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	<id>https://bou.de/u/index.php?action=history&amp;feed=atom&amp;title=20220630_Culture_10</id>
	<title>20220630 Culture 10 - Revision history</title>
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	<updated>2026-04-04T18:03:27Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
	<generator>MediaWiki 1.35.14</generator>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146885&amp;oldid=prev</id>
		<title>Zhou Haoxi: /* 英语笔译	周皓熙	Zhou Haoxi	202170081612 */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146885&amp;oldid=prev"/>
		<updated>2022-07-22T11:54:52Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;英语笔译	周皓熙	Zhou Haoxi	202170081612&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;a href=&quot;https://bou.de/u/index.php?title=20220630_Culture_10&amp;amp;diff=146885&amp;amp;oldid=146799&quot;&gt;Show changes&lt;/a&gt;</summary>
		<author><name>Zhou Haoxi</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146799&amp;oldid=prev</id>
		<title>Zhao Yuxiang: /* 4.Dunhuang Frescoes Are Enjoying New Life: */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146799&amp;oldid=prev"/>
		<updated>2022-07-07T09:52:11Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;4.Dunhuang Frescoes Are Enjoying New Life:&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
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				&lt;tr class=&quot;diff-title&quot; lang=&quot;en&quot;&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 09:52, 7 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l277&quot; &gt;Line 277:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 277:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Fei Tian (Meeting A Flying Apsaras)'''  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Fei Tian (Meeting A Flying Apsaras)'''  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;The first creative product--the skin of Meet A Flying Apsaras between Dunhuang Academy and Honor of Kings, was put on shelves in the game on October 26, 2018 (during the third anniversary celebration of Honor of Kings). Dunhuang Academy selected the most common Flying Apsaras image in Dunhuang frescoes for linkage, while the official of Honor of Kings selected the hero Yang Yuhuan, whose temperament image is most consistent with Dunhuang Flying Apsaras, for linkage. After more than 6 months of patient polishing, Xu Yanyi, the main skin designer and 2D art designer of Honor of Kings, overturned five editions of original painting design, and went to Dunhuang Mogao Grottoes in person to experience the charm of Dunhuang frescoes and understand the spiritual connotation of Dunhuang Flying Apsaras, and finally completed the original painting design of Yang Yuhuan’s Meeting A Flying Apsaras skin (as shown in the picture). Meanwhile, the modeler and special effect engineer made concerted efforts to present the flying apsaras image in the frescoes lifelike in front of the game players. The skin of Meeting A Flying Apsaras once launched triggered a huge response, players were very surprised and curious about this novel way of linkage, and began to take the initiative to learn about Dunhuang culture. Various data show that the cooperation between Dunhuang Academy and Honor of Kings has been a great success and a win-win situation has been achieved. The opening line of the Skin, &amp;quot;I meet you, and there are still colors in me,&amp;quot; pulls the player's imagination back to the prosperous age of Tang Dynasty more than 1,000 years ago. After thousands of years of wind and sun exposure, Dunhuang frescoes are no longer the scenery of that year, with colors falling and dull. However, through &amp;quot;Internet+&amp;quot;, the once weathered Dunhuang frescoes, which have suffered a lot in the past, meet people again in a new way.&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;[[File:Example.jpg]]&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;The first creative product--the skin of Meet A Flying Apsaras between Dunhuang Academy and Honor of Kings, was put on shelves in the game on October 26, 2018 (during the third anniversary celebration of Honor of Kings). Dunhuang Academy selected the most common Flying Apsaras image in Dunhuang frescoes for linkage, while the official of Honor of Kings selected the hero Yang Yuhuan, whose temperament image is most consistent with Dunhuang Flying Apsaras, for linkage. After more than 6 months of patient polishing, Xu Yanyi, the main skin designer and 2D art designer of Honor of Kings, overturned five editions of original painting design, and went to Dunhuang Mogao Grottoes in person to experience the charm of Dunhuang frescoes and understand the