘Dream of the Red Chamber’ and Other Sleep ... - The New York Times
https://www.nytimes.com/2014/05/17/arts/dream-of-the-red-chamber-and-other-sleep-oriented-shows.html#:~:text=Spectators%20rest%20as%20performers%20play%20cards%20in%20%E2%80%9CDream,said.%20Michael%20Appleton%20for%20The%20New%20York%20Times

*An American Opera Company Adapts China’s ‘War and Peace’ - The New York ...
https://www.nytimes.com/2016/09/10/arts/music/san-francisco-opera-dream-of-the-red-chamber.html

*LOS ANGELES TIMES https://www.latimes.com/entertainment/arts/la-et-cm-red-chamber-opera-review-20160910-snap-story.html

*盛宗亮: Bright SHENG

*LIBRARIES Responses to the Opera Premiere https://open.lib.umn.edu/redchamber/chapter/responses-to-the-opera-premiere/

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

== Headline text ==
=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

There is extensive research on bisexuality in the ''Red Chamber Dreams'', see e.g. https://baijiahao.baidu.com/s?id=1572150454981292&wfr=spider&for=pc&searchword=%E8%B4%BE%E5%AE%9D%E7%8E%89%20%E5%90%8C%E6%80%A7%E6%81%8B.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

关于贾宝玉同性恋的一些片段

柳湘莲：

第六十六回情小妹耻情归地府　冷二郎一冷入空门

CHAPTER 66

Shame drives a warm-hearted young woman
to take her life
And shock leads a cold-hearted young gentleman
to renounce the world

次日又来见宝玉，二人相会，如鱼得水。…

蒋玉菡：互换汗巾子

第二十八回蒋玉菡情赠茜香罗　薛宝钗羞笼红麝串

CHAPTER 28

A crimson cummerbund becomes a pledge of friendship
And a chaplet of medicine-beads becomes a source of
embarrassment
少刻，宝玉出席解手，蒋玉菡便随了出来．二人站在廊檐下，蒋玉菡又陪不是．宝玉见他妩媚温柔，心中十分留恋，便紧紧的搭着他的手，叫他：“闲了往我们那里去．还有一句话借问，也是你们贵班中，有一个叫琪官的，他在那里？如今名驰天下，我独无缘一见。”蒋玉菡笑道：“就是我的小名儿。”宝玉听说，不觉欣然跌足笑道：“有幸，有幸！果然名不虚传．今儿初会，便怎么样呢？"想了一想，向袖中取出扇子，将一个玉ぉ扇坠解下来，递与琪官，道：“微物不堪，略表今日之谊。”琪官接了，笑道：“无功受禄，何以克当！也罢，我这里得了一件奇物，今日早起方系上，还是簇新的，聊可表我一点亲热之意。”说毕撩衣，将系小衣儿一条大红汗巾子解了下来，递与宝玉，道：“这汗巾子是茜香国女国王所贡之物，夏天系着，肌肤生香，不生汗渍，昨日北静王给我的，今日才上身．若是别人，我断不肯相赠．二爷请把自己系的解下来，给我系着。”宝玉听说，喜不自禁，连忙接了，将自己一条松花汗巾解了下来，递与琪官。…
Shortly after this Bao-yu had to take temporary leave of the company to ease his bladder and Jiang Yu-han followed him outside. As the two of them stood side by side under the eaves, Jiang Yu-han once more offered Bao-yu his apologies. Much taken with the actor’s winsome looks and gentleness of man�ner, Bao-yu impulsively took his hand and gave it a squeeze.
‘Do come round to our place some time when you are free,’ he said. ‘There’s something I want to ask you about. You have an actor in your company called “Bijou” whom everyone is talking about lately. I should so much like to meet him, but so far I haven’t had an opportunity.’
‘That’s me!’ said Jiang Yu-han. ‘“Bijou” is my stage name.’
Bao-yu stamped with delight.
‘But this is wonderful! I must say, you fully deserve your reputation. Oh dear! What am I going to do about a First Meeting present?’
He thought for a bit, then took a fan from his sleeve and broke off its jade pendant.
‘Here you are,’ he said, handing it to Bijou. ‘It’s not much of a present, I’m afraid, but it will do to remind you of our meeting.’
Bijou smiled and accepted it ceremoniously:
‘I have done nothing to deserve this favour. It is too great an honour. Well, thank you. There’s rather an unusual thing I’m wearing I put it on today for the first time, so it’s still fairly new: I wonder if you will allow me to give it to you as a token of my warm feelings towards you?’
He opened up his gown, undid the crimson cummerbund with which his trousers were fastened, and handed it to Bao�-yu.

秦钟：

第九回恋风流情友入家塾　起嫌疑顽童闹学堂

Chapter 9
A son is admonished and Li Gui receives
an alarming warning
A pupil is abused and Tealeaf throws the
classroom in an uproar

原来这贾家之义学，离此也不甚远，不过一里之遥，原系始祖所立，恐族中子弟有贫穷不能请师者，即入此中肄业。凡族中有官爵之人，皆供给银两，按俸之多寡帮助，为学中之费。特共举年高有德之人为塾掌，专为训课子弟。如今宝秦二人来了，一一的都互相拜见过，读起书来。自此以后，他二人同来同往，同坐同起，愈加亲密。又兼贾母爱惜，也时常的留下秦钟，住上三天五日，与自己的重孙一般疼爱。因见秦钟不甚宽裕，更又助他些衣履等物。不上一月之工，秦钟在荣府便熟了。宝玉终是不安本分之人，竟一味的随心所欲，因此又发了癖性，又特向秦钟悄说道：“咱们俩个人一样的年纪，况又是同窗，以后不必论叔侄，只论弟兄朋友就是了。”先是秦钟不肯，当不得宝玉不依，只叫他“兄弟”，或叫他的表字“鲸卿”，秦钟也只得混着乱叫起来。

原来这学中虽都是本族人丁与些亲戚的子弟，俗语说的好：“一龙生九种，种种各别。”未免人多了，就有龙蛇混杂，下流人物在内。自宝，秦二人来了，都生的花朵儿一般的模样，又见秦钟腼腆温柔，未语面先红，怯怯羞羞，有女儿之风，宝玉又是天生成惯能作小服低，赔身下气，情性体贴，话语绵缠，因此二人更加亲厚，也怨不得那起同窗人起了疑，背地里你言我语，诟谇谣诼，布满书房内外。

The Jia clan school was situated at no great distance from Rong-guo House. It was a charitable foundation which had been established many years previously by the founder of the family and was designed for the sons and younger brothers of those members of the clan who could not afford to pay for private tuition. All members of the clan holding official posts were expected to contribute towards its expenses and members of advanced years and known integrity were chosen to be its masters. As soon as Bao-yu and Qin Zhong arrived they were introduced to the other students and then set to work at once on their lessons.

From now on the two friends were inseparable) arriving at school and leaving school together and sitting beside each other in class. Grandmother Jia herself became very fond of Qin Zhong. She was always having him to stay for three or four nights at a time and treated him exactly as if he were one of her own great-grandchildren. And because she realized that his family was not very well off, she frequently helped Out with clothes and the like. Within a month or two he was a familiar and accepted member of the Rong household.

Bao-yu had always been impatient of social conventions, preferring to let sentiment rather than convention dictate the terms of his relationships. It was this which now prompted him to make Qin Zhong the following proposal:

‘You and I are schoolmates and pretty much the same age. Let us in future forget all this “uncle” “nephew” business and address each other exactly like friends or brothers!’

Qin Zhong was at first too timid to comply; but as Bao-yu persisted and went on calling him ‘brother’ or ‘Jing-qing’ (which was his school-name) whenever he spoke to him, Qin Zhong himself gradually fell into the habit of addressing Bao-yu as an equal.

All the pupils at the clan school were either members of the Jia clan or relations by marriage; but as the proverb rightly says, ‘there are nine kinds of dragon and no two kinds are alike’. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.

The two new boys, Qin Zhong and Bao-yu, were both as beautiful as flowers; the other scholars observed how shrinking and gentle Qin Zhong was, blushing almost before you spoke to him and timid and bashful as a girl; they saw in Bao-yu one whom nature and habit had made humble and accommodating in spite of his social position, always willing to defer to others in the interest of harmony; they observed his affectionate disposition and familiar manner of speech; and they could see that the two friends were devoted to each other. Perhaps it is not to be wondered at that these observations should have given rise to certain suspicions in the minds of those ill-bred persons, and that both in school and out of it all kinds of ugly rumours should have circulated behind their backs.

第十五回王凤姐弄权铁槛寺秦鲸卿得趣馒头庵

CHAPTER 15
At Water-moon Priory Xi-feng finds how much profit may
procured by the abuse of power
And Qin Zhong discovers the pleasures that are to
be had under the cover of darkness

谁想秦钟趁黑无人，来寻智能。刚至后面房中，只见智能独在房中洗茶碗。秦钟跑来便搂着亲嘴。智能急的跺脚，说着：“这算什么!再这么，我就叫唤。”秦钟求道：“好人，我已急死了!你今儿再不依，我就死在这里。”智能道：“你想怎样，除非等我出了这牢坑，离了这些人，才依你。”秦钟道：“这也容易，只是远水救不得近渴。”说着，一口吹了灯，满屋漆黑，将智能抱到炕上，就云雨起来。那智能百般的挣扎不起，又不好叫的，少不得依他了。正在得趣，只见一人进来，将他二人按住，也不则声。二人不知是谁，吓的不敢动一动。只听那人嗤的一声掌不住笑了。二人听声，方知是宝玉。秦钟连忙起身，抱怨道：“这算什么!”宝玉笑道：“你倒不依。咱们就叫喊起来。”羞的智能趁黑地跑了。宝玉拉了秦钟出来道：“你可还和我强?”秦钟笑道：“好人，你只别嚷的众人知道，你要怎样，我都依你。”宝玉笑道：“这会子也不用说，等一会睡下，再细细的算帐。”一时，宽衣安歇的时节，凤姐在里间，秦钟宝玉在外间，满地下皆是家下婆子打铺坐更。凤姐因怕通灵玉失落，便等宝玉睡下，命人拿来塞在自己枕边。宝玉不知与秦钟算何帐目，未见真切，未曾记得。此系疑案，不敢纂创。

一宿无话，至次日一早，便有贾母王夫人打发了人来看宝玉，又命多穿两件衣服，无事宁可回去。宝玉那里肯回去，又有秦钟恋着智能，调唆宝玉求凤姐再住一天。凤姐想了一想：凡丧仪大事虽妥，还有一半点小事未曾安『插』，可以指此再住一日，岂不又在贾珍跟前送了满情;二则又可以完净虚那事;三则顺了宝玉的心，贾母听见岂不欢喜。因有此三益，便向宝玉道：“我事都完了，你要在这里逛，少不得越『性』辛苦一日罢了。明儿可是定要走的了。”宝玉听说，千姐姐万姐姐的央求：“只住一日，明儿必回去的。”于是又住了一夜。…

Meanwhile Qin Zhong had taken advantage of the darkness and the fact that there was no one much about to prosecute his designs on Sapientia. He found her on her own in one of the rooms at the back of the priory washing up tea-things. Throwing his arms around her from behind, he gave her a kiss. Sapientia stamped with vexation:
‘What are you doing? Stop it!’
She was about to call out, but Qin Zhong spoke entreat�ingly:
‘Darling Sappy! I want you so desperately! If you won’t let me, I’ll just lie down and die!’
‘If you want me,’ said Sapientia, ‘you must first get me out of this hole and away from these people. Then you can do what you like.’
‘That’s easy,’ said Qin Zhong. ‘But “distant water is no cure for a present thirst” ...’
And with that he blew out the light, plunging the room into inky darkness, and carried Sapientia on to the kang. She struggled hard to get up—though still not daring to call out; but soon, almost before she knew it, her breech-clout was off and the ship was in the harbour.
Suddenly, in less time than it takes to tell, a third person bore down on them from above and held them fast. The intruder made no sound, and for some moments the other two lay underneath his weight, half dead with fright. Then there was a splutter of suppressed laughter and they knew that it was Bao-yu.
‘What do you think you’re playing at?’ said Qin Zhong crossly, as he scrambled to his feet.
‘If you won’t let me, darling,’ Bao-yu mimicked, ‘I’ll call Out!’
Poor Sapientia was so overcome with shame that she slipped away in the dark. Bao-yu hauled Qin Zhong from the room.
‘Now,’ he said: ‘are you still going to pretend that Sappy means nothing to you?’
‘Look, be a good chap! I’ll do anything you say as long as you promise not to shout.’
‘We won’t say any more about it just now,’ said Bao-yu genially. ‘Wait until we are both in bed and I’ll settle accounts with you then.’
Bedtime soon came and they partially undressed and settled down for the night, Xi-feng in an inner room and Bao-yu and Qin Zhong in an outer room adjoining it. As there were numerous old women on night duty lying about everywhere on the floor wrapped up in their bedding, Xi-feng was afraid that the ‘Magic Jade’ might disappear in the course of the night; so as soon as Bao-yu was in bed she sent someone to fetch it from him, and put it under her own pillow for safety.
As for the ‘settling of accounts’ that Bao-yu had proposed to Qin Zhong, we have been unable to ascertain exactly what form this took; and as we would not for the world be guilty of a fabrication, we must allow the matter to remain a mystery.
Next day someone arrived from Grandmother Jia and Lady Wang to see how Bao-yu was getting on. He was coun�selled to dress up well against the cold and to come back home if there was nothing further to do. Bao-yu was most unwilling to return on his own account, and his unwillingness was re�inforced by the promptings of Qin Zhong, who was anxious to see more of Sapientia and urged him to ask Xi-feng for another day.
Xi-feng reflected a little. The main business of the funeral was now over, but a sufficient number of minor matters still remained to be done to justify their staying on another day if they wanted to. Three arguments in favour of staying presented themselves to her mind:
1.It would be a gesture of considerateness to Cousin Zhen which would increase his indebtedness to her.
2.It would give her a breathing-space in which to get Euergesia’s business attended to.
3.It would make Bao-yu happy, which would put her in good odour with Grandmother Jia.
Having now made her mind up, Xi-feng acceded to Bao-yu’s request in the following terms:
‘My own business here is all finished now, but if you want to amuse yourselves a bit longer, I suppose I must resign myself to staying. However, we definitely must go back tomorrow.’
When Bao-yu heard this it was all ‘dearest Feng’ this and ‘darling Feng’ that, and he promised faithfully to return on the morrow without demur. Accordingly it was settled that they should stay for one more night.

Please add the D. Hawkes translation here.

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3 Foreigners==
我八岁的时节，跟我父亲到西海沿上买洋货。谁知有个真真国的女孩子，才十五岁，那脸面就和那西洋画上的美人一样，也披着黄头发，打着联垂，满头带着都是玛瑙、珊瑚、猫儿眼、祖母绿，身上穿着金丝织的锁子甲，洋锦袄袖，带着倭刀也是镶金嵌宝的。实在画儿上也没他那么好看。有人说他通中国的诗书，会讲‘五经’，能做诗填词。因此我父亲央烦了一位通官，烦他写了一张字，就写他做的诗。”众人都称道奇异。宝玉忙笑道：“好妹妹，你拿出来我们瞧瞧。”宝琴笑道：“在南京收着呢，此时那里去取？”宝玉听了，大失所望，便说：“没福得见这世面！”黛玉笑拉宝琴道：“你别哄我们：我知道你这一来，你的这些东西未必放在家里，自然都是要带上来的。这会子又扯谎，说没带来。他们虽信，我是不信的。”宝琴便红了脸，低头微笑不答。

==10.3b Foreign Objects==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng Hui.Manzu Minority Research.2011(3):15)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

===11.8===

中西富贵人家西方奢侈品消费之同步 ———基于《红楼梦》的考察分析
张丽

16 世纪至 19 世纪初的中国常常被喻为世界的白银蓄池。很多研究在讨论这一时期中西贸易时都倾向于强调商品的西流 ( 商品从中国向欧洲、美洲流动) 和白银的东流 ( 白银从欧洲、美洲向中国流动) ①, 以及中国器物对欧洲社会、经济、文化发展的影响②。相比之下, 对这一时期欧洲商品在中国的消费及其对中国的影响, 则研究甚少。 20 世纪 20 年代以来, 更有一种观点认为, 明清中国社会对欧洲商品不感兴趣①, 忽视了中国富贵人家对西方产品的消费和推崇。把这种消费放到全球经济发展历史背景下进行讨论, 并与欧洲上层社会相比较的研究, 更是付之阙如。

本文从全球视角考察《红楼梦》中的西洋品消费, 把《红楼梦》中的西洋品消费与全球海洋贸易扩张、欧洲商业革命、欧洲制造业发展和欧洲消费革命联系起来。通过搜集和分析《红楼梦》中关于西洋器物的文字描述, 本文认为至少在 18 世纪初, 西方产品已深入到中国富贵人家的日常生活中, 且备受追捧。《红楼梦》中出现的西洋品几乎囊括了 18 世纪初欧洲上流社会追逐的所有高档生活奢侈品, 其中一些即使在当时的欧洲也极为珍贵和时尚, 只有极少数上流社会家庭才有能力消费。通过把《红楼梦》中贾府的西洋奢侈品消费与同一时期欧洲富贵阶层的西方奢侈品消费相比较, 本文认为, 尽管 17 ～ 18 世纪中国缺少白银, 与欧洲远隔重洋, 且与欧洲文化大不相同, 但中国富贵人家在欧洲奢侈品的消费上几乎与欧洲富贵阶层同步。

二《红楼梦》中的西洋器物

《红楼梦》中有很多关于西洋制造品的描述。前 80 回中, 30 回里出现有西洋物品, 描写文字 70 余处, 涉及产品 20 余种 ( 参见附表)。这些西洋产品几乎囊括了当时欧洲所有最先进和最时尚的生活奢侈品, 既有欧洲本土传统玻璃制造业的各种玻璃制品, 如玻璃杯、玻璃盏、玻璃屏风、玻璃绣球雨灯、穿衣镜、水晶灯等, 也有当时欧洲新兴技术产业中的各种产品, 如摆钟、金怀表、眼镜、自行船、洋布手巾①等, 还有当时欧洲在技术上和规模上都已得到巨大发展的毛纺织和丝织业的产品, 如洋罽、哆罗呢、洋缎、洋绉等, 以及在海外扩张中利用殖民地资源在欧洲生产或直接在欧洲海外殖民地生产基地上生产出来的产品, 如用美洲白银制作的银制日用品, 用美洲烟草生产出来的各种鼻烟, 还有印度殖民地生产的鸦片 ( 膏子药依弗哪) 等②。
这些西洋品在《红楼梦》里反复出现, 特别是在当时的欧洲也是极为高档的生活奢侈品的自鸣钟 ( 实为摆钟)、金怀表、穿衣镜、玻璃屏等, 更是在各种不同情境下反复出现。曹雪芹不惜笔墨, 反复描述贾府生活中的西洋物品, 表现的不仅是对过去生活中西洋品消费的追忆, 更是为了烘托曹家从 “ 赫赫扬扬” “ 鲜花着锦” 之盛到 “ 家业凋零” “ 食尽鸟投林” 之衰的“ 家亡血史” ( 贾、王、薛、史) ③。用西洋品消费烘托曹家当年之富贵, 这本身也说明了西洋品消费在 18 世纪初的中国是一种代表着身份和地位的“ 炫耀性消费”。

三中欧贸易扩张及与海外贸易关系密切的曹家

15 世纪末以来, 欧洲在海外殖民扩张中不仅建立了一个欧洲主导的全球贸易体系, 而且还在广大殖民地建立了众多殖民地生产基地。在新航线不断出现, 贸易范围不断扩大, 贸易品种日益增加, 贸易规模持续增长的欧洲商业革命中, 欧洲消费革命 ( consumer revolution) 亦悄然诞生①。一方面是大量产品从世界各地流向欧洲, 既有欧洲商人用美洲白银从古老中国和印度进口的大量传统舶来品, 如中国生丝、丝绸、茶叶、瓷器和印度棉布等, 也有欧洲利用殖民地资源开发出来的新产品, 如烟草、鼻烟、蔗糖、朗姆酒和巧克力等; 另一方面亚洲奢侈品价格因进口量的巨大上升而大幅下降, 致使普通民众也可以消费那些原来只有上层社会才消费得起的亚洲奢侈品, 如中国的丝绸、茶叶、瓷器和印度的棉布等。与此同时, 欧洲的丝织业、毛纺织业、玻璃制造、机械时钟制作、银器制造等也都经历了飞跃式发展; 一大批欧洲本土生产的新兴生活奢侈品亦走进欧洲上层社会, 如摆钟、怀表、穿衣镜、水晶玻璃器皿和吊灯等。而在中国这一边, 16 ～ 18 世纪正是欧洲因美洲白银的获得和日本因新银矿的发现而对中国产品需求急剧增加的时期, 也是大批欧洲人来华寻求贸易, 中外贸易大规模扩大的时期。 1500 ～ 1599 年, 从欧洲到达亚洲的商船数 ( 其中大部分是到中国) 是 770 艘, 1600 ～ 1700 年达 3161 艘, 1700 ～ 1800 年又增至 6661 艘,
数目较 16 世纪增加了近 8 倍。而船的运载量更是因造船技术的发展而迅速
扩容。 1470 ～ 1780 年, 欧洲商船的运载量增加了 30 多倍, 从 1470 年的
120000 多吨增长到 1780 年的 3856000 吨②。
相对应于欧洲如火如荼的商业革命, 中国这边则是明清十大商帮的兴起、商品经济的显著发展和全国市场体系的形成。为此, 一些学者认为 16 ～ 18 世纪的中国也发生了一场 “ 未完成的商业革命”, 更多的学者则称之为 “ 资本主义萌芽” ①。在中外贸易的大规模扩张中, 各路商帮应运而生, 既有违禁出海, 专门从事将中国货物从中国沿海运销到日本、雅加达和马尼拉甚至欧洲本土, 并参与中国东南海上贸易霸权竞争的中国海商, 也有不断把内地产品贩运到沿海港口出口或贩货于地区间的诸路商帮。在出口贸易大规模增长的同时, 不少西方产品亦流入中国, 并受到很多富贵人家的追捧。曹雪芹笔下的贾府便是其中之一。曹家发达于 17 世纪下半叶, 从 1663 年曹雪芹曾祖父曹玺被任命为江宁织造起, 到雍正六年正月十五后被抄②, 历经 60余年之昌盛, 而这 60 余年也正是中外贸易大规模扩大, 欧洲产品越来越多地输入中国的时期。而且, 曹家还是一个与海外贸易有着密切关系的家族。亲戚中既有广东巡抚、宁波知府, 又有粤海关监督。曹雪芹祖父曹寅之妻为苏州织造李煦之妹, 李煦曾于 1684 ～ 1688 年任宁波知府, 其父李士桢 1673 年出任福建布政使, 因遇耿精忠叛乱, 滞留浙江, 改任浙江布政使, 后又于1682 ～ 1687 年任广东巡抚; 曹雪芹曾祖母孙氏的侄子孙文成, 在 1706 年任杭州织造之前, 曾于 1703 年担任粤海关监督一年。而曹公在《红楼梦》中, 还添了一个与贾政有连襟关系, 专门为内务府采购洋货的皇商———薛家③。
曹家与海外贸易的紧密关系在《红楼梦》中也多有反映。第五十二回“ 俏平儿情掩虾须镯, 勇晴雯病补雀金裘” 中有一段薛宝琴讲她跟父亲出海贸易的描写:

宝琴笑道: ……我八岁时节跟我父亲到西海沿子上买洋货, 谁知有个真真国色①女孩子, 才十五岁, 那脸面就和那西洋画上的美人一样, 也披着黄头发, 打着联垂, 满头带的都是珊瑚、猫儿眼、祖母绿这些宝石; 身上穿着金丝织的锁子甲洋锦袄袖; 带着倭刀, 也是镶金嵌宝的, 实在画儿上的也没他好看。有人说他通中国的诗书, 会讲《五经》, 能作诗填词。因此我父亲央烦了一位通事官, 烦他写了一张字, 就写的是他作的诗。②

第十六回 “ 贾元春才选凤藻宫, 秦鲸卿夭逝黄泉路” 中, 赵嬷嬷和王熙凤聊起当年太祖皇帝仿舜巡贾府接驾的事 ( 喻当年康熙南巡, 曹寅、李煦筹备接驾, 曹家四次接驾之事), 凤姐忙接道:
我们王府也预备过一次。那时我爷爷单管各国进贡朝贺的事, 凡有的外国人来, 都是我们家养活。粤、闽、滇、浙所有的洋船货物都是我们家的。③

《红楼梦》中王熙凤和王夫人的娘家原型为苏州织造的李家, 书中王熙凤的父亲, 王夫人的哥哥王子腾的命运也近似于真实历史中的李煦④。 1684 年, 康熙开放海禁, 次年相继在广州、厦门、宁波、云台山四处设关, 其中两关在李家父子的管辖之下。难怪王熙凤说: “ 粤、闽、滇、浙所有的洋船货物都是我们家的。”
《红楼梦》第七十一回描写贾母过生日, 收到各方礼物, 特意提到粤海将军邬家送了一架玻璃围屏。曹寅母亲孙氏是《红楼梦》中贾母的原型。孙氏的侄子孙文成曾任粤海关监督一年。清朝官职中并没有粤海将军, 想是曹公为避政治麻烦, 自拟此职代之。
曹家拥有这样的亲戚关系, 无疑有很多机会接触各种稀贵的西方奢侈品, 以致曹雪芹可以在《红楼梦》中信手拈来, 娓娓道出。

四曹家与欧洲上层社会趋同的欧洲奢侈品消费

《红楼梦》贾府生活中的西洋产品几乎囊括了当时欧洲所有的高档奢侈品。下面就几件尤有代表性的西洋奢侈品, 加以比较讨论。
1.自鸣钟 ( 摆钟)
《红楼梦》中所谓的自鸣钟, 其实是 17 世纪下半叶才开始在欧洲出现的摆钟 ( pendulum clock) , 而不是 16 世纪末和 17 世纪初由意大利传教士罗明坚、利玛窦等人进献给明朝官员和宫廷的自鸣钟 ( striking clock) 。《红楼梦》第六回 “ 贾宝玉初试云雨情, 刘姥姥一进荣国府” 写道:

刘姥姥只听见咯当咯当的响声, 大有似乎打箩柜筛面的一般, 不免东瞧西望的, 忽见堂屋中柱子上挂着一个匣子, 底下又坠着一个秤砣般一物, 却不住的乱幌。①

这个乱晃的秤砣般的坠物, 显然就是摆钟的摆 ( pendulum)。第五十八回 “ 杏子阴假凤泣虚凰, 茜纱窗真情揆痴理” 又说:
麝月笑道: “ 提起淘气, 芳官也该打几下。昨儿是他摆弄了那坠子, 半日就坏了。” ②

这个坠子也是摆钟的摆。这两段文字描述, 清楚说明凤姐和宝玉住处的所谓自鸣钟, 其实是当时欧洲刚刚兴起不久的摆钟。
欧洲最早的机械钟是14 世纪出现在教堂的塔钟。塔钟庞大而沉重, 主要为教堂和教徒们遵循时间祷告而用, 并不适用于家庭。到 1510 年德国锁匠彼得· 亨莱恩 (Peter Henlein) 发明了发条钟 (clock powered by spring mechanism), 便于移动携带, 适用于家庭的时钟才开始出现。然而发条钟很不精准, 直到17 世纪下半叶摆钟发明, 时钟才出现质的飞跃, 摆钟自此逐渐取代发条钟,

'''Reference''': Zhang Li. 张丽.The Synchronization of Western Luxury Consumption in the House of the Rich and the Rich in the West--Analysis Based on the Examination of the Dream of the Red Chamber[J]. 2021(02):19-45.(中西富贵人家西方奢侈品消费之同步——基于《红楼梦》的考察分析[J].)Marine History Research 海洋史研究,,2021(02):19-45.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong, Xu Xuefei(2018) ''Introduction and Acceptance of the English Opera ''Red Chamber Dreams'' in San Francisco based on Relevant Network resources'' 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J]Cao Xueqin Research 《曹雪芹研究》, No.3, 133.

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

===Different strategies===

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-11T05:39:18Z

Zhumeimei: /* World Documentary Heritage */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

The ''Red Chamber Dreams'' already display in their contents interculturality, both, the mixture of Manchu and Han culture as well as the impact of foreign culture in late Qing China. Like the time claimed by the novel to be timeless, the culture displayed in the novel is not genuinely Manchu or Han Chinese, but Cao Xueqin draws a picture of a Chinese culture, which has successfully integrated both Manchu and Han culture into Qing Chinese culture. Cao Xueqin also often plays with the cultural elements of both Manchu and Han by mixing them, which can be deciphered easily for the readers of his time.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The ''Red Chamber Dreams'' function worldwide. The ''Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;““If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）

Reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned,Randall Nakano, in the nonsinging role of the Monk, eloquently delivers the opera’s abiding message about reality, illusion and destiny. And that early, shining image of the boat on the river returns in the production’s touching final moments. Much has changed since that first scene: lives lost, love spent, fortunes come and gone. It’s all part of the dream. This comment on the main theme of the opera is on target.

====Reference====
GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

====Reference====
*SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
*冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

*SFOpera https://www.sfopera.com/redchamber

*N.Y.TIMES ‘Dream of the Red Chamber’ and Other Sleep ... - The New York Times
https://www.nytimes.com/2014/05/17/arts/dream-of-the-red-chamber-and-other-sleep-oriented-shows.html#:~:text=Spectators%20rest%20as%20performers%20play%20cards%20in%20%E2%80%9CDream,said.%20Michael%20Appleton%20for%20The%20New%20York%20Times

*An American Opera Company Adapts China’s ‘War and Peace’ - The New York ...
https://www.nytimes.com/2016/09/10/arts/music/san-francisco-opera-dream-of-the-red-chamber.html

*LOS ANGELES TIMES https://www.latimes.com/entertainment/arts/la-et-cm-red-chamber-opera-review-20160910-snap-story.html

*盛宗亮: Bright SHENG

*LIBRARIES Responses to the Opera Premiere https://open.lib.umn.edu/redchamber/chapter/responses-to-the-opera-premiere/

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

== Headline text ==
=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

There is extensive research on bisexuality in the ''Red Chamber Dreams'', see e.g. https://baijiahao.baidu.com/s?id=1572150454981292&wfr=spider&for=pc&searchword=%E8%B4%BE%E5%AE%9D%E7%8E%89%20%E5%90%8C%E6%80%A7%E6%81%8B.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

关于贾宝玉同性恋的一些片段

柳湘莲：

第六十六回情小妹耻情归地府　冷二郎一冷入空门

CHAPTER 66

Shame drives a warm-hearted young woman
to take her life
And shock leads a cold-hearted young gentleman
to renounce the world

次日又来见宝玉，二人相会，如鱼得水。…

蒋玉菡：互换汗巾子

第二十八回蒋玉菡情赠茜香罗　薛宝钗羞笼红麝串

CHAPTER 28

A crimson cummerbund becomes a pledge of friendship
And a chaplet of medicine-beads becomes a source of
embarrassment
少刻，宝玉出席解手，蒋玉菡便随了出来．二人站在廊檐下，蒋玉菡又陪不是．宝玉见他妩媚温柔，心中十分留恋，便紧紧的搭着他的手，叫他：“闲了往我们那里去．还有一句话借问，也是你们贵班中，有一个叫琪官的，他在那里？如今名驰天下，我独无缘一见。”蒋玉菡笑道：“就是我的小名儿。”宝玉听说，不觉欣然跌足笑道：“有幸，有幸！果然名不虚传．今儿初会，便怎么样呢？"想了一想，向袖中取出扇子，将一个玉ぉ扇坠解下来，递与琪官，道：“微物不堪，略表今日之谊。”琪官接了，笑道：“无功受禄，何以克当！也罢，我这里得了一件奇物，今日早起方系上，还是簇新的，聊可表我一点亲热之意。”说毕撩衣，将系小衣儿一条大红汗巾子解了下来，递与宝玉，道：“这汗巾子是茜香国女国王所贡之物，夏天系着，肌肤生香，不生汗渍，昨日北静王给我的，今日才上身．若是别人，我断不肯相赠．二爷请把自己系的解下来，给我系着。”宝玉听说，喜不自禁，连忙接了，将自己一条松花汗巾解了下来，递与琪官。…
Shortly after this Bao-yu had to take temporary leave of the company to ease his bladder and Jiang Yu-han followed him outside. As the two of them stood side by side under the eaves, Jiang Yu-han once more offered Bao-yu his apologies. Much taken with the actor’s winsome looks and gentleness of man�ner, Bao-yu impulsively took his hand and gave it a squeeze.
‘Do come round to our place some time when you are free,’ he said. ‘There’s something I want to ask you about. You have an actor in your company called “Bijou” whom everyone is talking about lately. I should so much like to meet him, but so far I haven’t had an opportunity.’
‘That’s me!’ said Jiang Yu-han. ‘“Bijou” is my stage name.’
Bao-yu stamped with delight.
‘But this is wonderful! I must say, you fully deserve your reputation. Oh dear! What am I going to do about a First Meeting present?’
He thought for a bit, then took a fan from his sleeve and broke off its jade pendant.
‘Here you are,’ he said, handing it to Bijou. ‘It’s not much of a present, I’m afraid, but it will do to remind you of our meeting.’
Bijou smiled and accepted it ceremoniously:
‘I have done nothing to deserve this favour. It is too great an honour. Well, thank you. There’s rather an unusual thing I’m wearing I put it on today for the first time, so it’s still fairly new: I wonder if you will allow me to give it to you as a token of my warm feelings towards you?’
He opened up his gown, undid the crimson cummerbund with which his trousers were fastened, and handed it to Bao�-yu.

秦钟：

第九回恋风流情友入家塾　起嫌疑顽童闹学堂

Chapter 9
A son is admonished and Li Gui receives
an alarming warning
A pupil is abused and Tealeaf throws the
classroom in an uproar

原来这贾家之义学，离此也不甚远，不过一里之遥，原系始祖所立，恐族中子弟有贫穷不能请师者，即入此中肄业。凡族中有官爵之人，皆供给银两，按俸之多寡帮助，为学中之费。特共举年高有德之人为塾掌，专为训课子弟。如今宝秦二人来了，一一的都互相拜见过，读起书来。自此以后，他二人同来同往，同坐同起，愈加亲密。又兼贾母爱惜，也时常的留下秦钟，住上三天五日，与自己的重孙一般疼爱。因见秦钟不甚宽裕，更又助他些衣履等物。不上一月之工，秦钟在荣府便熟了。宝玉终是不安本分之人，竟一味的随心所欲，因此又发了癖性，又特向秦钟悄说道：“咱们俩个人一样的年纪，况又是同窗，以后不必论叔侄，只论弟兄朋友就是了。”先是秦钟不肯，当不得宝玉不依，只叫他“兄弟”，或叫他的表字“鲸卿”，秦钟也只得混着乱叫起来。

原来这学中虽都是本族人丁与些亲戚的子弟，俗语说的好：“一龙生九种，种种各别。”未免人多了，就有龙蛇混杂，下流人物在内。自宝，秦二人来了，都生的花朵儿一般的模样，又见秦钟腼腆温柔，未语面先红，怯怯羞羞，有女儿之风，宝玉又是天生成惯能作小服低，赔身下气，情性体贴，话语绵缠，因此二人更加亲厚，也怨不得那起同窗人起了疑，背地里你言我语，诟谇谣诼，布满书房内外。

The Jia clan school was situated at no great distance from Rong-guo House. It was a charitable foundation which had been established many years previously by the founder of the family and was designed for the sons and younger brothers of those members of the clan who could not afford to pay for private tuition. All members of the clan holding official posts were expected to contribute towards its expenses and members of advanced years and known integrity were chosen to be its masters. As soon as Bao-yu and Qin Zhong arrived they were introduced to the other students and then set to work at once on their lessons.

From now on the two friends were inseparable) arriving at school and leaving school together and sitting beside each other in class. Grandmother Jia herself became very fond of Qin Zhong. She was always having him to stay for three or four nights at a time and treated him exactly as if he were one of her own great-grandchildren. And because she realized that his family was not very well off, she frequently helped Out with clothes and the like. Within a month or two he was a familiar and accepted member of the Rong household.

Bao-yu had always been impatient of social conventions, preferring to let sentiment rather than convention dictate the terms of his relationships. It was this which now prompted him to make Qin Zhong the following proposal:

‘You and I are schoolmates and pretty much the same age. Let us in future forget all this “uncle” “nephew” business and address each other exactly like friends or brothers!’

Qin Zhong was at first too timid to comply; but as Bao-yu persisted and went on calling him ‘brother’ or ‘Jing-qing’ (which was his school-name) whenever he spoke to him, Qin Zhong himself gradually fell into the habit of addressing Bao-yu as an equal.

All the pupils at the clan school were either members of the Jia clan or relations by marriage; but as the proverb rightly says, ‘there are nine kinds of dragon and no two kinds are alike’. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.

The two new boys, Qin Zhong and Bao-yu, were both as beautiful as flowers; the other scholars observed how shrinking and gentle Qin Zhong was, blushing almost before you spoke to him and timid and bashful as a girl; they saw in Bao-yu one whom nature and habit had made humble and accommodating in spite of his social position, always willing to defer to others in the interest of harmony; they observed his affectionate disposition and familiar manner of speech; and they could see that the two friends were devoted to each other. Perhaps it is not to be wondered at that these observations should have given rise to certain suspicions in the minds of those ill-bred persons, and that both in school and out of it all kinds of ugly rumours should have circulated behind their backs.

第十五回王凤姐弄权铁槛寺秦鲸卿得趣馒头庵

CHAPTER 15
At Water-moon Priory Xi-feng finds how much profit may
procured by the abuse of power
And Qin Zhong discovers the pleasures that are to
be had under the cover of darkness

谁想秦钟趁黑无人，来寻智能。刚至后面房中，只见智能独在房中洗茶碗。秦钟跑来便搂着亲嘴。智能急的跺脚，说着：“这算什么!再这么，我就叫唤。”秦钟求道：“好人，我已急死了!你今儿再不依，我就死在这里。”智能道：“你想怎样，除非等我出了这牢坑，离了这些人，才依你。”秦钟道：“这也容易，只是远水救不得近渴。”说着，一口吹了灯，满屋漆黑，将智能抱到炕上，就云雨起来。那智能百般的挣扎不起，又不好叫的，少不得依他了。正在得趣，只见一人进来，将他二人按住，也不则声。二人不知是谁，吓的不敢动一动。只听那人嗤的一声掌不住笑了。二人听声，方知是宝玉。秦钟连忙起身，抱怨道：“这算什么!”宝玉笑道：“你倒不依。咱们就叫喊起来。”羞的智能趁黑地跑了。宝玉拉了秦钟出来道：“你可还和我强?”秦钟笑道：“好人，你只别嚷的众人知道，你要怎样，我都依你。”宝玉笑道：“这会子也不用说，等一会睡下，再细细的算帐。”一时，宽衣安歇的时节，凤姐在里间，秦钟宝玉在外间，满地下皆是家下婆子打铺坐更。凤姐因怕通灵玉失落，便等宝玉睡下，命人拿来塞在自己枕边。宝玉不知与秦钟算何帐目，未见真切，未曾记得。此系疑案，不敢纂创。

一宿无话，至次日一早，便有贾母王夫人打发了人来看宝玉，又命多穿两件衣服，无事宁可回去。宝玉那里肯回去，又有秦钟恋着智能，调唆宝玉求凤姐再住一天。凤姐想了一想：凡丧仪大事虽妥，还有一半点小事未曾安『插』，可以指此再住一日，岂不又在贾珍跟前送了满情;二则又可以完净虚那事;三则顺了宝玉的心，贾母听见岂不欢喜。因有此三益，便向宝玉道：“我事都完了，你要在这里逛，少不得越『性』辛苦一日罢了。明儿可是定要走的了。”宝玉听说，千姐姐万姐姐的央求：“只住一日，明儿必回去的。”于是又住了一夜。…

Meanwhile Qin Zhong had taken advantage of the darkness and the fact that there was no one much about to prosecute his designs on Sapientia. He found her on her own in one of the rooms at the back of the priory washing up tea-things. Throwing his arms around her from behind, he gave her a kiss. Sapientia stamped with vexation:
‘What are you doing? Stop it!’
She was about to call out, but Qin Zhong spoke entreat�ingly:
‘Darling Sappy! I want you so desperately! If you won’t let me, I’ll just lie down and die!’
‘If you want me,’ said Sapientia, ‘you must first get me out of this hole and away from these people. Then you can do what you like.’
‘That’s easy,’ said Qin Zhong. ‘But “distant water is no cure for a present thirst” ...’
And with that he blew out the light, plunging the room into inky darkness, and carried Sapientia on to the kang. She struggled hard to get up—though still not daring to call out; but soon, almost before she knew it, her breech-clout was off and the ship was in the harbour.
Suddenly, in less time than it takes to tell, a third person bore down on them from above and held them fast. The intruder made no sound, and for some moments the other two lay underneath his weight, half dead with fright. Then there was a splutter of suppressed laughter and they knew that it was Bao-yu.
‘What do you think you’re playing at?’ said Qin Zhong crossly, as he scrambled to his feet.
‘If you won’t let me, darling,’ Bao-yu mimicked, ‘I’ll call Out!’
Poor Sapientia was so overcome with shame that she slipped away in the dark. Bao-yu hauled Qin Zhong from the room.
‘Now,’ he said: ‘are you still going to pretend that Sappy means nothing to you?’
‘Look, be a good chap! I’ll do anything you say as long as you promise not to shout.’
‘We won’t say any more about it just now,’ said Bao-yu genially. ‘Wait until we are both in bed and I’ll settle accounts with you then.’
Bedtime soon came and they partially undressed and settled down for the night, Xi-feng in an inner room and Bao-yu and Qin Zhong in an outer room adjoining it. As there were numerous old women on night duty lying about everywhere on the floor wrapped up in their bedding, Xi-feng was afraid that the ‘Magic Jade’ might disappear in the course of the night; so as soon as Bao-yu was in bed she sent someone to fetch it from him, and put it under her own pillow for safety.
As for the ‘settling of accounts’ that Bao-yu had proposed to Qin Zhong, we have been unable to ascertain exactly what form this took; and as we would not for the world be guilty of a fabrication, we must allow the matter to remain a mystery.
Next day someone arrived from Grandmother Jia and Lady Wang to see how Bao-yu was getting on. He was coun�selled to dress up well against the cold and to come back home if there was nothing further to do. Bao-yu was most unwilling to return on his own account, and his unwillingness was re�inforced by the promptings of Qin Zhong, who was anxious to see more of Sapientia and urged him to ask Xi-feng for another day.
Xi-feng reflected a little. The main business of the funeral was now over, but a sufficient number of minor matters still remained to be done to justify their staying on another day if they wanted to. Three arguments in favour of staying presented themselves to her mind:
1.It would be a gesture of considerateness to Cousin Zhen which would increase his indebtedness to her.
2.It would give her a breathing-space in which to get Euergesia’s business attended to.
3.It would make Bao-yu happy, which would put her in good odour with Grandmother Jia.
Having now made her mind up, Xi-feng acceded to Bao-yu’s request in the following terms:
‘My own business here is all finished now, but if you want to amuse yourselves a bit longer, I suppose I must resign myself to staying. However, we definitely must go back tomorrow.’
When Bao-yu heard this it was all ‘dearest Feng’ this and ‘darling Feng’ that, and he promised faithfully to return on the morrow without demur. Accordingly it was settled that they should stay for one more night.

Please add the D. Hawkes translation here.

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3 Foreigners==
我八岁的时节，跟我父亲到西海沿上买洋货。谁知有个真真国的女孩子，才十五岁，那脸面就和那西洋画上的美人一样，也披着黄头发，打着联垂，满头带着都是玛瑙、珊瑚、猫儿眼、祖母绿，身上穿着金丝织的锁子甲，洋锦袄袖，带着倭刀也是镶金嵌宝的。实在画儿上也没他那么好看。有人说他通中国的诗书，会讲‘五经’，能做诗填词。因此我父亲央烦了一位通官，烦他写了一张字，就写他做的诗。”众人都称道奇异。宝玉忙笑道：“好妹妹，你拿出来我们瞧瞧。”宝琴笑道：“在南京收着呢，此时那里去取？”宝玉听了，大失所望，便说：“没福得见这世面！”黛玉笑拉宝琴道：“你别哄我们：我知道你这一来，你的这些东西未必放在家里，自然都是要带上来的。这会子又扯谎，说没带来。他们虽信，我是不信的。”宝琴便红了脸，低头微笑不答。

==10.3b Foreign Objects==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng Hui.Manzu Minority Research.2011(3):15)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

===11.8===

中西富贵人家西方奢侈品消费之同步 ———基于《红楼梦》的考察分析
张丽

16 世纪至 19 世纪初的中国常常被喻为世界的白银蓄池。很多研究在讨论这一时期中西贸易时都倾向于强调商品的西流 ( 商品从中国向欧洲、美洲流动) 和白银的东流 ( 白银从欧洲、美洲向中国流动) ①, 以及中国器物对欧洲社会、经济、文化发展的影响②。相比之下, 对这一时期欧洲商品在中国的消费及其对中国的影响, 则研究甚少。 20 世纪 20 年代以来, 更有一种观点认为, 明清中国社会对欧洲商品不感兴趣①, 忽视了中国富贵人家对西方产品的消费和推崇。把这种消费放到全球经济发展历史背景下进行讨论, 并与欧洲上层社会相比较的研究, 更是付之阙如。

本文从全球视角考察《红楼梦》中的西洋品消费, 把《红楼梦》中的西洋品消费与全球海洋贸易扩张、欧洲商业革命、欧洲制造业发展和欧洲消费革命联系起来。通过搜集和分析《红楼梦》中关于西洋器物的文字描述, 本文认为至少在 18 世纪初, 西方产品已深入到中国富贵人家的日常生活中, 且备受追捧。《红楼梦》中出现的西洋品几乎囊括了 18 世纪初欧洲上流社会追逐的所有高档生活奢侈品, 其中一些即使在当时的欧洲也极为珍贵和时尚, 只有极少数上流社会家庭才有能力消费。通过把《红楼梦》中贾府的西洋奢侈品消费与同一时期欧洲富贵阶层的西方奢侈品消费相比较, 本文认为, 尽管 17 ～ 18 世纪中国缺少白银, 与欧洲远隔重洋, 且与欧洲文化大不相同, 但中国富贵人家在欧洲奢侈品的消费上几乎与欧洲富贵阶层同步。

二《红楼梦》中的西洋器物

《红楼梦》中有很多关于西洋制造品的描述。前 80 回中, 30 回里出现有西洋物品, 描写文字 70 余处, 涉及产品 20 余种 ( 参见附表)。这些西洋产品几乎囊括了当时欧洲所有最先进和最时尚的生活奢侈品, 既有欧洲本土传统玻璃制造业的各种玻璃制品, 如玻璃杯、玻璃盏、玻璃屏风、玻璃绣球雨灯、穿衣镜、水晶灯等, 也有当时欧洲新兴技术产业中的各种产品, 如摆钟、金怀表、眼镜、自行船、洋布手巾①等, 还有当时欧洲在技术上和规模上都已得到巨大发展的毛纺织和丝织业的产品, 如洋罽、哆罗呢、洋缎、洋绉等, 以及在海外扩张中利用殖民地资源在欧洲生产或直接在欧洲海外殖民地生产基地上生产出来的产品, 如用美洲白银制作的银制日用品, 用美洲烟草生产出来的各种鼻烟, 还有印度殖民地生产的鸦片 ( 膏子药依弗哪) 等②。
这些西洋品在《红楼梦》里反复出现, 特别是在当时的欧洲也是极为高档的生活奢侈品的自鸣钟 ( 实为摆钟)、金怀表、穿衣镜、玻璃屏等, 更是在各种不同情境下反复出现。曹雪芹不惜笔墨, 反复描述贾府生活中的西洋物品, 表现的不仅是对过去生活中西洋品消费的追忆, 更是为了烘托曹家从 “ 赫赫扬扬” “ 鲜花着锦” 之盛到 “ 家业凋零” “ 食尽鸟投林” 之衰的“ 家亡血史” ( 贾、王、薛、史) ③。用西洋品消费烘托曹家当年之富贵, 这本身也说明了西洋品消费在 18 世纪初的中国是一种代表着身份和地位的“ 炫耀性消费”。