spiritual connotation of Dunhuang Flying Apsaras, and finally completed the original painting design of Yang Yuhuan’s Meeting A Flying Apsaras skin (as shown in the picture). Meanwhile, the modeler and special effect engineer made concerted efforts to present the flying apsaras image in the frescoes lifelike in front of the game players. The skin of Meeting A Flying Apsaras once launched triggered a huge response, players were very surprised and curious about this novel way of linkage, and began to take the initiative to learn about Dunhuang culture. Various data show that the cooperation between Dunhuang Academy and Honor of Kings has been a great success and a win-win situation has been achieved. The opening line of the Skin, &amp;quot;I meet you, and there are still colors in me,&amp;quot; pulls the player's imagination back to the prosperous age of Tang Dynasty more than 1,000 years ago. After thousands of years of wind and sun exposure, Dunhuang frescoes are no longer the scenery of that year, with colors falling and dull. However, through &amp;quot;Internet+&amp;quot;, the once weathered Dunhuang frescoes, which have suffered a lot in the past, meet people again in a new way.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Shen Lu (Meeting A Golden Deer)'''  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Shen Lu (Meeting A Golden Deer)'''  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Zhao Yuxiang</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146798&amp;oldid=prev</id>
		<title>Zhao Yuxiang: /* 4.Dunhuang Frescoes Are Enjoying New Life: */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146798&amp;oldid=prev"/>
		<updated>2022-07-07T09:49:20Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;4.Dunhuang Frescoes Are Enjoying New Life:&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;tr class=&quot;diff-title&quot; lang=&quot;en&quot;&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 09:49, 7 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l277&quot; &gt;Line 277:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 277:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Fei Tian (Meeting A Flying Apsaras)'''  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Fei Tian (Meeting A Flying Apsaras)'''  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;The first creative product--the skin of Meet A Flying Apsaras between Dunhuang Academy and Honor of Kings, was put on shelves in the game on October 26, 2018 (during the third anniversary celebration of Honor of Kings). Dunhuang Academy selected the most common Flying Apsaras image in Dunhuang frescoes for linkage, while the official of Honor of Kings selected the hero Yang Yuhuan, whose temperament image is most consistent with Dunhuang Flying Apsaras, for linkage. After more than 6 months of patient polishing, Xu Yanyi, the main skin designer and 2D art designer of Honor of Kings, overturned five editions of original painting design, and went to Dunhuang Mogao Grottoes in person to experience the charm of Dunhuang frescoes and understand the spiritual connotation of Dunhuang Flying Apsaras, and finally completed the original painting design of Yang Yuhuan’s Meeting A Flying Apsaras skin (as shown in the picture). Meanwhile, the modeler and special effect engineer made concerted efforts to present the flying apsaras image in the frescoes lifelike in front of the game players. The skin of Meeting A Flying Apsaras once launched triggered a huge response, players were very surprised and curious about this novel way of linkage, and began to take the initiative to learn about Dunhuang culture. Various data show that the cooperation between Dunhuang Academy and Honor of Kings has been a great success and a win-win situation has been achieved. The opening line of the Skin, &amp;quot;I meet you, and there are still colors in me,&amp;quot; pulls the player's imagination back to the prosperous age of Tang Dynasty more than 1,000 years ago. After thousands of years of wind and sun exposure, Dunhuang frescoes are no longer the scenery of that year, with colors falling and dull. However, through &amp;quot;Internet+&amp;quot;, the once weathered Dunhuang frescoes, which have suffered a lot in the past, meet people again in a new way.