三中欧贸易扩张及与海外贸易关系密切的曹家

15 世纪末以来, 欧洲在海外殖民扩张中不仅建立了一个欧洲主导的全球贸易体系, 而且还在广大殖民地建立了众多殖民地生产基地。在新航线不断出现, 贸易范围不断扩大, 贸易品种日益增加, 贸易规模持续增长的欧洲商业革命中, 欧洲消费革命 ( consumer revolution) 亦悄然诞生①。一方面是大量产品从世界各地流向欧洲, 既有欧洲商人用美洲白银从古老中国和印度进口的大量传统舶来品, 如中国生丝、丝绸、茶叶、瓷器和印度棉布等, 也有欧洲利用殖民地资源开发出来的新产品, 如烟草、鼻烟、蔗糖、朗姆酒和巧克力等; 另一方面亚洲奢侈品价格因进口量的巨大上升而大幅下降, 致使普通民众也可以消费那些原来只有上层社会才消费得起的亚洲奢侈品, 如中国的丝绸、茶叶、瓷器和印度的棉布等。与此同时, 欧洲的丝织业、毛纺织业、玻璃制造、机械时钟制作、银器制造等也都经历了飞跃式发展; 一大批欧洲本土生产的新兴生活奢侈品亦走进欧洲上层社会, 如摆钟、怀表、穿衣镜、水晶玻璃器皿和吊灯等。而在中国这一边, 16 ～ 18 世纪正是欧洲因美洲白银的获得和日本因新银矿的发现而对中国产品需求急剧增加的时期, 也是大批欧洲人来华寻求贸易, 中外贸易大规模扩大的时期。 1500 ～ 1599 年, 从欧洲到达亚洲的商船数 ( 其中大部分是到中国) 是 770 艘, 1600 ～ 1700 年达 3161 艘, 1700 ～ 1800 年又增至 6661 艘,
数目较 16 世纪增加了近 8 倍。而船的运载量更是因造船技术的发展而迅速
扩容。 1470 ～ 1780 年, 欧洲商船的运载量增加了 30 多倍, 从 1470 年的
120000 多吨增长到 1780 年的 3856000 吨②。
相对应于欧洲如火如荼的商业革命, 中国这边则是明清十大商帮的兴起、商品经济的显著发展和全国市场体系的形成。为此, 一些学者认为 16 ～ 18 世纪的中国也发生了一场 “ 未完成的商业革命”, 更多的学者则称之为 “ 资本主义萌芽” ①。在中外贸易的大规模扩张中, 各路商帮应运而生, 既有违禁出海, 专门从事将中国货物从中国沿海运销到日本、雅加达和马尼拉甚至欧洲本土, 并参与中国东南海上贸易霸权竞争的中国海商, 也有不断把内地产品贩运到沿海港口出口或贩货于地区间的诸路商帮。在出口贸易大规模增长的同时, 不少西方产品亦流入中国, 并受到很多富贵人家的追捧。曹雪芹笔下的贾府便是其中之一。曹家发达于 17 世纪下半叶, 从 1663 年曹雪芹曾祖父曹玺被任命为江宁织造起, 到雍正六年正月十五后被抄②, 历经 60余年之昌盛, 而这 60 余年也正是中外贸易大规模扩大, 欧洲产品越来越多地输入中国的时期。而且, 曹家还是一个与海外贸易有着密切关系的家族。亲戚中既有广东巡抚、宁波知府, 又有粤海关监督。曹雪芹祖父曹寅之妻为苏州织造李煦之妹, 李煦曾于 1684 ～ 1688 年任宁波知府, 其父李士桢 1673 年出任福建布政使, 因遇耿精忠叛乱, 滞留浙江, 改任浙江布政使, 后又于1682 ～ 1687 年任广东巡抚; 曹雪芹曾祖母孙氏的侄子孙文成, 在 1706 年任杭州织造之前, 曾于 1703 年担任粤海关监督一年。而曹公在《红楼梦》中, 还添了一个与贾政有连襟关系, 专门为内务府采购洋货的皇商———薛家③。
曹家与海外贸易的紧密关系在《红楼梦》中也多有反映。第五十二回“ 俏平儿情掩虾须镯, 勇晴雯病补雀金裘” 中有一段薛宝琴讲她跟父亲出海贸易的描写:

宝琴笑道: ……我八岁时节跟我父亲到西海沿子上买洋货, 谁知有个真真国色①女孩子, 才十五岁, 那脸面就和那西洋画上的美人一样, 也披着黄头发, 打着联垂, 满头带的都是珊瑚、猫儿眼、祖母绿这些宝石; 身上穿着金丝织的锁子甲洋锦袄袖; 带着倭刀, 也是镶金嵌宝的, 实在画儿上的也没他好看。有人说他通中国的诗书, 会讲《五经》, 能作诗填词。因此我父亲央烦了一位通事官, 烦他写了一张字, 就写的是他作的诗。②

第十六回 “ 贾元春才选凤藻宫, 秦鲸卿夭逝黄泉路” 中, 赵嬷嬷和王熙凤聊起当年太祖皇帝仿舜巡贾府接驾的事 ( 喻当年康熙南巡, 曹寅、李煦筹备接驾, 曹家四次接驾之事), 凤姐忙接道:
我们王府也预备过一次。那时我爷爷单管各国进贡朝贺的事, 凡有的外国人来, 都是我们家养活。粤、闽、滇、浙所有的洋船货物都是我们家的。③

《红楼梦》中王熙凤和王夫人的娘家原型为苏州织造的李家, 书中王熙凤的父亲, 王夫人的哥哥王子腾的命运也近似于真实历史中的李煦④。 1684 年, 康熙开放海禁, 次年相继在广州、厦门、宁波、云台山四处设关, 其中两关在李家父子的管辖之下。难怪王熙凤说: “ 粤、闽、滇、浙所有的洋船货物都是我们家的。”
《红楼梦》第七十一回描写贾母过生日, 收到各方礼物, 特意提到粤海将军邬家送了一架玻璃围屏。曹寅母亲孙氏是《红楼梦》中贾母的原型。孙氏的侄子孙文成曾任粤海关监督一年。清朝官职中并没有粤海将军, 想是曹公为避政治麻烦, 自拟此职代之。
曹家拥有这样的亲戚关系, 无疑有很多机会接触各种稀贵的西方奢侈品, 以致曹雪芹可以在《红楼梦》中信手拈来, 娓娓道出。

四曹家与欧洲上层社会趋同的欧洲奢侈品消费

《红楼梦》贾府生活中的西洋产品几乎囊括了当时欧洲所有的高档奢侈品。下面就几件尤有代表性的西洋奢侈品, 加以比较讨论。
1.自鸣钟 ( 摆钟)
《红楼梦》中所谓的自鸣钟, 其实是 17 世纪下半叶才开始在欧洲出现的摆钟 ( pendulum clock) , 而不是 16 世纪末和 17 世纪初由意大利传教士罗明坚、利玛窦等人进献给明朝官员和宫廷的自鸣钟 ( striking clock) 。《红楼梦》第六回 “ 贾宝玉初试云雨情, 刘姥姥一进荣国府” 写道:

刘姥姥只听见咯当咯当的响声, 大有似乎打箩柜筛面的一般, 不免东瞧西望的, 忽见堂屋中柱子上挂着一个匣子, 底下又坠着一个秤砣般一物, 却不住的乱幌。①

这个乱晃的秤砣般的坠物, 显然就是摆钟的摆 ( pendulum)。第五十八回 “ 杏子阴假凤泣虚凰, 茜纱窗真情揆痴理” 又说:
麝月笑道: “ 提起淘气, 芳官也该打几下。昨儿是他摆弄了那坠子, 半日就坏了。” ②

这个坠子也是摆钟的摆。这两段文字描述, 清楚说明凤姐和宝玉住处的所谓自鸣钟, 其实是当时欧洲刚刚兴起不久的摆钟。
欧洲最早的机械钟是14 世纪出现在教堂的塔钟。塔钟庞大而沉重, 主要为教堂和教徒们遵循时间祷告而用, 并不适用于家庭。到 1510 年德国锁匠彼得· 亨莱恩 (Peter Henlein) 发明了发条钟 (clock powered by spring mechanism), 便于移动携带, 适用于家庭的时钟才开始出现。然而发条钟很不精准, 直到17 世纪下半叶摆钟发明, 时钟才出现质的飞跃, 摆钟自此逐渐取代发条钟,

Referencd: Zhang Li. 张丽.The Synchronization of Western Luxury Consumption in the House of the Rich and the Rich in the West--Analysis Based on the Examination of the Dream of the Red Chamber[J]. 2021(02):19-45.(中西富贵人家西方奢侈品消费之同步——基于《红楼梦》的考察分析[J].)Marine History Research 海洋史研究,,2021(02):19-45.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong, Xu Xuefei(2018) ''Introduction and Acceptance of the English Opera ''Red Chamber Dreams'' in San Francisco based on Relevant Network resources'' 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J]Cao Xueqin Research 《曹雪芹研究》, No.3, 133.

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

===Different strategies===

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-11T05:31:14Z

Zhumeimei: /* 10. Foreign Cultures in the Red Chamber Dreams */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

The ''Red Chamber Dreams'' already display in their contents interculturality, both, the mixture of Manchu and Han culture as well as the impact of foreign culture in late Qing China. Like the time claimed by the novel to be timeless, the culture displayed in the novel is not genuinely Manchu or Han Chinese, but Cao Xueqin draws a picture of a Chinese culture, which has successfully integrated both Manchu and Han culture into Qing Chinese culture. Cao Xueqin also often plays with the cultural elements of both Manchu and Han by mixing them, which can be deciphered easily for the readers of his time.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The ''Red Chamber Dreams'' function worldwide. The ''Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;““If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）

Reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned,Randall Nakano, in the nonsinging role of the Monk, eloquently delivers the opera’s abiding message about reality, illusion and destiny. And that early, shining image of the boat on the river returns in the production’s touching final moments. Much has changed since that first scene: lives lost, love spent, fortunes come and gone. It’s all part of the dream. This comment on the main theme of the opera is on target.

====Reference====
GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

====Reference====
*SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
*冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

*SFOpera https://www.sfopera.com/redchamber

*N.Y.TIMES ‘Dream of the Red Chamber’ and Other Sleep ... - The New York Times
https://www.nytimes.com/2014/05/17/arts/dream-of-the-red-chamber-and-other-sleep-oriented-shows.html#:~:text=Spectators%20rest%20as%20performers%20play%20cards%20in%20%E2%80%9CDream,said.%20Michael%20Appleton%20for%20The%20New%20York%20Times

*An American Opera Company Adapts China’s ‘War and Peace’ - The New York ...
https://www.nytimes.com/2016/09/10/arts/music/san-francisco-opera-dream-of-the-red-chamber.html

*LOS ANGELES TIMES https://www.latimes.com/entertainment/arts/la-et-cm-red-chamber-opera-review-20160910-snap-story.html

*盛宗亮: Bright SHENG

*LIBRARIES Responses to the Opera Premiere https://open.lib.umn.edu/redchamber/chapter/responses-to-the-opera-premiere/

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

There is extensive research on bisexuality in the ''Red Chamber Dreams'', see e.g. https://baijiahao.baidu.com/s?id=1572150454981292&wfr=spider&for=pc&searchword=%E8%B4%BE%E5%AE%9D%E7%8E%89%20%E5%90%8C%E6%80%A7%E6%81%8B.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

关于贾宝玉同性恋的一些片段

柳湘莲：

第六十六回情小妹耻情归地府　冷二郎一冷入空门

次日又来见宝玉，二人相会，如鱼得水。…

蒋玉菡：互换汗巾子

第二十八回蒋玉菡情赠茜香罗　薛宝钗羞笼红麝串

少刻，宝玉出席解手，蒋玉菡便随了出来．二人站在廊檐下，蒋玉菡又陪不是．宝玉见他妩媚温柔，心中十分留恋，便紧紧的搭着他的手，叫他：“闲了往我们那里去．还有一句话借问，也是你们贵班中，有一个叫琪官的，他在那里？如今名驰天下，我独无缘一见。”蒋玉菡笑道：“就是我的小名儿。”宝玉听说，不觉欣然跌足笑道：“有幸，有幸！果然名不虚传．今儿初会，便怎么样呢？"想了一想，向袖中取出扇子，将一个玉ぉ扇坠解下来，递与琪官，道：“微物不堪，略表今日之谊。”琪官接了，笑道：“无功受禄，何以克当！也罢，我这里得了一件奇物，今日早起方系上，还是簇新的，聊可表我一点亲热之意。”说毕撩衣，将系小衣儿一条大红汗巾子解了下来，递与宝玉，道：“这汗巾子是茜香国女国王所贡之物，夏天系着，肌肤生香，不生汗渍，昨日北静王给我的，今日才上身．若是别人，我断不肯相赠．二爷请把自己系的解下来，给我系着。”宝玉听说，喜不自禁，连忙接了，将自己一条松花汗巾解了下来，递与琪官。…

秦钟：

第九回恋风流情友入家塾　起嫌疑顽童闹学堂

Chapter 9
A son is admonished and Li Gui receives
an alarming warning
A pupil is abused and Tealeaf throws the
classroom in an uproar

原来这贾家之义学，离此也不甚远，不过一里之遥，原系始祖所立，恐族中子弟有贫穷不能请师者，即入此中肄业。凡族中有官爵之人，皆供给银两，按俸之多寡帮助，为学中之费。特共举年高有德之人为塾掌，专为训课子弟。如今宝秦二人来了，一一的都互相拜见过，读起书来。自此以后，他二人同来同往，同坐同起，愈加亲密。又兼贾母爱惜，也时常的留下秦钟，住上三天五日，与自己的重孙一般疼爱。因见秦钟不甚宽裕，更又助他些衣履等物。不上一月之工，秦钟在荣府便熟了。宝玉终是不安本分之人，竟一味的随心所欲，因此又发了癖性，又特向秦钟悄说道：“咱们俩个人一样的年纪，况又是同窗，以后不必论叔侄，只论弟兄朋友就是了。”先是秦钟不肯，当不得宝玉不依，只叫他“兄弟”，或叫他的表字“鲸卿”，秦钟也只得混着乱叫起来。

原来这学中虽都是本族人丁与些亲戚的子弟，俗语说的好：“一龙生九种，种种各别。”未免人多了，就有龙蛇混杂，下流人物在内。自宝，秦二人来了，都生的花朵儿一般的模样，又见秦钟腼腆温柔，未语面先红，怯怯羞羞，有女儿之风，宝玉又是天生成惯能作小服低，赔身下气，情性体贴，话语绵缠，因此二人更加亲厚，也怨不得那起同窗人起了疑，背地里你言我语，诟谇谣诼，布满书房内外。

The Jia clan school was situated at no great distance from Rong-guo House. It was a charitable foundation which had been established many years previously by the founder of the family and was designed for the sons and younger brothers of those members of the clan who could not afford to pay for private tuition. All members of the clan holding official posts were expected to contribute towards its expenses and members of advanced years and known integrity were chosen to be its masters. As soon as Bao-yu and Qin Zhong arrived they were introduced to the other students and then set to work at once on their lessons.

From now on the two friends were inseparable) arriving at school and leaving school together and sitting beside each other in class. Grandmother Jia herself became very fond of Qin Zhong. She was always having him to stay for three or four nights at a time and treated him exactly as if he were one of her own great-grandchildren. And because she realized that his family was not very well off, she frequently helped Out with clothes and the like. Within a month or two he was a familiar and accepted member of the Rong household.

Bao-yu had always been impatient of social conventions, preferring to let sentiment rather than convention dictate the terms of his relationships. It was this which now prompted him to make Qin Zhong the following proposal:

‘You and I are schoolmates and pretty much the same age. Let us in future forget all this “uncle” “nephew” business and address each other exactly like friends or brothers!’

Qin Zhong was at first too timid to comply; but as Bao-yu persisted and went on calling him ‘brother’ or ‘Jing-qing’ (which was his school-name) whenever he spoke to him, Qin Zhong himself gradually fell into the habit of addressing Bao-yu as an equal.

All the pupils at the clan school were either members of the Jia clan or relations by marriage; but as the proverb rightly says, ‘there are nine kinds of dragon and no two kinds are alike’. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.

The two new boys, Qin Zhong and Bao-yu, were both as beautiful as flowers; the other scholars observed how shrinking and gentle Qin Zhong was, blushing almost before you spoke to him and timid and bashful as a girl; they saw in Bao-yu one whom nature and habit had made humble and accommodating in spite of his social position, always willing to defer to others in the interest of harmony; they observed his affectionate disposition and familiar manner of speech; and they could see that the two friends were devoted to each other. Perhaps it is not to be wondered at that these observations should have given rise to certain suspicions in the minds of those ill-bred persons, and that both in school and out of it all kinds of ugly rumours should have circulated behind their backs.

第十五回王凤姐弄权铁槛寺秦鲸卿得趣馒头庵

CHAPTER 15
At Water-moon Priory Xi-feng finds how much profit may
procured by the abuse of power
And Qin Zhong discovers the pleasures that are to
be had under the cover of darkness

谁想秦钟趁黑无人，来寻智能。刚至后面房中，只见智能独在房中洗茶碗。秦钟跑来便搂着亲嘴。智能急的跺脚，说着：“这算什么!再这么，我就叫唤。”秦钟求道：“好人，我已急死了!你今儿再不依，我就死在这里。”智能道：“你想怎样，除非等我出了这牢坑，离了这些人，才依你。”秦钟道：“这也容易，只是远水救不得近渴。”说着，一口吹了灯，满屋漆黑，将智能抱到炕上，就云雨起来。那智能百般的挣扎不起，又不好叫的，少不得依他了。正在得趣，只见一人进来，将他二人按住，也不则声。二人不知是谁，吓的不敢动一动。只听那人嗤的一声掌不住笑了。二人听声，方知是宝玉。秦钟连忙起身，抱怨道：“这算什么!”宝玉笑道：“你倒不依。咱们就叫喊起来。”羞的智能趁黑地跑了。宝玉拉了秦钟出来道：“你可还和我强?”秦钟笑道：“好人，你只别嚷的众人知道，你要怎样，我都依你。”宝玉笑道：“这会子也不用说，等一会睡下，再细细的算帐。”一时，宽衣安歇的时节，凤姐在里间，秦钟宝玉在外间，满地下皆是家下婆子打铺坐更。凤姐因怕通灵玉失落，便等宝玉睡下，命人拿来塞在自己枕边。宝玉不知与秦钟算何帐目，未见真切，未曾记得。此系疑案，不敢纂创。

一宿无话，至次日一早，便有贾母王夫人打发了人来看宝玉，又命多穿两件衣服，无事宁可回去。宝玉那里肯回去，又有秦钟恋着智能，调唆宝玉求凤姐再住一天。凤姐想了一想：凡丧仪大事虽妥，还有一半点小事未曾安『插』，可以指此再住一日，岂不又在贾珍跟前送了满情;二则又可以完净虚那事;三则顺了宝玉的心，贾母听见岂不欢喜。因有此三益，便向宝玉道：“我事都完了，你要在这里逛，少不得越『性』辛苦一日罢了。明儿可是定要走的了。”宝玉听说，千姐姐万姐姐的央求：“只住一日，明儿必回去的。”于是又住了一夜。…

Meanwhile Qin Zhong had taken advantage of the darkness and the fact that there was no one much about to prosecute his designs on Sapientia. He found her on her own in one of the rooms at the back of the priory washing up tea-things. Throwing his arms around her from behind, he gave her a kiss. Sapientia stamped with vexation:
‘What are you doing? Stop it!’
She was about to call out, but Qin Zhong spoke entreat�ingly:
‘Darling Sappy! I want you so desperately! If you won’t let me, I’ll just lie down and die!’
‘If you want me,’ said Sapientia, ‘you must first get me out of this hole and away from these people. Then you can do what you like.’
‘That’s easy,’ said Qin Zhong. ‘But “distant water is no cure for a present thirst” ...’
And with that he blew out the light, plunging the room into inky darkness, and carried Sapientia on to the kang. She struggled hard to get up—though still not daring to call out; but soon, almost before she knew it, her breech-clout was off and the ship was in the harbour.
Suddenly, in less time than it takes to tell, a third person bore down on them from above and held them fast. The intruder made no sound, and for some moments the other two lay underneath his weight, half dead with fright. Then there was a splutter of suppressed laughter and they knew that it was Bao-yu.
‘What do you think you’re playing at?’ said Qin Zhong crossly, as he scrambled to his feet.
‘If you won’t let me, darling,’ Bao-yu mimicked, ‘I’ll call Out!’
Poor Sapientia was so overcome with shame that she slipped away in the dark. Bao-yu hauled Qin Zhong from the room.
‘Now,’ he said: ‘are you still going to pretend that Sappy means nothing to you?’
‘Look, be a good chap! I’ll do anything you say as long as you promise not to shout.’
‘We won’t say any more about it just now,’ said Bao-yu genially. ‘Wait until we are both in bed and I’ll settle accounts with you then.’
Bedtime soon came and they partially undressed and settled down for the night, Xi-feng in an inner room and Bao-yu and Qin Zhong in an outer room adjoining it. As there were numerous old women on night duty lying about everywhere on the floor wrapped up in their bedding, Xi-feng was afraid that the ‘Magic Jade’ might disappear in the course of the night; so as soon as Bao-yu was in bed she sent someone to fetch it from him, and put it under her own pillow for safety.
As for the ‘settling of accounts’ that Bao-yu had proposed to Qin Zhong, we have been unable to ascertain exactly what form this took; and as we would not for the world be guilty of a fabrication, we must allow the matter to remain a mystery.
Next day someone arrived from Grandmother Jia and Lady Wang to see how Bao-yu was getting on. He was coun�selled to dress up well against the cold and to come back home if there was nothing further to do. Bao-yu was most unwilling to return on his own account, and his unwillingness was re�inforced by the promptings of Qin Zhong, who was anxious to see more of Sapientia and urged him to ask Xi-feng for another day.
Xi-feng reflected a little. The main business of the funeral was now over, but a sufficient number of minor matters still remained to be done to justify their staying on another day if they wanted to. Three arguments in favour of staying presented themselves to her mind:
1.It would be a gesture of considerateness to Cousin Zhen which would increase his indebtedness to her.
2.It would give her a breathing-space in which to get Euergesia’s business attended to.
3.It would make Bao-yu happy, which would put her in good odour with Grandmother Jia.
Having now made her mind up, Xi-feng acceded to Bao-yu’s request in the following terms:
‘My own business here is all finished now, but if you want to amuse yourselves a bit longer, I suppose I must resign myself to staying. However, we definitely must go back tomorrow.’
When Bao-yu heard this it was all ‘dearest Feng’ this and ‘darling Feng’ that, and he promised faithfully to return on the morrow without demur. Accordingly it was settled that they should stay for one more night.

Please add the D. Hawkes translation here.

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3 Foreigners==
我八岁的时节，跟我父亲到西海沿上买洋货。谁知有个真真国的女孩子，才十五岁，那脸面就和那西洋画上的美人一样，也披着黄头发，打着联垂，满头带着都是玛瑙、珊瑚、猫儿眼、祖母绿，身上穿着金丝织的锁子甲，洋锦袄袖，带着倭刀也是镶金嵌宝的。实在画儿上也没他那么好看。有人说他通中国的诗书，会讲‘五经’，能做诗填词。因此我父亲央烦了一位通官，烦他写了一张字，就写他做的诗。”众人都称道奇异。宝玉忙笑道：“好妹妹，你拿出来我们瞧瞧。”宝琴笑道：“在南京收着呢，此时那里去取？”宝玉听了，大失所望，便说：“没福得见这世面！”黛玉笑拉宝琴道：“你别哄我们：我知道你这一来，你的这些东西未必放在家里，自然都是要带上来的。这会子又扯谎，说没带来。他们虽信，我是不信的。”宝琴便红了脸，低头微笑不答。

==10.3b Foreign Objects==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng Hui.Manzu Minority Research[J].2011(3):14)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng Hui.Manzu Minority Research.2011(3):15)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

===11.8===

中西富贵人家西方奢侈品消费之同步 ———基于《红楼梦》的考察分析
张丽

16 世纪至 19 世纪初的中国常常被喻为世界的白银蓄池。很多研究在讨论这一时期中西贸易时都倾向于强调商品的西流 ( 商品从中国向欧洲、美洲流动) 和白银的东流 ( 白银从欧洲、美洲向中国流动) ①, 以及中国器物对欧洲社会、经济、文化发展的影响②。相比之下, 对这一时期欧洲商品在中国的消费及其对中国的影响, 则研究甚少。 20 世纪 20 年代以来, 更有一种观点认为, 明清中国社会对欧洲商品不感兴趣①, 忽视了中国富贵人家对西方产品的消费和推崇。把这种消费放到全球经济发展历史背景下进行讨论, 并与欧洲上层社会相比较的研究, 更是付之阙如。

本文从全球视角考察《红楼梦》中的西洋品消费, 把《红楼梦》中的西洋品消费与全球海洋贸易扩张、欧洲商业革命、欧洲制造业发展和欧洲消费革命联系起来。通过搜集和分析《红楼梦》中关于西洋器物的文字描述, 本文认为至少在 18 世纪初, 西方产品已深入到中国富贵人家的日常生活中, 且备受追捧。《红楼梦》中出现的西洋品几乎囊括了 18 世纪初欧洲上流社会追逐的所有高档生活奢侈品, 其中一些即使在当时的欧洲也极为珍贵和时尚, 只有极少数上流社会家庭才有能力消费。通过把《红楼梦》中贾府的西洋奢侈品消费与同一时期欧洲富贵阶层的西方奢侈品消费相比较, 本文认为, 尽管 17 ～ 18 世纪中国缺少白银, 与欧洲远隔重洋, 且与欧洲文化大不相同, 但中国富贵人家在欧洲奢侈品的消费上几乎与欧洲富贵阶层同步。

一《红楼梦》作为研究对象的史料价值及版本说明

本文之所以选择《红楼梦》, 一是因为书中有很多关于西洋物品的描述, 二是缘于此书为曹雪芹基于自家家世衰败历史的艺术创作①。曹雪芹生于 1715 年, 时曹家已任江宁织造 46 年②, 正值曹家鼎盛时期。幼年曹雪芹 “ 有赖天恩祖德”, 在 “ 昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡” 里过着锦衣纨绔、钟鸣鼎食的生活。雍正五年 (1727) 十二月曹家被封, 雍正六年 (1728) 正月十五后被抄时, 曹雪芹 13 岁。故此, 曹雪芹在《红楼梦》中对各种西洋器物的描写, 并非源于他的凭空臆想或道听途说, 而主要来自他早年的生活经历。这就使得《红楼梦》前 80 回中有关西洋品消费的描述具有了历史资料的价值。这一点在《红楼梦》后 40 回中也得到间接证明。在 120 回的程乙本《红楼梦》中, 西洋物品在曹著前 80 回中随处可见, 而在高鹗续编的后 40 回中则寥寥无几。高鹗出生于京郊士人耕读之家③, 缺少曹雪芹少年时那种生活经历, 自然也不能像曹雪芹那样信手拈来地描写西洋物品。

《红楼梦》版本颇多, 用哪个版本作为本文的资料来源就成为一个必须交代的问题。曹雪芹卒于《红楼梦》 ( 时名 “ 石头记”) 完稿之前, 生前曾对书稿数次增删修改; 逝后, 手稿又散落民间, 被人辗转传抄。所以, 民间有多种脂批《石头记》抄本传世④。其中, 庚辰 (1760) 秋月定本 “ 脂批石头记” ( 《石头记脂砚斋凡四阅评过》, 共 78 回, 缺第六十四、六十七回)被不少人认为是最完整和最接近原稿的抄本①, 甚至可能是曹生前删改的最后一个版本②。 18 世纪末, 社会上又有了程伟元作序, 高鹗补续了后 40 回, 定名为《红楼梦》的程甲本 (1791 年活字印刷) 和对程甲本进行了校对勘误的程乙本 (1792 年活字印刷)。至此, 《石头记》彻底更名《红楼梦》③,并开始以印刷本的形式流传。 120 回的程高本《红楼梦》 ( 程甲本和程乙本) 也从此成为世人最为广泛阅读、采纳和引用的流行本。本文以人民文学出版社 2010 年影印的《脂砚斋重评石头记 ( 庚辰本)》作为《红楼梦》摘录文字的主要资料来源。庚辰本原缺第六十四、六十七回, 人民文学出版社以己卯本补配④, 但己卯本第六十四、六十七回为后人补抄⑤, 有学者认为今己卯本中的第六十四、六十七回是清嘉道年间以程甲本和程乙本为底本补抄的⑥, 也有学者认为程甲本和程乙本前 80 回是在甲辰本的基础上形成的⑦。鉴于此, 本文将以 1784 年的甲辰本作为《红楼梦》文字摘录中第六十四、六十七回的资料来源。

二《红楼梦》中的西洋器物

《红楼梦》中有很多关于西洋制造品的描述。前 80 回中, 30 回里出现有西洋物品, 描写文字 70 余处, 涉及产品 20 余种 ( 参见附表)。这些西洋产品几乎囊括了当时欧洲所有最先进和最时尚的生活奢侈品, 既有欧洲本土传统玻璃制造业的各种玻璃制品, 如玻璃杯、玻璃盏、玻璃屏风、玻璃绣球雨灯、穿衣镜、水晶灯等, 也有当时欧洲新兴技术产业中的各种产品, 如摆钟、金怀表、眼镜、自行船、洋布手巾①等, 还有当时欧洲在技术上和规模上都已得到巨大发展的毛纺织和丝织业的产品, 如洋罽、哆罗呢、洋缎、洋绉等, 以及在海外扩张中利用殖民地资源在欧洲生产或直接在欧洲海外殖民地生产基地上生产出来的产品, 如用美洲白银制作的银制日用品, 用美洲烟草生产出来的各种鼻烟, 还有印度殖民地生产的鸦片 ( 膏子药依弗哪) 等②。
这些西洋品在《红楼梦》里反复出现, 特别是在当时的欧洲也是极为高档的生活奢侈品的自鸣钟 ( 实为摆钟)、金怀表、穿衣镜、玻璃屏等, 更是在各种不同情境下反复出现。曹雪芹不惜笔墨, 反复描述贾府生活中的西洋物品, 表现的不仅是对过去生活中西洋品消费的追忆, 更是为了烘托曹家从 “ 赫赫扬扬” “ 鲜花着锦” 之盛到 “ 家业凋零” “ 食尽鸟投林” 之衰的“ 家亡血史” ( 贾、王、薛、史) ③。用西洋品消费烘托曹家当年之富贵, 这本身也说明了西洋品消费在 18 世纪初的中国是一种代表着身份和地位的“ 炫耀性消费”。

三中欧贸易扩张及与海外贸易关系密切的曹家

15 世纪末以来, 欧洲在海外殖民扩张中不仅建立了一个欧洲主导的全球贸易体系, 而且还在广大殖民地建立了众多殖民地生产基地。在新航线不断出现, 贸易范围不断扩大, 贸易品种日益增加, 贸易规模持续增长的欧洲商业革命中, 欧洲消费革命 ( consumer revolution) 亦悄然诞生①。一方面是大量产品从世界各地流向欧洲, 既有欧洲商人用美洲白银从古老中国和印度进口的大量传统舶来品, 如中国生丝、丝绸、茶叶、瓷器和印度棉布等, 也有欧洲利用殖民地资源开发出来的新产品, 如烟草、鼻烟、蔗糖、朗姆酒和巧克力等; 另一方面亚洲奢侈品价格因进口量的巨大上升而大幅下降, 致使普通民众也可以消费那些原来只有上层社会才消费得起的亚洲奢侈品, 如中国的丝绸、茶叶、瓷器和印度的棉布等。与此同时, 欧洲的丝织业、毛纺织业、玻璃制造、机械时钟制作、银器制造等也都经历了飞跃式发展; 一大批欧洲本土生产的新兴生活奢侈品亦走进欧洲上层社会, 如摆钟、怀表、穿衣镜、水晶玻璃器皿和吊灯等。而在中国这一边, 16 ～ 18 世纪正是欧洲因美洲白银的获得和日本因新银矿的发现而对中国产品需求急剧增加的时期, 也是大批欧洲人来华寻求贸易, 中外贸易大规模扩大的时期。 1500 ～ 1599 年, 从欧洲到达亚洲的商船数 ( 其中大部分是到中国) 是 770 艘, 1600 ～ 1700 年达 3161 艘, 1700 ～ 1800 年又增至 6661 艘,
数目较 16 世纪增加了近 8 倍。而船的运载量更是因造船技术的发展而迅速
扩容。 1470 ～ 1780 年, 欧洲商船的运载量增加了 30 多倍, 从 1470 年的
120000 多吨增长到 1780 年的 3856000 吨②。
相对应于欧洲如火如荼的商业革命, 中国这边则是明清十大商帮的兴起、商品经济的显著发展和全国市场体系的形成。为此, 一些学者认为 16 ～ 18 世纪的中国也发生了一场 “ 未完成的商业革命”, 更多的学者则称之为 “ 资本主义萌芽” ①。在中外贸易的大规模扩张中, 各路商帮应运而生, 既有违禁出海, 专门从事将中国货物从中国沿海运销到日本、雅加达和马尼拉甚至欧洲本土, 并参与中国东南海上贸易霸权竞争的中国海商, 也有不断把内地产品贩运到沿海港口出口或贩货于地区间的诸路商帮。在出口贸易大规模增长的同时, 不少西方产品亦流入中国, 并受到很多富贵人家的追捧。曹雪芹笔下的贾府便是其中之一。曹家发达于 17 世纪下半叶, 从 1663 年曹雪芹曾祖父曹玺被任命为江宁织造起, 到雍正六年正月十五后被抄②, 历经 60余年之昌盛, 而这 60 余年也正是中外贸易大规模扩大, 欧洲产品越来越多地输入中国的时期。而且, 曹家还是一个与海外贸易有着密切关系的家族。亲戚中既有广东巡抚、宁波知府, 又有粤海关监督。曹雪芹祖父曹寅之妻为苏州织造李煦之妹, 李煦曾于 1684 ～ 1688 年任宁波知府, 其父李士桢 1673 年出任福建布政使, 因遇耿精忠叛乱, 滞留浙江, 改任浙江布政使, 后又于1682 ～ 1687 年任广东巡抚; 曹雪芹曾祖母孙氏的侄子孙文成, 在 1706 年任杭州织造之前, 曾于 1703 年担任粤海关监督一年。而曹公在《红楼梦》中, 还添了一个与贾政有连襟关系, 专门为内务府采购洋货的皇商———薛家③。
曹家与海外贸易的紧密关系在《红楼梦》中也多有反映。第五十二回“ 俏平儿情掩虾须镯, 勇晴雯病补雀金裘” 中有一段薛宝琴讲她跟父亲出海贸易的描写:

宝琴笑道: ……我八岁时节跟我父亲到西海沿子上买洋货, 谁知有个真真国色①女孩子, 才十五岁, 那脸面就和那西洋画上的美人一样, 也披着黄头发, 打着联垂, 满头带的都是珊瑚、猫儿眼、祖母绿这些宝石; 身上穿着金丝织的锁子甲洋锦袄袖; 带着倭刀, 也是镶金嵌宝的, 实在画儿上的也没他好看。有人说他通中国的诗书, 会讲《五经》, 能作诗填词。因此我父亲央烦了一位通事官, 烦他写了一张字, 就写的是他作的诗。②

第十六回 “ 贾元春才选凤藻宫, 秦鲸卿夭逝黄泉路” 中, 赵嬷嬷和王熙凤聊起当年太祖皇帝仿舜巡贾府接驾的事 ( 喻当年康熙南巡, 曹寅、李煦筹备接驾, 曹家四次接驾之事), 凤姐忙接道:
我们王府也预备过一次。那时我爷爷单管各国进贡朝贺的事, 凡有的外国人来, 都是我们家养活。粤、闽、滇、浙所有的洋船货物都是我们家的。③

《红楼梦》中王熙凤和王夫人的娘家原型为苏州织造的李家, 书中王熙凤的父亲, 王夫人的哥哥王子腾的命运也近似于真实历史中的李煦④。 1684 年, 康熙开放海禁, 次年相继在广州、厦门、宁波、云台山四处设关, 其中两关在李家父子的管辖之下。难怪王熙凤说: “ 粤、闽、滇、浙所有的洋船货物都是我们家的。”
《红楼梦》第七十一回描写贾母过生日, 收到各方礼物, 特意提到粤海将军邬家送了一架玻璃围屏。曹寅母亲孙氏是《红楼梦》中贾母的原型。孙氏的侄子孙文成曾任粤海关监督一年。清朝官职中并没有粤海将军, 想是曹公为避政治麻烦, 自拟此职代之。
曹家拥有这样的亲戚关系, 无疑有很多机会接触各种稀贵的西方奢侈品, 以致曹雪芹可以在《红楼梦》中信手拈来, 娓娓道出。

四曹家与欧洲上层社会趋同的欧洲奢侈品消费

《红楼梦》贾府生活中的西洋产品几乎囊括了当时欧洲所有的高档奢侈品。下面就几件尤有代表性的西洋奢侈品, 加以比较讨论。
1.自鸣钟 ( 摆钟)
《红楼梦》中所谓的自鸣钟, 其实是 17 世纪下半叶才开始在欧洲出现的摆钟 ( pendulum clock) , 而不是 16 世纪末和 17 世纪初由意大利传教士罗明坚、利玛窦等人进献给明朝官员和宫廷的自鸣钟 ( striking clock) 。《红楼梦》第六回 “ 贾宝玉初试云雨情, 刘姥姥一进荣国府” 写道:

刘姥姥只听见咯当咯当的响声, 大有似乎打箩柜筛面的一般, 不免东瞧西望的, 忽见堂屋中柱子上挂着一个匣子, 底下又坠着一个秤砣般一物, 却不住的乱幌。①

这个乱晃的秤砣般的坠物, 显然就是摆钟的摆 ( pendulum)。第五十八回 “ 杏子阴假凤泣虚凰, 茜纱窗真情揆痴理” 又说:
麝月笑道: “ 提起淘气, 芳官也该打几下。昨儿是他摆弄了那坠子, 半日就坏了。” ②

这个坠子也是摆钟的摆。这两段文字描述, 清楚说明凤姐和宝玉住处的所谓自鸣钟, 其实是当时欧洲刚刚兴起不久的摆钟。
欧洲最早的机械钟是14 世纪出现在教堂的塔钟。塔钟庞大而沉重, 主要为教堂和教徒们遵循时间祷告而用, 并不适用于家庭。到 1510 年德国锁匠彼得· 亨莱恩 (Peter Henlein) 发明了发条钟 (clock powered by spring mechanism), 便于移动携带, 适用于家庭的时钟才开始出现。然而发条钟很不精准, 直到17 世纪下半叶摆钟发明, 时钟才出现质的飞跃, 摆钟自此逐渐取代发条钟,

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong, Xu Xuefei(2018) ''Introduction and Acceptance of the English Opera ''Red Chamber Dreams'' in San Francisco based on Relevant Network resources'' 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J]Cao Xueqin Research 《曹雪芹研究》, No.3, 133.

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

===Different strategies===

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;““If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）

Reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.

reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?

Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T14:38:44Z

Zhumeimei: /* New York Times */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.

reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?

Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T14:38:12Z

Zhumeimei: /* New York Times */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;““If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）

Reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.

reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?

Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T14:14:35Z

Zhumeimei: /* 英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes */

Back to [[JM]] overview page. Back to Books project page.

<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.

reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?

Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T14:13:08Z

Zhumeimei: /* 19. 红楼梦在英国的流传和研究 */

Back to [[JM]] overview page. Back to Books project page.

<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.

reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T14:02:44Z

Zhumeimei: /* 21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）Reference?

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）Reference?

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.<nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T14:00:52Z

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）Reference?

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）Reference?

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time <nowiki>(Cui 2004:111)</nowiki>

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. <nowiki>(Cui 2004:112)</nowiki>

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. <nowiki>(Cui 2004:112-113)</nowiki>

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T13:58:48Z

Zhumeimei: /* 21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）Reference?

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）Reference?

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' . <nowiki>(Cui 2004:111)</nowiki>

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. (Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T13:56:50Z

Zhumeimei: /* Different strategies */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）Reference?

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）Reference?

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）(Shi 2021:161)

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' .(Cui 2004:111)

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. (Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T13:52:33Z

Zhumeimei: /* 19. 红楼梦在英国的流传和研究 */

Back to [[JM]] overview page. Back to Books project page.

<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）Reference?

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）Reference?

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174 Page 161

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' .(Cui 2004:111)

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. (Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T13:50:21Z

Zhumeimei: /* 19. 红楼梦在英国的流传和研究 */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
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Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of "Red Chamber Dreams" in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）Reference?

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）Reference?

'''Reference'''：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

===英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174 Page 161

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' .(Cui 2004:111)

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. (Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T13:46:21Z

Zhumeimei: /* References */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 ''Knowledge of Culture and History 文史知识'' 2:95-101.

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of the Dream of Red Mansions in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's A Dream of Red Mansions began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of a Dream of Red Mansions, and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，96-97）Reference?

From 1830 to the 1970s, the English versions of a Dream of Red Mansions were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，98）Reference?

'''Reference'''：Hu Wenbin. The Spread and Research of a Dream of Red Mansions in Britain: A Great Work from the East [J]. Knowledge of Culture and History,1990,(02):95-101.]（胡文彬. 从东方来的巨著——《红楼梦》在英国的流传与研究[J]. 文史知识,1990,(02):95-101.）

===英国人眼里的《红楼梦》 A Dream of Red Mansions in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since A Dream of Red Mansions was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "A Dream of Red Mansions is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174 Page 161

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' .(Cui 2004:111)

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. (Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T13:42:36Z

Zhumeimei: /* 19. 红楼梦在英国的流传和研究 */

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<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of the Dream of Red Mansions in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's A Dream of Red Mansions began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of a Dream of Red Mansions, and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，96-97）Reference?

From 1830 to the 1970s, the English versions of a Dream of Red Mansions were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，98）Reference?

'''Reference'''：Hu Wenbin. The Spread and Research of a Dream of Red Mansions in Britain: A Great Work from the East [J]. Knowledge of Culture and History,1990,(02):95-101.]（胡文彬. 从东方来的巨著——《红楼梦》在英国的流传与研究[J]. 文史知识,1990,(02):95-101.）

===英国人眼里的《红楼梦》 A Dream of Red Mansions in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since A Dream of Red Mansions was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "A Dream of Red Mansions is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174 Page 161

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' .(Cui 2004:111)

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. (Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T13:33:11Z

Zhumeimei: /* Notes */

Back to [[JM]] overview page. Back to Books project page.

<center>'''Commonness between the Red Chamber Dreams'''

'''and other World Literature Novels –'''

'''Proposing the ''Red Chamber Dreams'' to the World Documentary Heritage List'''

Martin Woesler, Hunan Normal University</center>

=Abstract=
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the ''Red Chamber Dreams'', they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

=Key words=
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

=摘要=
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。《红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。

=关键词：多元一体=

=1. Chinese Ethics=
To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

''Red Chamber Dreams'' also contains rich Taoist and Buddhist connotations that is characteristic of Chinese, but the love of life and praise of youth and love expressed in the novel make it far out of the category of Chinese culture to a broad human ethics. Liang Qichao had said in ''Drink Ice Room Collection'' that "when you want hero's story, go to ''Water Margin'', and when it comes to love, go to ''Red Chamber Dreams''". During 20th century's May Fourth Movement, Chinese scholars have emphasized strongly on such commonalities of literary works.(Liang 19..:...)

Another great ethical contribution of the novel is its question on the meaning of life. Wang Guowei has pointed out in his ''Comments on Red Chamber Dreams'' that the weakness of Chinese literature lies in its too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that ''Red Chamber Dreams'' has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature.(Wang 19..:...)

=2. Compatibility=
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the Shuihuzhuan and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

==Adaptions in the West==
===Feng Quangong===
Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

===New York Times===
节选（excerpts）：
2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（always full reference, e.g. "Feng 2017:131-132"page 131-132）（原文）

On September 9, 2016, The ''New York Times'' published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;“If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）Since the paper will be published in English and the original text of the quote was English, please find out the English original. We cannot mention the title of the English article in an English translation of the Chinese translation of the English article.
reference： An American Opera Company Adapts China's "War and Peace"[J].''The ''New York Times'''',September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

===Mercury News===
2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" Please check the correct title in English,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） ''Mercury News'' was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned, Daiyu began to sit the boat at the last minute again, back and forth a lot of things happened, much transformed, love has vanished, the Jia family's fortunes gone. At the end of the dream, much has changed since that first scene: lives lost, love spent, fortunes come and gone, this comment on the main theme of the opera is on target.Reference?
reference:GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].''''Mercury News',September 11, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

===San Francisco Examiner===
2016 年 9 月 11 日，“旧金山观察家”(''San Francisco Examiner'')网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the ''San Francisco Examiner'' website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Text is cut off, reference missing.

reference: SF Opera bridges East-West divide in lush ‘Dream’[J].''San Francisco Examiner'', September 12, 2016.
冯全功徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

=3. Impact of translator’s native culture on the translation process=
There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

=4. The novel as embodiment of “Zeitgeist”=
According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s Ilias, which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Thomas Mann, including the turn to arts and music).
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the ''Dream'' appears as a documentary historical novel very much like Günter Grass’ ''The Tin Drum'' 1959.

=5. Coming-of-age and Alienation=
Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged. Reference

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

=6. Pornography and True Love, female rivals=
Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.
The best study on qing passion in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).
In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.
The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the Dream and Faust, the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in Keller 凯勒 ''The Green Henry''《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:who can find out the page number?).

=7. Feudal society and slavery=
A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, excluded slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals. Also the understanding of the servants as slaves does not match the description in the ''Dream'', since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

The ''Red Chamber Dreams'' were created in the time of feudal autocratic society. Late Qing was on the surface seemingly prosperous but from the inside full of crisis. The Qing dynasty since Qianlong began to decline while the ups and downs of four big families in the ''Red Chamber Dreams'' may be understood as a symbol of the decline of the whole dynasty.

The Journal of a Plague Yearwhich journal?, on the other hand, was a product of Western civil society, and Defoe(the writer of A Journal of a Plague Year) who is that was a staunch supporter of the Whigs(辉格党，英国历史党派名称，产生于17世纪末，19世纪中叶演变为英国自由党。) - who are they?, which were dominated by the emerging bourgeoisie who opposed the monarchy, advocated a parliamentary system, and believed that the supreme power of the state should belong to the "people”. (Shi 2021:1...)

=8. Tragedy of all tragedies=
Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''. While Europe has the ''Hamlet'' as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

=9. “Non-Binary” Novels=
One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

We need example scences for the bisexual nature of Jia Baoyu, e.g. the scene next to the private school, where Jia Baoyu is caught together with a fellow student mutually touching their anuses.

And we need to compare that to other novels of that time: Was it common to speak about sexual orientation freely?

=10. Foreign Cultures in the Red Chamber Dreams=
Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

==10.1==
The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

==10.2==
Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

==10.3==
Foreign objects appearing in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew, a monocle#, #. Repairing the peacock fur for Baoyu may have required knowledge about Western weaving techniques.# There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

==10.4==
There are also some other foreign elements in this famous novel (Zeng 20#).

==10.5==
First is the exquisite fabrics, imported fabrics are the representatives.Since the opening of the Silk Road in the Western Han Dynasty, cultural exchanges and commercial cooperation between the Central Plains and the outside world have become more and more frequent. In the Ming Dynasty, the Maritime Silk Road was opened up, further strengthening exchanges with western countries. China used silk, porcelain, tea and so on to exchange the horse, grapes and foreign cloth and so on. The imported fabrics in A Dream of Red Mansions mainly include Doroit and Fansi. (Zeng 20#:14?-15?)