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;The first creative product--the skin of Meet A Flying Apsaras between Dunhuang Academy and Honor of Kings, was put on shelves in the game on October 26, 2018 (during the third anniversary celebration of Honor of Kings). Dunhuang Academy selected the most common Flying Apsaras image in Dunhuang frescoes for linkage, while the official of Honor of Kings selected the hero Yang Yuhuan, whose temperament image is most consistent with Dunhuang Flying Apsaras, for linkage. After more than 6 months of patient polishing, Xu Yanyi, the main skin designer and 2D art designer of Honor of Kings, overturned five editions of original painting design, and went to Dunhuang Mogao Grottoes in person to experience the charm of Dunhuang frescoes and understand the spiritual connotation of Dunhuang Flying Apsaras, and finally completed the original painting design of Yang Yuhuan’s Meeting A Flying Apsaras skin (as shown in the picture). Meanwhile, the modeler and special effect engineer made concerted efforts to present the flying apsaras image in the frescoes lifelike in front of the game players. The skin of Meeting A Flying Apsaras once launched triggered a huge response, players were very surprised and curious about this novel way of linkage, and began to take the initiative to learn about Dunhuang culture. Various data show that the cooperation between Dunhuang Academy and Honor of Kings has been a great success and a win-win situation has been achieved. The opening line of the Skin, &amp;quot;I meet you, and there are still colors in me,&amp;quot; pulls the player's imagination back to the prosperous age of Tang Dynasty more than 1,000 years ago. After thousands of years of wind and sun exposure, Dunhuang frescoes are no longer the scenery of that year, with colors falling and dull. However, through &amp;quot;Internet+&amp;quot;, the once weathered Dunhuang frescoes, which have suffered a lot in the past, meet people again in a new way.&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[[File:Example.jpg]]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Shen Lu (Meeting A Golden Deer)'''  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;''' Yu Jian Shen Lu (Meeting A Golden Deer)'''  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Zhao Yuxiang</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146451&amp;oldid=prev</id>
		<title>Zhong Qing: /* 英语笔译	钟青	Zhong Qing	202170081611 */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146451&amp;oldid=prev"/>
		<updated>2022-07-05T06:12:17Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;英语笔译	钟青	Zhong Qing	202170081611&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;a href=&quot;https://bou.de/u/index.php?title=20220630_Culture_10&amp;amp;diff=146451&amp;amp;oldid=146441&quot;&gt;Show changes&lt;/a&gt;</summary>
		<author><name>Zhong Qing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146441&amp;oldid=prev</id>
		<title>Zhong Qing: /* References */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146441&amp;oldid=prev"/>
		<updated>2022-07-05T05:58:57Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;References&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;tr class=&quot;diff-title&quot; lang=&quot;en&quot;&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 05:58, 5 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l612&quot; &gt;Line 612:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 612:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===References===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===References===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;*Wang Jianhua &lt;/del&gt;(2021). The &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Reception &lt;/del&gt;of &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Liu Cixin's ''Three Body Problem'' &lt;/del&gt;in &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Europe&lt;/del&gt;. &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Oxford&lt;/del&gt;: &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Oxford University Press&lt;/del&gt;, &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;450 pp&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[1].Altmanova，J．，Centrella，M．＆Ｒusso，K．E．Terminology＆Discourse［M］．Bern:Peter Lang AG，International Academic Publishers, 2018．&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[2].Cabré, M. T. Theories of Terminology: Their Description, Prescription and Explanation[J]．Terminology, 2003&lt;/ins&gt;(&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;2):163-199．&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[3].CHEN Xiangmei[陈香美]. Propositions, Characteristics and Research Objects Of Communicative Terminology[J].Chinese Terminology of Science and Technology,2017,19(05):17-22.[交际术语学理论主张、特点及研究对象,中国科技术语 19]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[4].HAO Zhiceng[郝志层]. Consistency analysis of English Translation of Official Terms in the Ming Dynasty[D]. Dalian University of Technology, 2020.