==10.6==
(1)Duoro:in the 49th episode of The Dream of Red Mansions, Li Wan wears a "blue doro double-breasted jacket." Duo luo based on duo luo leaves (a similar palm tree), fabric organization closely, appearance is soft and smooth, do more raincoat, storm coat. It was introduced into China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 20#:14-15?)

==10.7==
(2)In the 49th chapter, Xue Baochai wore a "crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread," which is an imported fabric. (Zeng 20#:14-15?)

==10.8==
(3)Camlet and satin: camlet is also called "camlet feather crepe,""feather satin," is a kind of wool fabric, organization is close, thick texture, appearance is firm and smooth, can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand.It is often used as foreign tribute, which was regarded as treasures for noble winter clothes. In Chapter 8 of the novel, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," while in Chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" while stepping on the snow, while Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox." (Zeng 20#:14-15?)

==10.9==
首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实，外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

==10.10==
Second, there is a auspicious pattern, the abstract geometric patterns ,such as Character pattern, are the representatives of foreign elements.(1) Character pattern: that is, 10,000-character pattern, which is one of the traditional embroidery patterns. It was originally a talisman, after being used as a symbol of Indian Buddhism auspicious. The pattern "卍" is often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced into China, it was widely used as decorative patterns. The word is a cross, radiating towards the four directions, implying "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation is "wan"(which is in chinese pinyin), meaning "blessing and noble." Chapter 19 of A Dream of Red Mansions explains the origin of Wan 'er's name: "When his mother was cultivating him, she had a dream and dreamed that she had a piece of brocade, on which there was a pattern of five-colored swastika characters with rich and noble heads, so his name was called 卍 er." (Zeng 20#:14-15?)

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

==10.11==
There are many kinds and styles of western ware in the ''Red Chamber Dreams''. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the ''Red Chamber Dreams'' contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function.(Tang 2018:220)

==10.12==
Qing dynasty glass was generally imported from Europe, and only a small part of it was produced by the "glass factory" of the manufacturing office in imitation of European technology, while complete, large transparent glass was almost entirely imported. However, in Cao Xueqin's ''Red Chamber Dreams'' various kinds of glass ornaments, containers, ornaments and other glassware appear repeatedly, which are of various types and styles. It seems that glass products are quite common. (Meng 2009:50)

In Representation, Hall (2003) once pointed out that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". This shows that the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning will change when its location, the person concerned, and the way of description change. (Hall 2003:2)

Thus, it can be seen that the novel has endowed glass with new meaning and cultural connotation. It is no longer just a western object used for storing objects or hanging decorations, but transformed into an abstract symbol, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes.(Tang 2018:227-228)

==10.13==
According to the eighty back to the statistics, foreign goods more than 60 pieces of ''Red Chamber Dreams'', and these western artifacts throughout all aspects of life, in addition to the upper class popular pendulum clock, watch, western fabrics, western wine, glasses, and rare glass HangBing, sugar (in the) and western medicine, western own ship, western painting, etc., to name but a few. ''Red Chamber Dreams'' is the best novel in qing Dynasty for its variety and variety of western wares. (Tang 2018:222)

==10.14==
The scholars Zhang Huiqin and Xu Jun described in the passage called On the Translation strategies of Costume Culture in A Dream of Red Mansions. This article selects two versions of the translation of A Dream of Red Mansions(YY's translation and HM's translation) about the dress description, from the perspective of cultural coordination, to explore how to follow a timely, moderate, modest cultural coordinate translation principles, coordinate clothing cultural contradictions in translation, realize the harmony of costume culture translation, Strengthen understanding, respect and mutual learning between different cultures.(Zhang, Xu 2014:111)

==10.15==
本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

==10.16==
There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in Dreams of Red Chamber. Some characteristic expressions，for example，"Xingluo" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

==10.17==
“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

==10.18==
Secondly，foreign culture in Dreams of Red Chamber.For example, "jadeite flowery foreign crepe skirt" is the description of the quality, color and picture of the dress of Wang Xifeng. For the interpretation of "foreign crepe" in this sentence, academic views are different. One of the opinions is warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twist to different, natural wrinkles, so the name "foreign crepe". Because during the Kangxi, Yongzheng, and Qianlong ruling periods, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan, which was imported in patterns and colors. And that the foreign crepe is modified by "foreign" is because during the Daoguang period, all the most valuable things are called "foreign". In the north and south of the Yangtze River, imported goods are considered as the fashion. Therefore, "foreign crepe" actually belongs to the first-class silk, which is only used for the clothing of the nobility, not really imported products. Another of the opinions is, in the 16th chapter of the novel, Wang Xifeng said that her grandfather was only in charge of tribute and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belong to her family, which is completely consistent with HM's translation of "Imported Silk". Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even in today, we would agree to some extent that imported fabrics are high-end. Yang used the word crepe. But from the perspective of cultural transmission and development, I think adding "rare silk crepe" is better able to coordinate various contradictions.(Zhang, Xu 2014:114)

==10.19==
“翡翠撒花洋绉裙”是对凤姐裙装质地、颜色和图案的描述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

==10.20==
Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

==10.21==
A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel. The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

==11. Clothes and Fashion==
===Han and Manchu Combination===
The more clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

===Earliest Western Reception of the Description of Clothing in the ''Red Chamber Dreams''===
In 1837 and in all following editions, the famous author Oliver Goldsmith integrated a shortened part of J. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes:
His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, being “very fat” and “very short,” wearing colourful clothes, staring at a wall during his visit to his girlfriend and having his hair grown down to his heels, bound by yellow flowers, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#)

The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Woesler To amuse…:#)

For this purpose, he introduced Jia Baoyu’s description with the words: “In The Red Chamber Dreams [wording of J. Davis] […] is the following description of a Chinese dandy.”: (Woesler To amuse…:#)

The footnote reads: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

===11.1===
"Red Chamber Dreams" describes the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

===11.2===
For example, in the ''Red Chamber Dreams'', Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007: 89)+Comment

===11.3===
The author Cao Xueqin lived in the Kang and Qian era, and was in a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats are becoming longer and longer, similar to robes, and Manchu clothing is increasingly drawing on the form and content of Han clothing in the application of patterns; The patterns and patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes; in terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

===11.4===
The styless and patterns of clothing in the Qing Dynasty are based on the solid traditional culture, which timely reflects the pace of the times in human history. In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous construction of decorative patterns. The clothing patterns of the Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you taste carefully, there are Han nationality decoration themes, as well as Mongolian and other ethnic minorities' gorgeous decoration methods.(Chen 2007: 90)

===11.5===
The geometric pattern in ''Red Chamber Dreams'' is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in Chapter 40 of ''Red Chamber Dreams'' is the harmonious configuration of the cloud pattern, the blessing pattern, and the swastika pattern, which means "longevity without borders". (Chen 2007: 90)

===11.6===
Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in ''Red Chamber Dreams''. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91) Reference? (it is listed there)

===11.7===
Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldstein# as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldstein#, cf. Woesler#)

==World Documentary Heritage==
The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the ''Red Chamber Dreams'' is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the ''Red Chamber Dreams'' as “World Documentary Heritage”.

=References=
Anthony, C. Yu. (2001). Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber. Princeton University Press.

Aristotle. (1971). Poetics. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Chen Dongsheng, Gan Yingjin, Zhou Liyan, Qin Rui陈东生，甘应进, 周丽艳，覃蕊.(2007). Research on the patterns of clothing in Red Chamber Dreams 《红楼梦》服饰纹样探究. Advances in Textile Science and Technology纺织科技进展, 2: 89-91.

Cui Rongrong 崔荣荣 (2004). Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture 《红楼梦》人物服饰--中国古代服饰文化的缩影. ''Journal of Wuhan University of Science and Engineering 武汉科技学院学报'' 6:111-113+116.

Feng Quangong (2017) ''Introduction and acceptance of the Opera Red Chamber Dream in San Francisco based on relevant network resources'' missing rest#

Meng Hui孟晖.(2009). The Wealth of Glass玻璃的富贵. History of Ming and Qing Dynasties明清史事. 3: 50-53.

Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174

Proß, Wolfgang (1992). "Historische Methodik und philologischer Kommentar." Lutz Danneberg et al. (eds.) Vom Umgang mit Literatur und Literaturgeschichte. Positionen und Perspektiven nach der "Theoriedebatte", Stuttgart: Metzler-Verlag, 269-291

Steinmetz, Horst (2003). "Interkulturelle Rezeption und Interpretation" Bogner, Andrea; Wierlacher, Alois (Hrsg.): Handbuch interkulturelle Germanistik, Stuttgart Weimar, 461-467

Stuart Hall斯图尔特·霍尔(2003). Representation — Cultural Representations and Signifying Practices表征 —— 文化表象与意指实践. Translated by Xu Liang and Lu Xinghua徐亮、陆兴华译. Commercial Press商务印书馆, 2.

Tang Yan 唐妍.(2018), Cultural Coding of Western Ware in Red Chamber Dreams《红楼梦》中西器的文化编码. Journal of Red Chamber Dreams《红楼梦学刊》, 3: 221-235.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). Der Traum der Roten Kammer oder Die Geschichte vom Stein [Red Chamber Dreams or The Story of the Stone], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. Hong lou meng xue kan 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. Journal of Sino-Western Communications 2 (2010.12) 2:81-107

Zeng Hui. (20#) Costume Research on the Novel Dream of Red Mansions (Middle)（小说《红楼梦》服饰研究（中）） , #

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

=Notes=

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.
==16. Buddhism and Daoism==

The German-language reader is not unfamiliar with Buddhist and Daoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

==19. 红楼梦在英国的流传和研究==
The spread and study of the Dream of Red Mansions in Britain
中英文化交流的历程
The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。
十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。
十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。
从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，95）Reference?

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，96）Reference?

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's A Dream of Red Mansions began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of a Dream of Red Mansions, and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，96-97）Reference?

From 1830 to the 1970s, the English versions of a Dream of Red Mansions were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，98）Reference?

===英国人眼里的《红楼梦》 A Dream of Red Mansions in British Eyes===

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since A Dream of Red Mansions was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "A Dream of Red Mansions is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（从东方来的巨著——《红楼梦》在英国的流传与研究，胡文彬 Hu Wenbin，100-101）reference, pages

20. 瘟疫叙事的不同Plague casts a lingering shadow on human creative activities, which is the background of literature, the metaphor of art, and the warning of religion. However, there were few Chinese and Western narrative literary works in the 18th century involving the plague, the Red Chamber Dreams and A Journal of the Plague Year (hereinafter referred to as "Journal") are the most concentrated and successful two works, both in terms of material selection, narrative strategies and religious implications, which have set a valuable model for the plague narrative of later generations.Reference?
Because of the differences in cultural background, aesthetic taste and political environment, the two novels are quite different in narrative technique, plot structure and allegory strategy, which reflects the great influence of cultural tradition on literary creation. (Shi 2021:156) - to tell the truth, I don't think Hongloumeng is a plague narrative. Any opinions on that?

===Different strategies===
The narrative feature of the Red Chamber Dreams is "empty and illusory." Plague writing is an important tool for Cao Xueqin to use in forming virtual reality and shaping characters.
In contrast to Cao, Defoe is mainly documentary, supplemented by fiction. Walter Scott (1771-1832), the author of the United Kingdom Chronicle, called Defoe "immortal for his genius in A Journal of Plague Year and the Knight's Memoirs." (Shi 2021:1...)

Different narrative way

China classical novels are accustomed to narrating in chronological order and the narrative time and the storytime are basically synchronous, so there is clear internal logic among the plots. Although there is no heavy ink in the plague narrative of the Red Chamber Dreams, the plague is an important key to the characterization and plot development. In contrast, the two time series of narration and story in Journal have some overlap and are separated. Although the novel starts from the plague to the end, the layout is messy and repeated. There are also many off-topic and inconsistent phenomena. (Shi 2021:161)

Reference: Shi Ye 施晔（2021）18 世纪中西小说瘟疫叙事比较研究*———以《红楼梦》和《瘟疫年纪事》为中心（A Comparative Study of Plague Narratives in Chinese and Western Novels in the 18th Century——Focusing on "A Dream of Red Mansions" and "A Journal of the Plague Year"）红楼梦学刊（Studies on "A Dream of Red Mansions"）154-174 Page 161

===21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture===

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分析，探索传统服饰文化的特有的文化内涵和艺术魅力。
关键词：《红楼梦》；人物服饰；文化内涵

'''Abstract''': "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in ''A Dream of Red Mansions'' .(Cui 2004:111)

'''Key words''': "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征
《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵''的自然美与妆饰美的对比统一、从''长裙短袄''的形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations. (Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

'''Reference''': Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Interculturality in HLM

2022-05-08T10:08:12Z

Zhumeimei: /* Notes */

Interculturality in HLM

2022-05-08T10:01:56Z

Zhumeimei:

Interculturality in HLM

2022-05-08T10:00:54Z

Zhumeimei:

Interculturality in HLM

2022-05-08T09:59:37Z

Zhumeimei:

Interculturality in HLM

2022-05-08T09:53:55Z

Zhumeimei:

JM

2022-03-18T06:35:24Z

Zhumeimei:

[[Main_Page|Back to Main Page]]

Welcome to the Jean Monnet Work Team Website!

We meet every Wednesday afternoon 2:30 in room 309 in tenglong building.

=Funds Management=
Read into the technical requirements of managing EU funds, this includes registering on web sites, filling out forms, submitting information and requesting fundings, controlling the funds arriving at the HUNNU account, forwarding it to the recipients at HUNNU, coordinating with financial department of HUNNU. DUAN yuan yuan

Martin please send pdfs to duanyuanyuan

=Course Enrichment Grant=
Collecting contents and work proofs from the different participants of the "Course Enrichment Grant", bringing it into a representative form, uploading it on the Jean Monnet website and managing the EU Studies material database online. LIAO Shiyun (also Wiki Admin Classics course)

Martin please remember to send the profiles to Liao Shiyun

=Grant Writing=
Collecting information about available continuation of the funding or similar funding, preparing new application letters for funding based on the existing successful letters. 李穎

Martin please remember to send links to Liying

=Networking=
Connecting to other Jean Monnet Chairs and to the Centre in Brussels to network with other Centres and to coordinate joint database and initiatives including the current survey among JM Chairs. Gabrielle 黎溢佳

Martin remembers to send Gabrielle EU survey results.

=Campus Communication=
Keeping up communication within the university to further spread the information about the program, recruit further teachers to get a share of the funding, coordinate with University press department to achieve high publicity and documentation of the work including the documentation for the final report which is due September 2023. Li Xin 李欣
=Activities Coordination=
Planning and conducting representative activities, including issuing the EU Studies Expert certificates in coordination with the university administration, sign-revealing ceremonies, setting up EU funded PhD scholarships, setting up small events like awarding honorary PhD to senior European scholars (have to be retired in Europe, can be up to 90 years old, e.g. Harald Holz) with high publicity. Design and estimate costs for hanging up metal signs with Erasmus+ and EU logo, logo for the Center, the Multilevel Center, BMBF, Translation Workshop, European Academy as well as a sign for an existing campaign "We don't take presents."

=Publishing - Susan Chu 祝美梅=
Formatting and copy editing English contents for publication:

MCLC; Textbooks; HLM 4; Complete Works of Lu Xun; EJS; EJSin; Interviews

Martin please remember to send Susan the related profiles.

==TOCs and CFPs==
Dear Susan, please formulate TOCs and CFPs for the following journal issues. I will then publish a TOC and a CFP every other week with MCLC blog, Sinology Facebook Group and H-NET Asia mailinglist:
*Please check the existing TOCs and CFPs on the H-Asia website.

===TOC European Journal of Sinology 10 (2019)===

The European Journal of Sinology (EJSin) is an independent journal on ancient and premodern China, founded in 2010. All EJSin issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJSin issues have been delayed since 2019. Currently, EJSin catches up by publishing its annual issues every half year.

*Ancient and Modern Practical Ethics of Humanity: Concrete Humanity from Mencius to Schweitzer

''Lenk, Hans'' pp. 7-27
*Figurism and Ideological Colonialism

''Holz, Harald'' pp. 28-32
*The Silk Road: Connections and Interactions between Chinese and European Philosophy
China as Inspiration for European Thinkers

''an der Heiden, Uwe'' pp. 33-51
*Past, Present & Future: Storytelling, Recitation and Repetition in Popular Education in the Yang Zheng Lei Bian

''Chu, Margaret'' pp. 52-94
*Things Unspoken in the Red Chamber Dreams

''Woesler, Martin'' pp. 95-111

http://universitypress.eu/9783865152978_005.pdf

Contact for contributions, purchase and subscriptions of online and paper issues: journals@universitypress.eu

'''Task for Susan'''

Please adjust the TOCs so that they look more like the following:

TOC: Chinese Literature, Essays Articles Reviews (CLEAR) v. 43 (2021)

CHINESE LITERATURE: ESSAYS ARTICLES REVIEWS

CONTENTS Volume 43 (Dec. 2021)

EDITORIAL

NECROLOGY
Eugene Chen Eoyang, 1939-2021

ESSAYS AND ARTICLES

Rebecca DORAN, “Clothing and Ways of Dressing as Narrative Motifs in Shishuo xinyu”

MEI Chun, “High-Brow Literature: Physiognomy and Scholar-Beauty Romance”

Yingying HUANG, “Nüxia and Footbinding: Forging the Female Knight-Errant”

GONG Haomin, “A World Without Enemies: Revenge, Sacrifice, and Redemption in Chen Kaige’s Adaptation of The Orphan of Zhao”

SPECIAL ISSUE ON YANG MU

Michelle YEH, “A Tribute to Yang Mu”

Yu-yu CHENG, “A Ceaseless Generative Structure: Yang Mu’s Views on Early Chinese Classical Literature”

Cheng-chung LIU, “Absorbed in Thought, Seeking all Around: Yang Mu’s Prose and Chinese and Western Literary Traditions”

Haun SAUSSY, “Yang Mu’s Poetic Returns”

Yueqin ZHAI, “The Tragic Spirit of the East: The ‘Drama of Sounds’ in Yang Mu’s Poems”

Joseph R. ALLEN, “As Always, Yang Mu: A Relationship of Letters”

REVIEWS OF BOOKS

Further details at: https://clear.wisc.edu

Categories: Announcement

Keywords: announcement, Chinese literature, Journal ToC

The European Journal of Chinese Studies (EJCS) is an independent journal on modern and contemporary China, founded in 2018. All issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJCS issues have been delayed since 2019. Currently, EJCS catches up by publishing its annual issues every half year.

===TOC European Journal of Chinese Studies 2 (2019)

CHINESE LITERATURE: ESSAYS ARTICLES REVIEWS

CONTENTS Volume 2 (2019)

ESSAYS AND ARTICLES

Martin WOESLER, Martin WANKE, Matthias KETTNER, Jens LANFER “The Chinese Social Credit System: Origin, political design, exoskeletal morality and comparisons to Western systems”

Huiling LUO, “No Distance Matters, neither any Difference: China-Spain Relations during Adolfo Suárez’ Government”

Michael Knüppel, “Preliminary report of a study on Arabic calligraphy of the Hui Muslims — the example of the dū ās (都阿)”

Cîndea Gîţă, Iulia Elena, Riccardo Moratto, “Chinese Literature in Romania: A Qualitative Study based on In-Depth Interviews with the Agents Involved in Sino-Romanian Transfer of Culture”

Further details at: http://universitypress.eu/en/journals.php#EJCS2019

Categories: Announcement

Keywords: social credit system, trust, Chinese market economy, political loyalty, Journal ToC

===CFP “Young Chinese and their world view” European Journal of Chinese Studies 3 (2020) Special Issue===

'''Sample CFP'''

CFP: The Journal of Northeast Asian History Vol. 19-1

Type: Call for Papers

Location: Korea South

Subject Fields: Asian History / Studies, Chinese History / Studies, East Asian History / Studies, Japanese History / Studies, Korean History / Studies

CFP: The Journal of Northeast Asian History Vol. 19-1

Dear Colleagues,

The Northeast Asian History Foundation continues to expand its interaction with scholars specializing in Asian history and related fields outside East Asia. The Foundation is also strengthening its ties with leading institutions and scholars by encouraging interdisciplinary and comparative approaches to research on geopolitical, cultural, educational, and other issues in East Asia.

The Foundation publishes the Journal of Northeast Asian History (JNAH), a peer-reviewed semi-annual English-language journal that focuses on history-based approaches to Asian politics, cultures, economy and other fields to shed light on the historical realities of the Asian World. The Journal's geographical scope extends to other parts of the world which have significant relevancy to Asian history, thus charting globalism and localism from global perspectives.

In particular, we will welcome two topics that concern (1) Korea-China Relations and Historical Configuration in Northeast Asia and (2) US-China Relations and Historical Issues in East Asia, both of which will help explore further how inter-state and intra-state matters were and are liked together to the historical development of continental East Asia and how the confluence of these external and internal factors have been making vital impact on the various mode of regional interaction in modern East Asia and beyond.

The Journal of Northeast Asian History calls for the submission of outstanding and unpublished papers for review and possible publication in Winter 2022. We invite colleagues to consider the Journal when seeking to publish ongoing research since we believe this can be an impetus for further scholarly collaboration in the future. For full consideration, please submit manuscripts by July 31, 2022 for Winter Issue.

Please contact us at jnah@nahf.or.kr or jnah.nahf@gmail.com should you have any questions regarding the journal, its submission process or subscription to it.
Thank you in advance for your attention and contributions.

Editorial Board of Journal of Northeast Asian History (JNAH)

Contact Email: jnah@nahf.or.kr

Categories: CFP

Keywords: CFP

===CFP “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021) Special Issue===

CFP: European Journal of Chinese Studies 4 (2021) Special Issue

'''Type:''' Call for Papers

'''Location:''' China

'''Subject Fields:''' Asian History / Studies, Chinese History / Studies, East Asian History / Studies

'''CFP:''' “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021)

Russia’s invasion of Ukraine — the most consequential military conflict Europe has witnessed since the Second World War — has riveted the attention of the world. Almost inevitably people look to draw analogies—both historical and contemporary ones. One popular contemporary analogy is between Russia’s actions vis-à-vis Ukraine and China’s approach to Taiwan.

In this stream, we will welcome two topics that concern (1) Russia-Ukraine and (2) China-Taiwan. We aim to bring together papers that critically examine the two comparisons. We aim to bring together papers that (1) critically examine the differentiated situation of the two powerful nations; (2) discuss the ways in which ‘two powerful nations have taken; and (3) your opinions towards their future development.

'''Submit your abstract'''

'''Categories:''' CFP

Keywords: CFP

===CFP “The Chinese society system versus the Western society system” European Journal of Chinese Studies 5 (2022) Special Issue===
===CFP “China old and new” European Journal of Sinology 11 (2020) Special Issue===
===CFP “Traditional Chinese Culture and the Future” European Journal of Sinology 12 (2021) Special Issue===

==The following CFPs need to be written in Chinese==
===CFP “China rewrites history” European Journal of Sinology 13 (2022) Special Issue===
===CFP “China old and new” Hanxue 1 (2018) Special Issue===
===CFP “Traditional Chinese Culture and the Future” Hanxue 2 (2019) Special Issue===
===CFP “Continuities and Disruptions in Chinese Culture” Hanxue 3 (2020) Special Issue===
===CFP “The Chinese Fight Against Poverty” Hanxue 4 (2021) Special Issue===
===CFP “The Chinese Fight Against the Pandemic” Hanxue 5 (2022) Special Issue===

=Remarks=
各位学妹你们好，请在以上任务中挑选自己感兴趣的。另外，国际汉学中心（外院309）需要值班，值班期间要完成汉学中心相关工作，值班时间为周一到周五，具体时间可再商议。现在需要收集你们的可值班时间，中心会按照工作时长发放工资。请你们把可值班时间发在群里，我来排班。

Gabrielle: 周三整天，周四下午都可以

Li Xin 李欣: 周一和周三上午可以值班

LIAO Shiyun Classics 22: 周三整天，周四下午都可以

Susan Chu 祝美梅: 周二、周三、周四、周五下午都可以

李穎: 周三，周四下午

JM

2022-03-18T06:29:56Z

Zhumeimei:

[[Main_Page|Back to Main Page]]

Welcome to the Jean Monnet Work Team Website!

We meet every Wednesday afternoon 2:30 in room 309 in tenglong building.

=Funds Management=
Read into the technical requirements of managing EU funds, this includes registering on web sites, filling out forms, submitting information and requesting fundings, controlling the funds arriving at the HUNNU account, forwarding it to the recipients at HUNNU, coordinating with financial department of HUNNU. DUAN yuan yuan

Martin please send pdfs to duanyuanyuan

=Course Enrichment Grant=
Collecting contents and work proofs from the different participants of the "Course Enrichment Grant", bringing it into a representative form, uploading it on the Jean Monnet website and managing the EU Studies material database online. LIAO Shiyun (also Wiki Admin Classics course)

Martin please remember to send the profiles to Liao Shiyun

=Grant Writing=
Collecting information about available continuation of the funding or similar funding, preparing new application letters for funding based on the existing successful letters. 李穎

Martin please remember to send links to Liying

=Networking=
Connecting to other Jean Monnet Chairs and to the Centre in Brussels to network with other Centres and to coordinate joint database and initiatives including the current survey among JM Chairs. Gabrielle 黎溢佳

Martin remembers to send Gabrielle EU survey results.

=Campus Communication=
Keeping up communication within the university to further spread the information about the program, recruit further teachers to get a share of the funding, coordinate with University press department to achieve high publicity and documentation of the work including the documentation for the final report which is due September 2023. Li Xin 李欣
=Activities Coordination=
Planning and conducting representative activities, including issuing the EU Studies Expert certificates in coordination with the university administration, sign-revealing ceremonies, setting up EU funded PhD scholarships, setting up small events like awarding honorary PhD to senior European scholars (have to be retired in Europe, can be up to 90 years old, e.g. Harald Holz) with high publicity. Design and estimate costs for hanging up metal signs with Erasmus+ and EU logo, logo for the Center, the Multilevel Center, BMBF, Translation Workshop, European Academy as well as a sign for an existing campaign "We don't take presents."

=Publishing - Susan Chu 祝美梅=
Formatting and copy editing English contents for publication:

MCLC; Textbooks; HLM 4; Complete Works of Lu Xun; EJS; EJSin; Interviews

Martin please remember to send Susan the related profiles.

==TOCs and CFPs==
Dear Susan, please formulate TOCs and CFPs for the following journal issues. I will then publish a TOC and a CFP every other week with MCLC blog, Sinology Facebook Group and H-NET Asia mailinglist:
*Please check the existing TOCs and CFPs on the H-Asia website.

===TOC European Journal of Sinology 10 (2019)===

The European Journal of Sinology (EJSin) is an independent journal on ancient and premodern China, founded in 2010. All EJSin issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJSin issues have been delayed since 2019. Currently, EJSin catches up by publishing its annual issues every half year.

*Ancient and Modern Practical Ethics of Humanity: Concrete Humanity from Mencius to Schweitzer

''Lenk, Hans'' pp. 7-27
*Figurism and Ideological Colonialism

''Holz, Harald'' pp. 28-32
*The Silk Road: Connections and Interactions between Chinese and European Philosophy
China as Inspiration for European Thinkers

''an der Heiden, Uwe'' pp. 33-51
*Past, Present & Future: Storytelling, Recitation and Repetition in Popular Education in the Yang Zheng Lei Bian

''Chu, Margaret'' pp. 52-94
*Things Unspoken in the Red Chamber Dreams

''Woesler, Martin'' pp. 95-111

http://universitypress.eu/9783865152978_005.pdf

Contact for contributions, purchase and subscriptions of online and paper issues: journals@universitypress.eu

'''Task for Susan'''

Please adjust the TOCs so that they look more like the following:

TOC: Chinese Literature, Essays Articles Reviews (CLEAR) v. 43 (2021)

CHINESE LITERATURE: ESSAYS ARTICLES REVIEWS

CONTENTS Volume 43 (Dec. 2021)

EDITORIAL

NECROLOGY
Eugene Chen Eoyang, 1939-2021

ESSAYS AND ARTICLES

Rebecca DORAN, “Clothing and Ways of Dressing as Narrative Motifs in Shishuo xinyu”

MEI Chun, “High-Brow Literature: Physiognomy and Scholar-Beauty Romance”

Yingying HUANG, “Nüxia and Footbinding: Forging the Female Knight-Errant”

GONG Haomin, “A World Without Enemies: Revenge, Sacrifice, and Redemption in Chen Kaige’s Adaptation of The Orphan of Zhao”

SPECIAL ISSUE ON YANG MU

Michelle YEH, “A Tribute to Yang Mu”

Yu-yu CHENG, “A Ceaseless Generative Structure: Yang Mu’s Views on Early Chinese Classical Literature”

Cheng-chung LIU, “Absorbed in Thought, Seeking all Around: Yang Mu’s Prose and Chinese and Western Literary Traditions”

Haun SAUSSY, “Yang Mu’s Poetic Returns”

Yueqin ZHAI, “The Tragic Spirit of the East: The ‘Drama of Sounds’ in Yang Mu’s Poems”

Joseph R. ALLEN, “As Always, Yang Mu: A Relationship of Letters”

REVIEWS OF BOOKS

Further details at: https://clear.wisc.edu

Categories: Announcement

Keywords: announcement, Chinese literature, Journal ToC

===TOC European Journal of Chinese Studies 2 (2019)

CHINESE LITERATURE: ESSAYS ARTICLES REVIEWS

CONTENTS Volume 2 (2019)

ESSAYS AND ARTICLES

Martin WOESLER, Martin WANKE, Matthias KETTNER, Jens LANFER “The Chinese Social Credit System: Origin, political design, exoskeletal morality and comparisons to Western systems”

Huiling LUO, “No Distance Matters, neither any Difference: China-Spain Relations during Adolfo Suárez’ Government”

Michael Knüppel, “Preliminary report of a study on Arabic calligraphy of the Hui Muslims — the example of the dū ās (都阿)”

Cîndea Gîţă, Iulia Elena, Riccardo Moratto, “Chinese Literature in Romania: A Qualitative Study based on In-Depth Interviews with the Agents Involved in Sino-Romanian Transfer of Culture”

Further details at: http://universitypress.eu/en/journals.php#EJCS2019

Categories: Announcement

Keywords: social credit system, trust, Chinese market economy, political loyalty, Journal ToC

The European Journal of Chinese Studies (EJCS) is an independent journal on modern and contemporary China, founded in 2018. All issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJCS issues have been delayed since 2019. Currently, EJCS catches up by publishing its annual issues every half year.

===CFP “Young Chinese and their world view” European Journal of Chinese Studies 3 (2020) Special Issue===

'''Sample CFP'''

CFP: The Journal of Northeast Asian History Vol. 19-1

Type: Call for Papers

Location: Korea South

Subject Fields: Asian History / Studies, Chinese History / Studies, East Asian History / Studies, Japanese History / Studies, Korean History / Studies

CFP: The Journal of Northeast Asian History Vol. 19-1

Dear Colleagues,

The Northeast Asian History Foundation continues to expand its interaction with scholars specializing in Asian history and related fields outside East Asia. The Foundation is also strengthening its ties with leading institutions and scholars by encouraging interdisciplinary and comparative approaches to research on geopolitical, cultural, educational, and other issues in East Asia.

The Foundation publishes the Journal of Northeast Asian History (JNAH), a peer-reviewed semi-annual English-language journal that focuses on history-based approaches to Asian politics, cultures, economy and other fields to shed light on the historical realities of the Asian World. The Journal's geographical scope extends to other parts of the world which have significant relevancy to Asian history, thus charting globalism and localism from global perspectives.

In particular, we will welcome two topics that concern (1) Korea-China Relations and Historical Configuration in Northeast Asia and (2) US-China Relations and Historical Issues in East Asia, both of which will help explore further how inter-state and intra-state matters were and are liked together to the historical development of continental East Asia and how the confluence of these external and internal factors have been making vital impact on the various mode of regional interaction in modern East Asia and beyond.

The Journal of Northeast Asian History calls for the submission of outstanding and unpublished papers for review and possible publication in Winter 2022. We invite colleagues to consider the Journal when seeking to publish ongoing research since we believe this can be an impetus for further scholarly collaboration in the future. For full consideration, please submit manuscripts by July 31, 2022 for Winter Issue.

Please contact us at jnah@nahf.or.kr or jnah.nahf@gmail.com should you have any questions regarding the journal, its submission process or subscription to it.
Thank you in advance for your attention and contributions.

Editorial Board of Journal of Northeast Asian History (JNAH)

Contact Email: jnah@nahf.or.kr

Categories: CFP

Keywords: CFP

===CFP “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021) Special Issue===

CFP: European Journal of Chinese Studies 4 (2021) Special Issue

'''Type:''' Call for Papers

'''Location:''' China

'''Subject Fields:''' Asian History / Studies, Chinese History / Studies, East Asian History / Studies

'''CFP:''' “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021)

Russia’s invasion of Ukraine — the most consequential military conflict Europe has witnessed since the Second World War — has riveted the attention of the world. Almost inevitably people look to draw analogies—both historical and contemporary ones. One popular contemporary analogy is between Russia’s actions vis-à-vis Ukraine and China’s approach to Taiwan.

In this stream, we will welcome two topics that concern (1) Russia-Ukraine and (2) China-Taiwan. We aim to bring together papers that critically examine the two comparisons. We aim to bring together papers that (1) critically examine the differentiated situation of the two powerful nations; (2) discuss the ways in which ‘two powerful nations have taken; and (3) your opinions towards their future development.

'''Submit your abstract'''

'''Categories:''' CFP

Keywords: CFP

===CFP “The Chinese society system versus the Western society system” European Journal of Chinese Studies 5 (2022) Special Issue===
===CFP “China old and new” European Journal of Sinology 11 (2020) Special Issue===
===CFP “Traditional Chinese Culture and the Future” European Journal of Sinology 12 (2021) Special Issue===

==The following CFPs need to be written in Chinese==
===CFP “China rewrites history” European Journal of Sinology 13 (2022) Special Issue===
===CFP “China old and new” Hanxue 1 (2018) Special Issue===
===CFP “Traditional Chinese Culture and the Future” Hanxue 2 (2019) Special Issue===
===CFP “Continuities and Disruptions in Chinese Culture” Hanxue 3 (2020) Special Issue===
===CFP “The Chinese Fight Against Poverty” Hanxue 4 (2021) Special Issue===
===CFP “The Chinese Fight Against the Pandemic” Hanxue 5 (2022) Special Issue===

=Remarks=
各位学妹你们好，请在以上任务中挑选自己感兴趣的。另外，国际汉学中心（外院309）需要值班，值班期间要完成汉学中心相关工作，值班时间为周一到周五，具体时间可再商议。现在需要收集你们的可值班时间，中心会按照工作时长发放工资。请你们把可值班时间发在群里，我来排班。

Gabrielle: 周三整天，周四下午都可以

Li Xin 李欣: 周一和周三上午可以值班

LIAO Shiyun Classics 22: 周三整天，周四下午都可以

Susan Chu 祝美梅: 周二、周三、周四、周五下午都可以

李穎: 周三，周四下午

JM

2022-03-16T01:37:53Z

Zhumeimei:

[[Main_Page|Back to Main Page]]

Welcome to the Jean Monnet Work Team Website!

We meet every Wednesday afternoon 2:30 in room 309 in tenglong building.

=Funds Management=
Read into the technical requirements of managing EU funds, this includes registering on web sites, filling out forms, submitting information and requesting fundings, controlling the funds arriving at the HUNNU account, forwarding it to the recipients at HUNNU, coordinating with financial department of HUNNU. DUAN yuan yuan

Martin please send pdfs to duanyuanyuan

=Course Enrichment Grant=
Collecting contents and work proofs from the different participants of the "Course Enrichment Grant", bringing it into a representative form, uploading it on the Jean Monnet website and managing the EU Studies material database online. LIAO Shiyun (also Wiki Admin Classics course)

Martin please remember to send the profiles to Liao Shiyun

=Grant Writing=
Collecting information about available continuation of the funding or similar funding, preparing new application letters for funding based on the existing successful letters. 李穎

Martin please remember to send links to Liying

=Networking=
Connecting to other Jean Monnet Chairs and to the Centre in Brussels to network with other Centres and to coordinate joint database and initiatives including the current survey among JM Chairs. Gabrielle

Martin remembers to send Gabrielle EU survey results.

=Campus Communication=
Keeping up communication within the university to further spread the information about the program, recruit further teachers to get a share of the funding, coordinate with University press department to achieve high publicity and documentation of the work including the documentation for the final report which is due September 2023. Li Xin 李欣
=Activities Coordination=
Planning and conducting representative activities, including issuing the EU Studies Expert certificates in coordination with the university administration, sign-revealing ceremonies, setting up EU funded PhD scholarships, setting up small events like awarding honorary PhD to senior European scholars (have to be retired in Europe, can be up to 90 years old, e.g. Harald Holz) with high publicity. Design and estimate costs for hanging up metal signs with Erasmus+ and EU logo, logo for the Center, the Multilevel Center, BMBF, Translation Workshop, European Academy as well as a sign for an existing campaign "We don't take presents."

=Publishing - Susan Chu 祝美梅=
Formatting and copy editing English contents for publication:

MCLC; Textbooks; HLM 4; Complete Works of Lu Xun; EJS; EJSin; Interviews

Martin please remember to send Susan the related profiles.

==TOCs and CFPs==
Dear Susan, please formulate TOCs and CFPs for the following journal issues. I will then publish a TOC and a CFP every other week with MCLC blog, Sinology Facebook Group and H-NET Asia mailinglist:
*Please check the existing TOCs and CFPs on the H-Asia website.

===TOC European Journal of Sinology 10 (2019)===

The European Journal of Sinology (EJSin) is an independent journal on ancient and premodern China, founded in 2010. All EJSin issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJSin issues have been delayed since 2019. Currently, EJSin catches up by publishing its annual issues every half year.

*Ancient and Modern Practical Ethics of Humanity: Concrete Humanity from Mencius to Schweitzer

''Lenk, Hans'' pp. 7-27
*Figurism and Ideological Colonialism

''Holz, Harald'' pp. 28-32
*The Silk Road: Connections and Interactions between Chinese and European Philosophy
China as Inspiration for European Thinkers

''an der Heiden, Uwe'' pp. 33-51
*Past, Present & Future: Storytelling, Recitation and Repetition in Popular Education in the Yang Zheng Lei Bian

''Chu, Margaret'' pp. 52-94
*Things Unspoken in the Red Chamber Dreams

''Woesler, Martin'' pp. 95-111

http://universitypress.eu/9783865152978_005.pdf

Contact for contributions, purchase and subscriptions of online and paper issues: journals@universitypress.eu

'''Task for Susan'''

Please adjust the TOCs so that they look more like the following:

TOC: Chinese Literature, Essays Articles Reviews (CLEAR) v. 43 (2021)

CHINESE LITERATURE: ESSAYS ARTICLES REVIEWS

CONTENTS Volume 43 (Dec. 2021)

EDITORIAL

NECROLOGY
Eugene Chen Eoyang, 1939-2021

ESSAYS AND ARTICLES

Rebecca DORAN, “Clothing and Ways of Dressing as Narrative Motifs in Shishuo xinyu”

MEI Chun, “High-Brow Literature: Physiognomy and Scholar-Beauty Romance”

Yingying HUANG, “Nüxia and Footbinding: Forging the Female Knight-Errant”

GONG Haomin, “A World Without Enemies: Revenge, Sacrifice, and Redemption in Chen Kaige’s Adaptation of The Orphan of Zhao”

SPECIAL ISSUE ON YANG MU

Michelle YEH, “A Tribute to Yang Mu”

Yu-yu CHENG, “A Ceaseless Generative Structure: Yang Mu’s Views on Early Chinese Classical Literature”

Cheng-chung LIU, “Absorbed in Thought, Seeking all Around: Yang Mu’s Prose and Chinese and Western Literary Traditions”

Haun SAUSSY, “Yang Mu’s Poetic Returns”

Yueqin ZHAI, “The Tragic Spirit of the East: The ‘Drama of Sounds’ in Yang Mu’s Poems”

Joseph R. ALLEN, “As Always, Yang Mu: A Relationship of Letters”

REVIEWS OF BOOKS

Further details at: https://clear.wisc.edu

Categories: Announcement

Keywords: announcement, Chinese literature, Journal ToC

===TOC European Journal of Chinese Studies 2 (2019)

The European Journal of Chinese Studies (EJCS) is an independent journal on modern and contemporary China, founded in 2018. All issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJCS issues have been delayed since 2019. Currently, EJCS catches up by publishing its annual issues every half year.

===CFP “Young Chinese and their world view” European Journal of Chinese Studies 3 (2020) Special Issue===

'''Sample CFP'''

CFP: The Journal of Northeast Asian History Vol. 19-1

Type: Call for Papers

Location: Korea South

Subject Fields: Asian History / Studies, Chinese History / Studies, East Asian History / Studies, Japanese History / Studies, Korean History / Studies

CFP: The Journal of Northeast Asian History Vol. 19-1

Dear Colleagues,

The Northeast Asian History Foundation continues to expand its interaction with scholars specializing in Asian history and related fields outside East Asia. The Foundation is also strengthening its ties with leading institutions and scholars by encouraging interdisciplinary and comparative approaches to research on geopolitical, cultural, educational, and other issues in East Asia.

The Foundation publishes the Journal of Northeast Asian History (JNAH), a peer-reviewed semi-annual English-language journal that focuses on history-based approaches to Asian politics, cultures, economy and other fields to shed light on the historical realities of the Asian World. The Journal's geographical scope extends to other parts of the world which have significant relevancy to Asian history, thus charting globalism and localism from global perspectives.

In particular, we will welcome two topics that concern (1) Korea-China Relations and Historical Configuration in Northeast Asia and (2) US-China Relations and Historical Issues in East Asia, both of which will help explore further how inter-state and intra-state matters were and are liked together to the historical development of continental East Asia and how the confluence of these external and internal factors have been making vital impact on the various mode of regional interaction in modern East Asia and beyond.

The Journal of Northeast Asian History calls for the submission of outstanding and unpublished papers for review and possible publication in Winter 2022. We invite colleagues to consider the Journal when seeking to publish ongoing research since we believe this can be an impetus for further scholarly collaboration in the future. For full consideration, please submit manuscripts by July 31, 2022 for Winter Issue.

Please contact us at jnah@nahf.or.kr or jnah.nahf@gmail.com should you have any questions regarding the journal, its submission process or subscription to it.
Thank you in advance for your attention and contributions.

Editorial Board of Journal of Northeast Asian History (JNAH)

Contact Email: jnah@nahf.or.kr

Categories: CFP

Keywords: CFP

===CFP “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021) Special Issue===

CFP: European Journal of Chinese Studies 4 (2021) Special Issue

'''Type:''' Call for Papers

'''Location:''' China

'''Subject Fields:''' Asian History / Studies, Chinese History / Studies, East Asian History / Studies

'''CFP:''' “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021)

Russia’s invasion of Ukraine — the most consequential military conflict Europe has witnessed since the Second World War — has riveted the attention of the world. Almost inevitably people look to draw analogies—both historical and contemporary ones. One popular contemporary analogy is between Russia’s actions vis-à-vis Ukraine and China’s approach to Taiwan.

In this stream, we will welcome two topics that concern (1) Russia-Ukraine and (2) China-Taiwan. We aim to bring together papers that critically examine the two comparisons. We aim to bring together papers that (1) critically examine the differentiated situation of the two powerful nations; (2) discuss the ways in which ‘two powerful nations have taken; and (3) your opinions towards their future development.

'''Submit your abstract'''

'''Categories:''' CFP

Keywords: CFP

===CFP “The Chinese society system versus the Western society system” European Journal of Chinese Studies 5 (2022) Special Issue===
===CFP “China old and new” European Journal of Sinology 11 (2020) Special Issue===
===CFP “Traditional Chinese Culture and the Future” European Journal of Sinology 12 (2021) Special Issue===

==The following CFPs need to be written in Chinese==
===CFP “China rewrites history” European Journal of Sinology 13 (2022) Special Issue===
===CFP “China old and new” Hanxue 1 (2018) Special Issue===
===CFP “Traditional Chinese Culture and the Future” Hanxue 2 (2019) Special Issue===
===CFP “Continuities and Disruptions in Chinese Culture” Hanxue 3 (2020) Special Issue===
===CFP “The Chinese Fight Against Poverty” Hanxue 4 (2021) Special Issue===
===CFP “The Chinese Fight Against the Pandemic” Hanxue 5 (2022) Special Issue===

=Remarks=
各位学妹你们好，请在以上任务中挑选自己感兴趣的。另外，国际汉学中心（外院309）需要值班，值班期间要完成汉学中心相关工作，值班时间为周一到周五，具体时间可再商议。现在需要收集你们的可值班时间，中心会按照工作时长发放工资。请你们把可值班时间发在群里，我来排班。

Gabrielle: 周三整天，周四下午都可以

Li Xin 李欣: 周一和周三上午可以值班

LIAO Shiyun Classics 22: 周三整天，周四下午都可以

Susan Chu 祝美梅: 周二、周三、周四、周五下午都可以

李穎: 周三，周四下午

JM

2022-03-16T01:04:54Z

Zhumeimei: /* TOC European Journal of Sinology 10 (2019) */

[[Main_Page|Back to Main Page]]

Welcome to the Jean Monnet Work Team Website!

We meet every Wednesday afternoon 2:30 in room 309 in tenglong building.

=Funds Management=
Read into the technical requirements of managing EU funds, this includes registering on web sites, filling out forms, submitting information and requesting fundings, controlling the funds arriving at the HUNNU account, forwarding it to the recipients at HUNNU, coordinating with financial department of HUNNU. DUAN yuan yuan

Martin please send pdfs to duanyuanyuan

=Course Enrichment Grant=
Collecting contents and work proofs from the different participants of the "Course Enrichment Grant", bringing it into a representative form, uploading it on the Jean Monnet website and managing the EU Studies material database online. LIAO Shiyun (also Wiki Admin Classics course)

Martin please remember to send the profiles to Liao Shiyun

=Grant Writing=
Collecting information about available continuation of the funding or similar funding, preparing new application letters for funding based on the existing successful letters. 李穎

Martin please remember to send links to Liying

=Networking=
Connecting to other Jean Monnet Chairs and to the Centre in Brussels to network with other Centres and to coordinate joint database and initiatives including the current survey among JM Chairs. Gabrielle

Martin remembers to send Gabrielle EU survey results.

=Campus Communication=
Keeping up communication within the university to further spread the information about the program, recruit further teachers to get a share of the funding, coordinate with University press department to achieve high publicity and documentation of the work including the documentation for the final report which is due September 2023. Li Xin 李欣
=Activities Coordination=
Planning and conducting representative activities, including issuing the EU Studies Expert certificates in coordination with the university administration, sign-revealing ceremonies, setting up EU funded PhD scholarships, setting up small events like awarding honorary PhD to senior European scholars (have to be retired in Europe, can be up to 90 years old, e.g. Harald Holz) with high publicity. Design and estimate costs for hanging up metal signs with Erasmus+ and EU logo, logo for the Center, the Multilevel Center, BMBF, Translation Workshop, European Academy as well as a sign for an existing campaign "We don't take presents."

=Publishing - Susan Chu 祝美梅=
Formatting and copy editing English contents for publication:

MCLC; Textbooks; HLM 4; Complete Works of Lu Xun; EJS; EJSin; Interviews

Martin please remember to send Susan the related profiles.

==TOCs and CFPs==
Dear Susan, please formulate TOCs and CFPs for the following journal issues. I will then publish a TOC and a CFP every other week with MCLC blog, Sinology Facebook Group and H-NET Asia mailinglist:
*Please check the existing TOCs and CFPs on the H-Asia website.

===TOC European Journal of Sinology 10 (2019)===

The European Journal of Sinology (EJSin) is an independent journal on ancient and premodern China, founded in 2010. All EJSin issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJSin issues have been delayed since 2019. Currently, EJSin catches up by publishing its annual issues every half year.