[明代官制术语英译的一致性分析,大连理工大学]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[5].LI Xiuying,WU Weiwei[李秀英,武唯薇]. Research on the Significance Construction Mechanism of English Translation of Tang Dynasty Official Terms Based on LCCM Theory[J].Journal of Dalian University of Technology (Social Science Edition), &lt;/ins&gt;2021&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;,42(06):120-128.[基于LCCM理论的唐代官制术语英译的意义建构机制研究, 大连理工大学学报(社会科学版&lt;/ins&gt;) &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;42]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[6]&lt;/ins&gt;.&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Lin Yu[林驅]: &lt;/ins&gt;The &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Origin &lt;/ins&gt;of &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;the Ancient Year to the Theory[M]. Sequel Volume 5 Six. Song, Four Libraries Book Series, page 429, lower column, page 430 column.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[7].LIU Shengfeng,WEI Xiangqing[刘性峰,魏向清]. Contextualized Translation Strategies of Ancient Chinese Scientific and Technological Terms under the Threshold of Communicative Terminology[J].Shanghai Translation, 2021(05):50-55.[交际术语学视阈下中国古代科技术语的语境化翻译策略, 上海翻译 5]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[8].New Book of Tang, vol. 145, Biography of Yang Yan: 4723-4724.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[9].PAN Xiangxue[潘向雪]. English Translation of Words Related to Official Positions &lt;/ins&gt;in &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Strange Stories From a Chinses Studio from the Perspective of Semiotics[D]. Beijing University of Foreign Chinese,2014.[符号学视角下《聊斋志异》官职相关词语英译, 北京外国语大学]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[10].WU Fang, ZHANG Longkuan[吴芳,张龙宽]. A Brief Discussion on the Translation of Ancient Chinese Official Titles[J]&lt;/ins&gt;. &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Journal of Changchun Normal University (Humanities and Social Sciences Edition), 2009,28(11)&lt;/ins&gt;:&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;114-118.[简论中国古代官职名称翻译,长春师范学院学报(人文社会科学版 28]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[11].Zhang peng[张鹏]. Critique of General Terminology Theory (TGT Theory)[J].Chinese Journal of Science and Technology Terminology,2011&lt;/ins&gt;,&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;13(02):15-21&lt;/ins&gt;.&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[交际术语学理论(TCT理论)对普通术语学理论(TGT理论)的批判, 中国科技术语 13]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	周皓熙	Zhou Haoxi	202170081612==&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	周皓熙	Zhou Haoxi	202170081612==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Zhong Qing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_10&amp;diff=146440&amp;oldid=prev</id>
		<title>Zhang Minfeng at 05:55, 5 July 2022</title>
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		<updated>2022-07-05T05:55:02Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
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		<author><name>Zhang Minfeng</name></author>
	</entry>
	<entry>
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		<title>Root: Created page with &quot;[https://wiki.ruhr-uni-bochum.de/uvu/index.php/Chinese_Language_and_Culture_2022|Back to course homepage], Back to final exam paper overview: 20220630_Culture   ==This is...&quot;</title>
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		<updated>2022-06-28T04:29:01Z</updated>

		<summary type="html">&lt;p&gt;Created page with &amp;quot;[https://wiki.ruhr-uni-bochum.de/uvu/index.php/Chinese_Language_and_Culture_2022|Back to course homepage], Back to final exam paper overview: &lt;a href=&quot;/u/wiki/20220630_Culture&quot; title=&quot;20220630 Culture&quot;&gt;20220630_Culture&lt;/a&gt;   ==This is...&amp;quot;&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage], Back to final exam paper overview: [[20220630_Culture]] &lt;br /&gt;
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==This is the final exam paper website no. 10==&lt;br /&gt;
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]&lt;br /&gt;
&lt;br /&gt;
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''' ...&lt;br /&gt;
*[[20220630_Culture_2]] papers 11-20 - 20: Liu Shuangying&lt;br /&gt;
*[[20220630_Culture_3]] papers 21-30 - 30: &lt;br /&gt;
*[[20220630_Culture_4]] papers 31-40 31: Tuo Shumei&lt;br /&gt;
*[[20220630_Culture_5]] papers 41-50&lt;br /&gt;
*[[20220630_Culture_6]] papers 51-60&lt;br /&gt;
*[[20220630_Culture_7]] papers 61-70&lt;br /&gt;
*[[20220630_Culture_8]] papers 71-80&lt;br /&gt;
*[[20220630_Culture_9]] papers 81-90&lt;br /&gt;
*[[20220630_Culture_10]] papers 91-100&lt;/div&gt;</summary>
		<author><name>Root</name></author>
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