*Ancient and Modern Practical Ethics of Humanity: Concrete Humanity from Mencius to Schweitzer

''Lenk, Hans'' pp. 7-27
*Figurism and Ideological Colonialism

''Holz, Harald'' pp. 28-32
*The Silk Road: Connections and Interactions between Chinese and European Philosophy
China as Inspiration for European Thinkers

''an der Heiden, Uwe'' pp. 33-51
*Past, Present & Future: Storytelling, Recitation and Repetition in Popular Education in the Yang Zheng Lei Bian

''Chu, Margaret'' pp. 52-94
*Things Unspoken in the Red Chamber Dreams

''Woesler, Martin'' pp. 95-111

http://universitypress.eu/9783865152978_005.pdf

Contact for contributions, purchase and subscriptions of online and paper issues: journals@universitypress.eu

'''Task for Susan'''

Please adjust the TOCs so that they look more like the following:

TOC: Chinese Literature, Essays Articles Reviews (CLEAR) v. 43 (2021)

CHINESE LITERATURE: ESSAYS ARTICLES REVIEWS

CONTENTS Volume 43 (Dec. 2021)

EDITORIAL

NECROLOGY
Eugene Chen Eoyang, 1939-2021

ESSAYS AND ARTICLES

Rebecca DORAN, “Clothing and Ways of Dressing as Narrative Motifs in Shishuo xinyu”

MEI Chun, “High-Brow Literature: Physiognomy and Scholar-Beauty Romance”

Yingying HUANG, “Nüxia and Footbinding: Forging the Female Knight-Errant”

GONG Haomin, “A World Without Enemies: Revenge, Sacrifice, and Redemption in Chen Kaige’s Adaptation of The Orphan of Zhao”

SPECIAL ISSUE ON YANG MU

Michelle YEH, “A Tribute to Yang Mu”

Yu-yu CHENG, “A Ceaseless Generative Structure: Yang Mu’s Views on Early Chinese Classical Literature”

Cheng-chung LIU, “Absorbed in Thought, Seeking all Around: Yang Mu’s Prose and Chinese and Western Literary Traditions”

Haun SAUSSY, “Yang Mu’s Poetic Returns”

Yueqin ZHAI, “The Tragic Spirit of the East: The ‘Drama of Sounds’ in Yang Mu’s Poems”

Joseph R. ALLEN, “As Always, Yang Mu: A Relationship of Letters”

REVIEWS OF BOOKS

Further details at: https://clear.wisc.edu

Categories: Announcement

Keywords: announcement, Chinese literature, Journal ToC

===TOC European Journal of Chinese Studies 2 (2019)

The European Journal of Chinese Studies (EJCS) is an independent journal on modern and contemporary China, founded in 2018. All issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJCS issues have been delayed since 2019. Currently, EJCS catches up by publishing its annual issues every half year.

===CFP “Young Chinese and their world view” European Journal of Chinese Studies 3 (2020) Special Issue===

'''Sample CFP'''

CFP: The Journal of Northeast Asian History Vol. 19-1

Type: Call for Papers

Location: Korea South

Subject Fields: Asian History / Studies, Chinese History / Studies, East Asian History / Studies, Japanese History / Studies, Korean History / Studies

CFP: The Journal of Northeast Asian History Vol. 19-1

Dear Colleagues,

The Northeast Asian History Foundation continues to expand its interaction with scholars specializing in Asian history and related fields outside East Asia. The Foundation is also strengthening its ties with leading institutions and scholars by encouraging interdisciplinary and comparative approaches to research on geopolitical, cultural, educational, and other issues in East Asia.

The Foundation publishes the Journal of Northeast Asian History (JNAH), a peer-reviewed semi-annual English-language journal that focuses on history-based approaches to Asian politics, cultures, economy and other fields to shed light on the historical realities of the Asian World. The Journal's geographical scope extends to other parts of the world which have significant relevancy to Asian history, thus charting globalism and localism from global perspectives.

In particular, we will welcome two topics that concern (1) Korea-China Relations and Historical Configuration in Northeast Asia and (2) US-China Relations and Historical Issues in East Asia, both of which will help explore further how inter-state and intra-state matters were and are liked together to the historical development of continental East Asia and how the confluence of these external and internal factors have been making vital impact on the various mode of regional interaction in modern East Asia and beyond.

The Journal of Northeast Asian History calls for the submission of outstanding and unpublished papers for review and possible publication in Winter 2022. We invite colleagues to consider the Journal when seeking to publish ongoing research since we believe this can be an impetus for further scholarly collaboration in the future. For full consideration, please submit manuscripts by July 31, 2022 for Winter Issue.

Please contact us at jnah@nahf.or.kr or jnah.nahf@gmail.com should you have any questions regarding the journal, its submission process or subscription to it.
Thank you in advance for your attention and contributions.

Editorial Board of Journal of Northeast Asian History (JNAH)

Contact Email: jnah@nahf.or.kr

Categories: CFP

Keywords: CFP

===CFP “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021) Special Issue===
===CFP “The Chinese society system versus the Western society system” European Journal of Chinese Studies 5 (2022) Special Issue===
===CFP “China old and new” European Journal of Sinology 11 (2020) Special Issue===
===CFP “Traditional Chinese Culture and the Future” European Journal of Sinology 12 (2021) Special Issue===

==The following CFPs need to be written in Chinese==
===CFP “China rewrites history” European Journal of Sinology 13 (2022) Special Issue===
===CFP “China old and new” Hanxue 1 (2018) Special Issue===
===CFP “Traditional Chinese Culture and the Future” Hanxue 2 (2019) Special Issue===
===CFP “Continuities and Disruptions in Chinese Culture” Hanxue 3 (2020) Special Issue===
===CFP “The Chinese Fight Against Poverty” Hanxue 4 (2021) Special Issue===
===CFP “The Chinese Fight Against the Pandemic” Hanxue 5 (2022) Special Issue===

=Remarks=
各位学妹你们好，请在以上任务中挑选自己感兴趣的。另外，国际汉学中心（外院309）需要值班，值班期间要完成汉学中心相关工作，值班时间为周一到周五，具体时间可再商议。现在需要收集你们的可值班时间，中心会按照工作时长发放工资。请你们把可值班时间发在群里，我来排班。

Gabrielle: 周三整天，周四下午都可以

Li Xin 李欣: 周一和周三上午可以值班

LIAO Shiyun Classics 22: 周三整天，周四下午都可以

Susan Chu 祝美梅: 周二、周三、周四、周五下午都可以

李穎: 周三，周四下午

JM

2022-03-16T01:02:17Z

Zhumeimei: /* TOCs and CFPs */

[[Main_Page|Back to Main Page]]

Welcome to the Jean Monnet Work Team Website!

We meet every Wednesday afternoon 2:30 in room 309 in tenglong building.

=Funds Management=
Read into the technical requirements of managing EU funds, this includes registering on web sites, filling out forms, submitting information and requesting fundings, controlling the funds arriving at the HUNNU account, forwarding it to the recipients at HUNNU, coordinating with financial department of HUNNU. DUAN yuan yuan

Martin please send pdfs to duanyuanyuan

=Course Enrichment Grant=
Collecting contents and work proofs from the different participants of the "Course Enrichment Grant", bringing it into a representative form, uploading it on the Jean Monnet website and managing the EU Studies material database online. LIAO Shiyun (also Wiki Admin Classics course)

Martin please remember to send the profiles to Liao Shiyun

=Grant Writing=
Collecting information about available continuation of the funding or similar funding, preparing new application letters for funding based on the existing successful letters. 李穎

Martin please remember to send links to Liying

=Networking=
Connecting to other Jean Monnet Chairs and to the Centre in Brussels to network with other Centres and to coordinate joint database and initiatives including the current survey among JM Chairs. Gabrielle

Martin remembers to send Gabrielle EU survey results.

=Campus Communication=
Keeping up communication within the university to further spread the information about the program, recruit further teachers to get a share of the funding, coordinate with University press department to achieve high publicity and documentation of the work including the documentation for the final report which is due September 2023. Li Xin 李欣
=Activities Coordination=
Planning and conducting representative activities, including issuing the EU Studies Expert certificates in coordination with the university administration, sign-revealing ceremonies, setting up EU funded PhD scholarships, setting up small events like awarding honorary PhD to senior European scholars (have to be retired in Europe, can be up to 90 years old, e.g. Harald Holz) with high publicity. Design and estimate costs for hanging up metal signs with Erasmus+ and EU logo, logo for the Center, the Multilevel Center, BMBF, Translation Workshop, European Academy as well as a sign for an existing campaign "We don't take presents."

=Publishing - Susan Chu 祝美梅=
Formatting and copy editing English contents for publication:

MCLC; Textbooks; HLM 4; Complete Works of Lu Xun; EJS; EJSin; Interviews

Martin please remember to send Susan the related profiles.

==TOCs and CFPs==
Dear Susan, please formulate TOCs and CFPs for the following journal issues. I will then publish a TOC and a CFP every other week with MCLC blog, Sinology Facebook Group and H-NET Asia mailinglist:
*Please check the existing TOCs and CFPs on the H-Asia website.

===TOC European Journal of Sinology 10 (2019)===

The European Journal of Sinology (EJSin) is an independent journal on ancient and premodern China, founded in 2010. All EJSin issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJSin issues have been delayed since 2019. Currently, EJSin catches up by publishing its annual issues every half year.

*Ancient and Modern Practical Ethics of Humanity: Concrete Humanity from Mencius to Schweitzer

''Lenk, Hans'' pp. 7-27
*Figurism and Ideological Colonialism

''Holz, Harald'' pp. 28-32
*The Silk Road: Connections and Interactions between Chinese and European Philosophy
China as Inspiration for European Thinkers

''an der Heiden, Uwe'' pp. 33-51
*Past, Present & Future: Storytelling, Recitation and Repetition in Popular Education in the Yang Zheng Lei Bian

''Chu, Margaret'' pp. 52-94
*Things Unspoken in the Red Chamber Dreams

''Woesler, Martin'' pp. 95-111

http://universitypress.eu/9783865152978_005.pdf

Contact for contributions, purchase and subscriptions of online and paper issues: journals@universitypress.eu

'''Task for Susan'''

Please adjust the TOCs so that they look more like the following:

TOC: Chinese Literature, Essays Articles Reviews (CLEAR) v. 43 (2021)

CHINESE LITERATURE: ESSAYS ARTICLES REVIEWS

CONTENTS Volume 43 (Dec. 2021)

EDITORIAL

NECROLOGY
Eugene Chen Eoyang, 1939-2021

ESSAYS AND ARTICLES

Rebecca DORAN, “Clothing and Ways of Dressing as Narrative Motifs in Shishuo xinyu”

MEI Chun, “High-Brow Literature: Physiognomy and Scholar-Beauty Romance”

Yingying HUANG, “Nüxia and Footbinding: Forging the Female Knight-Errant”

GONG Haomin, “A World Without Enemies: Revenge, Sacrifice, and Redemption in Chen Kaige’s Adaptation of The Orphan of Zhao”

SPECIAL ISSUE ON YANG MU

Michelle YEH, “A Tribute to Yang Mu”

Yu-yu CHENG, “A Ceaseless Generative Structure: Yang Mu’s Views on Early Chinese Classical Literature”

Cheng-chung LIU, “Absorbed in Thought, Seeking all Around: Yang Mu’s Prose and Chinese and Western Literary Traditions”

Haun SAUSSY, “Yang Mu’s Poetic Returns”

Yueqin ZHAI, “The Tragic Spirit of the East: The ‘Drama of Sounds’ in Yang Mu’s Poems”

Joseph R. ALLEN, “As Always, Yang Mu: A Relationship of Letters”

REVIEWS OF BOOKS

Further details at: https://clear.wisc.edu

Categories: Announcement

Keywords: announcement, Chinese literature, Journal ToC

===TOC European Journal of Chinese Studies 2 (2019)

The European Journal of Chinese Studies (EJCS) is an independent journal on modern and contemporary China, founded in 2018. All issues including paper titles, abstracts and references can be accessed on http://universitypress.eu/en/journals.php.

Due to the professionalization of its double blind peer review process, its copy editing process and its setting up of an ip range campus license system, the EJCS issues have been delayed since 2019. Currently, EJCS catches up by publishing its annual issues every half year.

===CFP “Young Chinese and their world view” European Journal of Chinese Studies 3 (2020) Special Issue===

'''Sample CFP'''

CFP: The Journal of Northeast Asian History Vol. 19-1

Type: Call for Papers

Location: Korea South

Subject Fields: Asian History / Studies, Chinese History / Studies, East Asian History / Studies, Japanese History / Studies, Korean History / Studies

CFP: The Journal of Northeast Asian History Vol. 19-1

Dear Colleagues,

The Northeast Asian History Foundation continues to expand its interaction with scholars specializing in Asian history and related fields outside East Asia. The Foundation is also strengthening its ties with leading institutions and scholars by encouraging interdisciplinary and comparative approaches to research on geopolitical, cultural, educational, and other issues in East Asia.

The Foundation publishes the Journal of Northeast Asian History (JNAH), a peer-reviewed semi-annual English-language journal that focuses on history-based approaches to Asian politics, cultures, economy and other fields to shed light on the historical realities of the Asian World. The Journal's geographical scope extends to other parts of the world which have significant relevancy to Asian history, thus charting globalism and localism from global perspectives.

In particular, we will welcome two topics that concern (1) Korea-China Relations and Historical Configuration in Northeast Asia and (2) US-China Relations and Historical Issues in East Asia, both of which will help explore further how inter-state and intra-state matters were and are liked together to the historical development of continental East Asia and how the confluence of these external and internal factors have been making vital impact on the various mode of regional interaction in modern East Asia and beyond.

The Journal of Northeast Asian History calls for the submission of outstanding and unpublished papers for review and possible publication in Winter 2022. We invite colleagues to consider the Journal when seeking to publish ongoing research since we believe this can be an impetus for further scholarly collaboration in the future. For full consideration, please submit manuscripts by July 31, 2022 for Winter Issue.

Please contact us at jnah@nahf.or.kr or jnah.nahf@gmail.com should you have any questions regarding the journal, its submission process or subscription to it.
Thank you in advance for your attention and contributions.

Editorial Board of Journal of Northeast Asian History (JNAH)

Contact Email: jnah@nahf.or.kr

Categories: CFP

Keywords: CFP

===CFP “Taiwan – a second Ukraine?” European Journal of Chinese Studies 4 (2021) Special Issue===
===CFP “The Chinese society system versus the Western society system” European Journal of Chinese Studies 5 (2022) Special Issue===
===CFP “China old and new” European Journal of Sinology 11 (2020) Special Issue===
===CFP “Traditional Chinese Culture and the Future” European Journal of Sinology 12 (2021) Special Issue===

==The following CFPs need to be written in Chinese==
===CFP “China rewrites history” European Journal of Sinology 13 (2022) Special Issue===
===CFP “China old and new” Hanxue 1 (2018) Special Issue===
===CFP “Traditional Chinese Culture and the Future” Hanxue 2 (2019) Special Issue===
===CFP “Continuities and Disruptions in Chinese Culture” Hanxue 3 (2020) Special Issue===
===CFP “The Chinese Fight Against Poverty” Hanxue 4 (2021) Special Issue===
===CFP “The Chinese Fight Against the Pandemic” Hanxue 5 (2022) Special Issue===

=Remarks=
各位学妹你们好，请在以上任务中挑选自己感兴趣的。另外，国际汉学中心（外院309）需要值班，值班期间要完成汉学中心相关工作，值班时间为周一到周五，具体时间可再商议。现在需要收集你们的可值班时间，中心会按照工作时长发放工资。请你们把可值班时间发在群里，我来排班。

Gabrielle: 周三整天，周四下午都可以

Li Xin 李欣: 周一和周三上午可以值班

LIAO Shiyun Classics 22: 周三整天，周四下午都可以

Susan Chu 祝美梅: 周二、周三、周四、周五下午都可以

李穎: 周三，周四下午

20201228 trans

2020-12-28T03:06:28Z

Zhumeimei: /* Zhu Meimei 祝美梅 */

==Cao Runxin 曹润鑫==
'''Zhu Ziqing'''

A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay "''Back View''" (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.
==Chang Huiyue 常慧月==
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription "''The Moonlit Lotus Pond''", whose style easily may seem mannerist to the Western reader.

Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.

通过他人的观察（这里主要指朱自清的父亲），这篇自我反省式的文章帮助朱自清认清了自己。经常出版的第二版本也来自朱自清。“荷塘月色”中描述的天空星云，抒情般的景色是通过平行结构和重复结构中展现出来的，这种风格使西方读者很容易辨别。

据称朱自清反对一切政治参与，只写不引人注意的事情。在台湾，主要因为朱自清的所谓政治独立，他因而代替了明确反对民国的作家鲁迅。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:33, 27 December 2020 (UTC)

==Chen Han 陈涵==
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''"Report On the Massacre of the Government''"[ (Zhizhengfu da tusha ji).].

''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''

我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。

''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)

==Chen Hui 陈惠==
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''
==Chen Jiangning 陈江宁==
From this experience, Zhu addresses directly the repsonsible political leaders:

''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''
经过这次经验，朱直接给负责相关部门的政府官员写信道：“段祺瑞，你好好想一想！[…]我们要怎么跟世界人民解释？[…]当然了，段祺瑞和其他士兵不用想都会承认这次的暴行；但是，我们，作为中华人民共和国，怎么能以这样一种无耻的政府面对世界？，[…]我们，[…]必须要问，这么多人牺牲了，我们应该做什么？”--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:11, 27 December 2020 (UTC)

==Chen Jiaxin 陈佳欣==
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his "''Ways to die''"[ (Si fa).] - in which he finds "to be shot" the best method to die. The supposedly less politically engaged Zhu shows here more engagement.

The essay "''Facing the New China''"[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.
==Chen Jingjing 陈静静==
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''

A few weeks before his death, he demanded in the speech ''"Today's duty of the Intellectuals''"[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.

“中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”

”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)

在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing

==Chen Sha 陈莎==
With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.
==Chen Sunfu 谌孙福==
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''

Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.

'''散文潮就像一面镜子，反映出了日渐显著的个体性、公众场合的参与度和现代中国社会令人眼花缭乱的种种特质'''

对散文进行全面审视，并分析其内在本质，要求我们在中华人民共和国、台湾、香港和美国的各大书店、图书馆开展广泛研究，获取散文集或涉及散文主题的二次文献等可用资源。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:35, 28 December 2020 (UTC)

==Chen Yongxiang 陈永相==
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].

我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。

分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)

==Cheng Yusi 成于思==
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].

The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:
==Deng Jinxia 邓锦霞==
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].

2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands.

3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.

1，当前中国社会的快节奏需要分篇和短篇文本。正如霍尔所言，：“ ......我们生活在博览会时代。” [（Hall 1984：xiii）]。

2，对于正在增强的个人意识来说，散文是主观表达的最直接形式，甚至比具有韵律和形式要求的诗歌更直接。

3，通过散文讨论社会政治问题的兴趣的复兴，就像1920年代/ 30年代那样。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:35, 27 December 2020 (UTC)

==Ding Daifeng 丁代凤==
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:

1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)

如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling

==Fang Jieling 方洁玲==
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.

3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]

Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.

2、社会政治在台湾，鲁迅被禁锢了很久，但如今，如上述调查证明，他在台湾现代作家中排名第12位。在中华人民共和国，王蒙因其政治职务而被高估。

3，个人在香港关于余光中的文学被他的弟子黄伟良检查和删节，他是赞成余光中的。（见林耀德1989：50）。

在列举了一些关于论文热潮以及在论文文化领域中对不同行为者的支持和压制的原因之后，我想通过列举几世纪前夕出现的一些论文趋势来结束我的论文。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:51, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".

政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020

政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)

==Gao Mingzhu 高明珠==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("''On dreams''"[ "Shuo meng 說夢" On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 ("''My own garden''"[ 9.1923.], "''The Fly''"[ 1924.], "''Reading on the Toilet''"[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.

非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)

==Gong Yumian 龚钰冕==
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Gu Dongfang 顾东方==
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: "readers"). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in "''Wild vegetables of my home region''" by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's "Moon traces", which ranks 11, and in Ba Jin's "''Paradise for Birds''", which ranks 19]. Therefore one can state, that moving essays form the top.
==Guan Qinqing 管钦清==
In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.

1927年，中国文学出现了“参与文学”的形式。不同于那个时候，在20世纪90年代，有关日常利益的政治讨论只占很小的一部分。 20世纪80年代，包括诗歌和散文在内的所有流派都被批评家用来反对共产主义的主要叙事或毛泽东主义对艺术作为意识形态的理解。 20世纪90年代下半页，主讲者本人似乎迷失在个人的主观性以及越来越正式化但基本上空虚的城市生活的日常亵渎和平庸中。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:35, 28 December 2020 (UTC)

==Gui Yizhi 桂一枝==
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]

上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”）费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)

'''References''' [partly mentioned with German translation] （不用翻）

Vera Schwarcz 1996, Vera Schwarcz, "The pain of sorrow: public uses of personal grief in modern China", in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)

Ba Jin 1982, Ba Jin: "Yi feng huixin 一封回信" (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.

Ba Jin 1982a, Ba Jin: "Yi pian xuwen 一篇序文" (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984

Ba Jin 1956, Ba Jin 巴金: "Duli sikao 獨立思考" (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]

Ba Jin 1962, "Zuojia de yongqi yu zerenxin 作家的勇氣與責任心" (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: "Wenxue tan 文學談" (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167

Zhou Zuoren 1919, Zhou Zuoren, "Zuxian chongbai 1919 (Ancestor Worship)," in Early Essays, op.cit., pp. 78

Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求" (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296

Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181

Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)

Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71

Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148

Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)

==Guo Lu 郭露==
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''

''Martin Woesler''

In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.

《中国现代文学与散文体裁：以新视角》

''吴漠汀''

在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)

《中国现代文学与散文体裁：新视角》

吴漠汀

本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)

==Han Haiyang 韩海洋==
'''1. The unknown genre'''

The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);

'''1.未知体裁'''

二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪的选集和文集所讲述的文学史叙事，勾勒出一幅不完整的中国文学图景。散文的体裁是缺乏的。在我的论文中将要探讨如果我们把散文也考虑进去，文学的图景是否可以保持不变。长期以来，这一文体作为一种优秀的文体被忽视（马古利耶斯1949年，施密特-格林策1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年，麦克杜格尔1998年）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:23, 27 December 2020 (UTC)

==Han Wanzhen 韩宛真==
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.

由于自民国初年五四运动确立的总叙事之后，对小说文学的重视和写作的白话化，因而它的系列小说，就一直受到重视。现代选本会让读者相信诗歌、小说、戏剧这三驾马车构成了中国现代文学创作的主干。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:20, 27 December 2020 (UTC)

==He Changqi 何长琦==
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term "wu yunwen" which corresponds to the term "epic" in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.
==Hu Baihui 胡百辉==
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)

在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)

==Hu Huifang 胡慧芳==
"Essay", Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.

“散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)

“散文”是一种体裁术语，在汉语中也叫做“sanwen”，指篇幅较短、自成一体的非虚构散文文本，散文创作者可以从主观的角度，将个人的经验调和到事物或问题上。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。文章素材由散文家自主掌握，主题可以置于更大的背景之下，甚至可以一种幽默的方式呈现。散文的形式和内容都是自由的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:36, 27 December 2020 (UTC)

“随笔”，中文名多为“散文”，是一种体裁术语，指篇幅较短、自成一体的非虚构散文文本，作者试图从主观视角来调和个人对对象或问题的经验。
散文试图从不同的方面进行联想，它不是作为日常使用的文本，而是作为艺术或教育要求的语言方式，虽然如此，还是以一种可理解的方式呈现。
资源由随笔作家独享，话题可以在更大的背景下展出，甚至可以幽默地呈现。形式和内容的自由对这篇随笔至关重要。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 14:38, 27 December 2020 (UTC)

==Hu Jin 胡瑾==
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.
==Ji Tiantian 纪甜甜==
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.

地域差异对散文的影响似乎不如对已确立的文体如短篇小说、小说的影响大，也远不如对诗歌的影响大。除散文外的其他文体被视为国际文体。我认为中西方散文也属于相同的国际文体，跨文化的相互作用也许可以在形式和内容上证明这一假设。

对于文章而言，比起短篇故事，小说等已存的体裁，区域差异似乎不那么重要，对于诗歌而言，区域差异更不重要。所有这些其他的体裁都被看作国际体裁。中国和西方的文章都属于同一国际体裁，这一假设也许可以通过形式和内容上的跨文化相互关系来证明。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:27, 27 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.

在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)

在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)

21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)

在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)

==Jiang Hao 姜好==
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).

尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系不如西方的散文和中国的对应定义密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 15:35, 27 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it "Chinese"? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.

除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)

除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)

除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)

==Kang Haoyu 康浩宇==
This can be shown with Zheng Mingli, who subcategorises the "unfinished diary" or the "unfinished letter". Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: "essay in diary form" and "essay in letter form"), they are accepted as essays.
==Kang Lingfeng 康灵凤==
'''The Chinese understanding of the genre is tendencially broader'''

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' "non-rhythmic prose", which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning "short literary essay pieces".

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.

'''中国人对这类体裁的理解区域广泛'''

在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。

更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。

==Kong Xianghui 孔祥慧==
'''The Chinese essay is booming again in the 1980s and 1990s'''

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).

20世纪80年代和90年代中国散文再次蓬勃发展
研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。
散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)

'''二十世纪八九十年代中国散文再次蓬勃发展'''

相关分析表明，1979年后散文出版量普遍增加，在文化大革命后达到了两次顶峰。1990年，散文出版量明显再创新高。散文出版量的第一次增长出现在二十世纪二三十年代。随后，报告文学的出现使得散文黯然失色(Klaschka 1998.)二十世纪二三十年代和八九十年代散文出版量之所以猛然增长，部分原因在于作为当代散文家写作阵地的新杂志和众多散文丛书的出现。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:48, 28 December 2020 (UTC)

==Kong Yanan 孔亚楠==
The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.

Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.

文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。

感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)

==Lei Fangyuan 雷方圆==
'''2. Why is the essay as abundant as fiction?'''

Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:

- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection "Modern Chinese Literary Thought" 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.

为什么论文像小说一样丰富？

让我列举几个原因，为什么这篇论文实际上与它的散文兄弟，小说以及抒情姐妹，诗歌一样丰富，以及为什么必须如此重视它：

-这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以论文形式呈现）。对文学反思和理论的影响在1996年的“中国现代文学思想”合集中显示。随笔类型，其直接语言，与生活之间的联系（例如，其在适应文化大革命中的作用）的影响，并通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活，政治问题和时间参照中退缩的一种体裁。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:32, 27 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.

- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi

胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。

- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)

==Li Haiquan 李海泉==
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.

- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.
[[Media:Example.ogg]]==Li Lili 李丽丽==
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).

“随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)

==Li Lingyue 李凌月==
'''3. Let us assign the essay its proper place'''
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.

3.让我们为散文指定其适当的位置，
由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。

3.让我们给作文赋予它应有的位置
从上面提出的论文的价值与价值之间的对比,由此得出的结论是:让我们给作文赋予它应有的位置!我将描述发现这篇文章的开始。尽管从1979年开始，散文写作有所增加，但有关这一现象的出现的第一次理论反思却花了10年时间。又过了10年，中国研究的国际学者才意识到这一现象。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 27 December 2020 (UTC)

==Li Liqin 李丽琴==

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)

==Li Luyi 李璐伊==
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。

关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)

上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)

==Li Meng 李梦==
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.
在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。
然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)

在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。

然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)

==Li Yongshan 李泳珊==
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.
==Li Yu 李玉==
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''

I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.

We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century.
==Lin Min 林敏==
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.
==Lin Xin 林鑫==
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.

'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''

How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.

下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。

5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)

==Ling Zijin 凌子瑾==
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.

From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.
==Liu Bo 刘博==
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.

In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.

“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)

“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)

==Liu Jinxingqi 刘金惺琦==
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.

In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.
==Liu Liu 刘柳==
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.

During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.

荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。

历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)

==Liu Ou 刘欧==
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.

Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.

边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。

考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)

边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)

==Liu Yangnuo 刘洋诺==
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.

Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the "Eight legged essay" as as appealing and intoxicating as the "pleasure of doing opium.'' (Zhou 1932:148).

目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 "八股文 "的语言节奏看作是 "做鸦片的快感 "一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)

直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。

前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)

==Liu Yi 刘艺==
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).

Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.

'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''

To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).

梁启超研究出了一种新文体，这种文体受西方的语言所影响。但是这篇散文在报纸成为大众媒体之后才开始流行开来，成为所说的“白话”。

6.散文作为现代化的媒介，质疑了中国散文的真实性。
首先要解决的问题就是中国散文是源自本土传统还是西方翻译，有人认为两者都有所相关:散文意外地以中文译文的形式受引入到1907年的文学改革运动作家群体中来。(林纾:欧文，1907，爱迪森，1911)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:12, 28 December 2020 (UTC)

==Liu Zhiwei 刘智伟==
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).

This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.

==Lou Cancan 娄灿灿==
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:

以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)

以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)

==Luo Yuqing 罗雨晴==
for example, Lu Xun with his theory "'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論"" (Theory of "Starting" and "Blossoming") came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his "Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論" (Theory of the Synthesis of the Gongan School and the English Essay).

例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)

例如，鲁迅的“展开”说与“萌芽”论认为晋代散文的攻击性与批判性是中国散文的先祖。周作人则将英语散文视为明朝“笔记”的先祖，在公安派英国小品“合成”论中，他努力使英文散文与他的理论合成一体。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:44, 28 December 2020 (UTC)

==Ma Juan 马娟==
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有重新开始，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的任何理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:29, 28 December 2020 (UTC)

==Ma Shuya 马淑雅==
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as "paralyzing" (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the "Fly", he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins "Thoughts" (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.
==Ma Zhixing 马智星==
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.

The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products.
==Meng Ying 孟莹==
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is "a genre of self-reflection". Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.

I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).
==Mo Ling 莫玲==
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.

除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling

如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)

==Mo Nan 莫南==
In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.
==Nie Xiaolou 聂晓楼==
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Ou Rong 欧蓉==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("Shuo meng 說夢" On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, "The Fly" 1924, "Reading on the Toilet" 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.
==Ouyang Jinglan 欧阳静兰==
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.
==Ouyang Ling 欧阳玲==
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.

20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。

考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)

20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。

一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)

==Peng Dan 彭丹==
'''Zhou Zuoren'''

I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius "degenerated" and later became a "traitor". Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.
==Peng Juan 彭娟==
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''

''Yu Guangzhong's essay'' "The wolves are coming" ''shows that the ideological perspective did not only harm mainland essaywriting.''
==Peng Ruihong 彭锐宏==
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).

In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?
==Peng Xiaoling 彭小玲==
With these words from the essay "''The aesthetic essay''" this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the "king of essays".

In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.

“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。

为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)

==Peng Yongliang 彭永亮==
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea "l'art pour l'art" , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).
==Peng Yuzhi 彭育志==
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual.

"I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless "monsters" and "goblins" are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown."
==Qi Kai 漆凯==
Confronting tradition and progress in the essay "''Ancestor Worship''", he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8).

Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.

==Qu Miao 瞿淼==
Siehe ''Journal'' (10.2.1804). Die "Kunst um der Kunst willen" propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept "Kunst um der Kunst willen" zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.

Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: "''Liang Qichao on Poetry Reform''" 1996, Bd 1, S. 213.

见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.

参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)

==Quan Meixin 全美欣==
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had "duoluo 墮落" (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).
==Sagara Seydou ==
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.

On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.

因此，不是日本的压制者对这位伟大作家的退缩负责，而是他的中国同胞的退缩.
根据“叛徒”的污名，他一直被低估。他在1990年代的著作几乎与鲁迅和朱自清的著作一样频繁地出版，这表明他的著作最终在听众中得到了更为积极的文学评价，现在也必须由学者进行注册.

因此，不是日本侵略者造成了这位伟大作家的退缩，而是他的中国同胞们。由于背负着“叛徒”的污名，他一直未受到重视。20世纪90年代，他的作品出版频繁，几乎与鲁迅和朱自清等同，这表明这些作品在读者中收到了更为积极的评价，这一点也获得了当代学者的认可。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:47, 28 December 2020 (UTC)

==Shi Diwen 石迪文==
Another example of a misread Zhou Zuoren is his short essay on "''The Fly''", where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things.
==Shi Haiyao 石海瑶==
The official reading re¬proaches Zhou that he "saw only the fly and not the cosmos" , a quotation of the young Zhou about a position he himself clearly opposed.

His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food.

Siehe Zhou Zuoren: "Cangying 蒼蠅" (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.

''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay "''Cangying'' 蒼蠅" (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）

官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。
他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)

==Si Yu 司妤==
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.

他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)

==Song Jianru 宋建茹==
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.

'''7. The essay as a snapshot of contemporary thoughts'''

''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''

==Su Lin 苏琳==
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.
==Tan Xingyue 谭星越==
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: "''Anxiang'' 安详" (Serene) 1992, "''Zuohao ni ziji de shi'' 做好你自己的事" (First make your own things in a good way) 1994).
==Tan Xinjie 谭鑫洁==
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive ("''Shanxi opera''", Jia Pingwa 1984) or negative world ("''The nightmare''", Si Yu 1995).

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文是一种新的个人主义，其目标是远离当代的矛盾，但通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到文学的时代趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:44, 27 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii);

- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands;

- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

- 当下中国社会的浮躁节奏，对转折性和短文的要求。"[...]我们生活在一个论述的时代"(Hall 1984:xiii)。

- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。

- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。

- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)

-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；

-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；

-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)

==Tang Bei 汤蓓==
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays.

- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Tang Ming 唐铭==
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: "readers").

- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay "''The Back View''", filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous "''The Moonlit Lotus Pond''", both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.
==Tang Yiran 汤伊然==
Nostalgic home feelings are the emotional identification element in "''Wild vegetables of my home region''" by Wang Zengqi. Therefore one can state, that moving es¬says form the top.

- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''

==Tao Ye 陶冶==
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).

- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''
==Wang Meiling 王美玲==
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''

- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being "''The Small Dog Baodi''", written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before ("''In memoriam of Xiao Shan II''", Ba Jin 1984).
==Wang Xuan 王轩==
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's "''Rain in Kunming''" as well as for Jia Pingwa's "''Shanxi opera''".
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。

- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。

Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）

''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay "The nightmare", where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）

And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong "woman soldier" .（文献无需翻译）

==Wang Yu 王煜==
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''

Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.

- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?

==Wang Yuan 王源==
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?

- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?

==Wei Honglang 韦洪朗==
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?

- 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)

《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录

'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）

吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University

Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）

==Wei Yafei 魏亚菲==
'''Abstract'''

In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide.

摘要

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)

==Wen Sixing 文偲荇==
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改<nowiki>Insert non-formatted text here</nowiki>）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)

《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)

==Wen Xiaoyi 文晓艺==
'''1. Chinese Ethics'''

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

==Wu Kai 吴恺==
'''2. Compatibility
'''
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.

'''2. 兼容性
'''
为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？

首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)

==Wu Qi 吴琪==
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

'''3. Impact of translator’s native culture on the translation process'''

There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.

然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。

'''3.译者的本土文化对翻译过程的影响'''

《红楼梦》和西方文学作品之间有跨文化的相似之处。
--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)

==Wu Qiong 吴琼==
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.

'''4. The novel as embodiment of “Zeitgeist”'''

According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.
==Wu Xiang 邬香==
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

小说作为一种文学题材不再仅仅记录一种文化，而是用沃尔特·本杰明的话来代表历史的有机物。因此，卢卡奇对这部小说的理解从历史转向哲学。一部小说被理解为其历史时代的典型小说，这部小说会体现时代精神（时代精神）。

The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.

《红楼梦》是在满族统治原汉族掌管的明朝（当时是一个多民族、跨文化的社会）和贵族家庭遭受皇位更迭影响的背景下写成的，曹氏家族受到康熙的扶植和雍正的迫害。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:04, 27 December 2020 (UTC)

==Wu Yilu 吴一露==
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).

虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)

虽然作者在他的时代无法批判帝制和皇权，但在小说中，他为家族的日益衰败（参加道教、娱乐、诗歌、艺术和音乐活动，而不是为了谋生而学习）和自己作为家族继承人没有实现家族期望感到自责，通过这样做，他也对这种生活做妥协。这种对没落家族颓废状况的描写，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 15:08, 27 December 2020 (UTC)

==Wu Zijia 吴子佳==

Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

'''5. Coming-of-age and Alienation'''

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.

此外，《红楼梦》对清初社会各阶层生活的详细描写，与君特·格拉斯的《铁皮鼓1959》非常相似，《铁皮鼓1959》是一部纪实历史小说。

“5. 成熟和异化”

抛弃《红楼梦》中天堂般的花园，是离开受保护的童年，进入复杂的成人世界的象征。随着乔治·卢卡奇的小说理论，主人公开始对他的生活感觉产生疑问，在小说中，主人公的自我一直与他的环境作斗争。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:23, 27 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲==
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.

然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling

然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)

==Xiao Ting 肖婷==
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 "时间精神"(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting

曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)

曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Xi 肖茜==
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.
这种成熟的传统小说也是一个欧洲人,像启蒙哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:34, 27 December 2020 (UTC)Xiao Xi

==Xiao Yining 肖伊宁==
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).

德国读者对主人公的生平及其发展、家族世代的命运都很熟悉，德国读者把这种类型的小说称为“教育小说”或“成长小说”。在德国,关于成长小说的体裁有着悠久的传统,它的形状更由单个字符,它更多的是被塑造为教师的单个人物(歌德：'Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802)。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 14:59, 27 December 2020 (UTC)Xiao Yining

==Xie Fan 解帆==
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

'''6. Pornography and True Love, female rivals'''

Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。
“6.色情与真爱，女性对手"
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。
“6。色情与真爱，女性对手"
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)

==Xie Ziyi 谢子熠==
In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.

The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

==Xu Jia 徐佳==
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).

In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.

在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。

在第一章中，他说："年轻人的真情实感......至今无人报道"。

"情色场面以体面和联想的方式描述（"云和雨的游戏"），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia

在《梦》的框架故事中，叙述者有意识地反对低俗的动作和陈规定型的色情文学，反对流传甚广的浪漫小说（以美丽的才女和通过公务员制度最终获得受人尊敬的地位的穷困书生为经典角色）。

在第一章中，他说：“关于年轻人的真实感受，[……]到目前为止还没有人报道过。”

情色场景被描述成一个体面和联想的方式（“云和雨的游戏”），同时显示了另一个开放性的性质，例如对双性恋。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:03, 27 December 2020 (UTC)Xiao Yining

==Xu Jing 许晶==
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.

《梦》讲述了一对不幸的恋人的故事。在西方，不幸恋人也有文学传统，即他们构成了一个原型，例如Hero和Leander，Pyramus和Thisbe，Tristan和Isolde，Flore和Blanscheflur以及Troilus和Cressida，后者被认为是Arthur Brookes的模型，他在1562年撰写了《罗密欧与朱丽叶》，从而直接影响了莎士比亚。

玛丽安·加利克（Mariann Galik）认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:25, 28 December 2020 (UTC)

==Xu Jing 许静==
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).
==Xu Mengdie 徐梦蝶==
'''7. Feudal society and slavery'''

A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

封建社会和奴隶
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie

一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)

许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)

人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)

==Xu Pengfei 许鹏飞==
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.

另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei

而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”，所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie

==Yang Chenting 杨晨婷==
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting

2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)

==Yang Hairong 杨海容==
'''8. Tragedy of all tragedies'''

Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.

8.所有悲剧的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)

8.所有悲剧含有的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)

==Yang Hui 阳慧==
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.

尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。

在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)

欧洲悲剧中以《哈姆雷特》为悲剧，而中国文学传统中悲剧文学的缺失，长期以来被人们所惋惜。王国维认为《梦》是“所有悲剧中的悲剧”。对王国维来说，浮士德和贾宝玉的苦难是小说的中心。然而，许多学者认为浮士德主义是中国文化的核心。

在18世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:36, 27 December 2020 (UTC)Xiao Xi

==Yang Yi 杨逸==
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

==Yang Yue 杨悦==

'''9. “Non-Binary” Novels'''

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

9. “非二进制小说”

可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)

“非二元”小说

一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

==Yao Cheng 姚诚==
'''10. Foreign Cultures in the Red Chamber Dreams'''

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

10.红楼梦中的异邦文化
红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并以新奇用品的形式呈现给贾府，尤其是提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，其中一次是为有翅膀的天使的形象。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:47, 27 December 2020 (UTC)

==Yao Jia 姚佳==
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.
我们在描述宗教服饰时也能见识不同传统的玩味结合，它带有不同宗教的特点。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，这也与小说的诸多题材和社会层面有关。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，贾宝玉消失，这些都与耶稣基督平行。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:10, 28 December 2020 (UTC)

宗教服饰带有不同宗教的特点，在描述一种宗教服饰时，我们也能体味不同宗教传统的玩味结合。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，同时也要展现出小说的众多主题和社会层次。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，以及贾宝玉消失的时候，这些都与耶稣基督平行。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:43, 28 December 2020 (UTC)

==Yi Huan 易欢==
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

'''References'''（参考文献不用翻译）

Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.

Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

==Yi Zichu 义子楚==
'''Virtual Communication Between Machines with the Human as Their Object
'''

A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication

Martin Woesler, Hunan Normal University

'''Abstract'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

==You Yuting 游雨婷==
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)

==Yu Ni 余妮==
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society.

这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)

----

==Yuan Shiqi 袁诗琦==
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.

虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)

尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)

虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)

==Yuan Tianyi 袁天翼==
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.

研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)

研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 "Schufa"，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)

==Yuan Yuchen 袁雨晨==
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.

'''Introduction'''

In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).

但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。

引言

本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)

但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。

引言

在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 "牛奶没了，请把平时的牛奶量加到送货单上"，到 "老太太今天早上还没下床，我还是叫医生吧"。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting

==Zeng Fangyuan 曾芳缘==
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)

==Zeng Liang 曾良==
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”

The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.

“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”

当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)

"让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。"；甚至"利用这个用户的位置来瞄准杀手无人机。"
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting

“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”

当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.

这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)

==Zeng Yanhu 曾雁湖==
'''1 History of Media Epochs'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）
在所有这些阶段中，科技都只起到了协助作用。

本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)

==Zhang Hu 张虎==
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).

虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)

==Zhang Hui 张慧==
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.

The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.

但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。

交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)

然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。

传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)
然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。
传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)

==Zhang Ling 张玲==
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.

机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)

机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.

'''2 Types of communicative acts'''

1.Texts (oral and written comments/chat texts/blogs/emails)

2.Surf behavior (websites visited)

3.Consumer behavior (purchases)

4.Likes (see OCEAN, UEBA)

5.Duration/Attention (see UEBA)

6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)
甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。

"两种类型的交际行为"

1.
文本(口头和书面评论/聊天文本/博客/电子邮件)

2.
上网行为(浏览网站)

3.
消费者行为(购买)

4.
喜欢(参见OCEAN, UEBA)

5.
持续时间/关注(见UEBA)

6.
习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)

==Zhang Qi 张琪==
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)

8.social interaction incl. friendships, sexual relationships

9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel Behavior (Yu Cui et al. 2018)

7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）

8.社交互动，包括友谊，性关系

9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)

==Zhang Weihong 张维虹==
'''3 Types of analysis'''

1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)

2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)

3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)

4.Mobility profile/pattern

==Zhang Xueyi 张雪仪==
5.Health situation (health apps, ai supported disease research, see Daley 2020)

6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)

==Zhang Yinliu 张银柳==
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.

8.Consumer Behavior: e.g. the "clickworker" company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)

9.Secrets (like adultery)

==Zhang Yu 张瑜==
'''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]

1.the human switches from active to passive

2.the human switches from subject to object

3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)

4.the human switches from puppeteer, or entity with seemingly free will, to puppet

5.nature of the internet turns from freedom to surveillance

4.媒介5.0时代的独特品质 [我创造了 "媒介5.0时代"和 "虚拟通信 "这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]

1.人从主动到被动的转换

2.人从主体到客体的转换

3.人沉迷于社交媒体，提高了患抑郁症的风险

4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换

5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)

7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))

8.man-man communication turns to man-machine communication (phone bot) to machine-machine

9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration

6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。

7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。

8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。

9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)

==Zhang Yuxing 张宇星==
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.

'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)
'''

1.Priming by unconscious advertisements: Influencing consumer decisions

2.Filter bubbles => supports conspiracy theories, influences judgments

到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。

'''5 种操纵类型（有意识或无意识，有时是半意识的）'''

1.无意识广告发布：影响消费者决策

2.过滤泡沫=>支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).

4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation

5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)

6.Identity theft

3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。

4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举（这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜

5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）

6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)

3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
'''6 Consequences'''

1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)

6.后果

1.虚拟通讯大多是 "隐蔽 "的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 "危险 "而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)

6.后果

1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)

'''6.后果
'''

1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)

==Zheng Huajun 郑华君==
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery)

3.Less will to communicate and discuss (since positions are too far apart)

4.Populists and populist views gain supporters

5.Polarization of Society

6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.

7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words

2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）

3.交流讨论意愿较弱（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会的两极分化

6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。

7.最后的手段—思维，已经被破解：机器解释的是 "真实 "的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)

2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）

3.缺乏沟通和讨论的意愿（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会两极分化

6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。

7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)

==Zhou Luoping 周罗平==
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)

9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics
'''
7 Simulation of the imminent future'''

1.The imminent future behavior of a human can be predicted

2.With many analyzed humans, the imminent future of reality can be predicted => simulation

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=>模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)

8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟迫近的未来
1.人类的迫近未来行为是可以预测的
2.在分析了许多人类后，我们便可预测现实的迫近未来=>模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.通过大量分析人类，现实里马上到来的未来便可预测到=>模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)

==Zhou Shiqing 周诗卿==
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019).

==Zhou Shuyao 周书尧==
'''8 Conclusion and Outlook'''

Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.

'''8 结论与展望'''

数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。

尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)

==Zhou Siqing 周思庆==
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.

'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.
'''
'''
The listed consequences document a fundamental change of paradigms:
'''
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)

我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)

==Zhou Yiwen 周艺文==
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.
'''

AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.

人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。

人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?

==Zhou Yujuan 周玉娟==
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.

==Zhu Meimei 祝美梅==
'''9 Outlook'''

We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.

'''9展望'''

我们必须承认，发展是不可逆转的。每一项新技术都在某种程度上引发了恐慌。然后重要的事情是，我们开始意识到，并调整那些朝错误方向进行的发展。我们需要制定正确的构架和激励措施，让新技术继续稳定地为人类服务。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 03:06, 28 December 2020 (UTC)

==Zhu Suyao 朱素瑶==
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.

'''References
'''
（参考文献不用翻译）

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Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007

Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/

Booth, T. "Cambridge Analytica controversy must spur researchers to update data ethics." ''Nature'' 555.7698 (2018): 559-560.

Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/

Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453

Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare

Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf:

https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true

Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). "Predicting personality with social media." ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.

Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). "Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students." Computers in Human Behavior 87: 183-191.

Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997

Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.

https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf

Raj Kannan, J., Sabitha, R., Karthik, S., & Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.

Ruan, Lotus, et al. "One App, Two Systems: How WeChat uses one censorship policy in China and another internationally." (2016).
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Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.

Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). "The social media disorder scale." ''Computers in Human Behavior ''61: 478-487.

Verschuere, Bruno, and Bennett Kleinberg. "ID‐check: Online Concealed Information Test reveals true identity." ''Journal of forensic sciences'' 61 (2016): S237-S240.

Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146

==Zhu Xu 朱旭==
'''Bio'''

Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.
Woesler has co-edited the books "China's Digital Dream", "Ethics of Information Society" and Springer has scheduled to publish the book "Diverse Voices in Chinese Translation and Interpretation" including his book chapter "Modern Interpreting with Digital and Technical Aids" in February 2021.

个人简历

自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College "Media Cultures of Computer Simulations" 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.