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• 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, 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572
• 20220630_Culture_2 papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582
• 20220630_Culture_3 papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592
• 20220630_Culture_4 papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602
• 20220630_Culture_5 papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612
• 20220630_Culture_6 papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622
• 20220630_Culture_7 papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632
• 20220630_Culture_8 papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

英语笔译 黎溢佳 Li Yijia 202170081573

On Gender Discrimination in Chinese

Abstract

Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

Key words

Language; Cultural Factors; Gender Discrimination; Chinese

Introduction

Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Literature Review

The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism. Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.

Word Formation

Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is File:Chinesecharacterjpg , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women. There are five type of Chinese characters with a “女”. A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”. B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”. C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”. D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”. E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”. In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

英语笔译 李思源 Li Siyuan 202170081575

Chinese Lantern Culture Li Siyuan

Introduction

Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.

The origin of Chinese Lantern civilization and typical kinds

Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room. Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.

Some common cultural implications of Chinese lantern

Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.

The symbolic significance of lanterns in film and television works

The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication. Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination. In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the Legend of Zhen Huan, the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace. In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.

References

[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48. [2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015. [3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.

Terms and expressions

Calligraphy lanterns书法灯笼 Paper-cut lanterns 剪纸灯笼 Lantern Festival 元宵节 Spring Festival 春节 carrier 载体 auspiciousness 吉祥 reunion 团圆 bumper harvest 五谷丰登 Zhao Jun Out of the Frontier 昭君出塞 the fifteenth day of the first month of lunar year 正月十五 The Legend of Zhen Huan 甄嬛传

Questions

Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?

Answers

Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.

英语笔译 李婷 Li Ting 202170081576

Language Culture in Chinese Cuisine Names Li Ting

Introduction

Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.

Looking at Chinese Cuisine Names through Linguistics

1. Meanings of Cuisine Names

In terms of the meanings of cuisine names, they can be briefly divided into the following three types:

The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182)

The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)

The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)

2. The Naming Methods of Dish Names

The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:

2.1 Named after Ingredients and Cooking Methods

This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on.

Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )

2.2 Freehand Naming

Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)

2.3 Named after a Person or a Place

There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154)

In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)

2.4 Named after Historical Allusions

Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)

2.5 Named after Numeral Abbreviations

Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )

2.6 Named after Animals and Plants Names

People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )

Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )

2.7 Named after Precious Metals and Jade

Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )

2.8 Named after Auspicious Words

In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)

3 Rhetorical Devices in Cuisine Names

When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.

3.1 Figure of Speech

The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)

These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.

3.2 Hyperbole

Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.

3.3 Allusion

The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)

3.4 Personification

Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.

The Cultural Connotation of Chinese Cuisine Names

Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.

1. The Good Meanings and Visions in Cuisine Names

Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.

2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names

Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)

In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.

3. Regional Features in Cuisine Names

There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.

The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)

The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)

Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)

The Psychological Functions of Chinese Dish Names

Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes. The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.

It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)

The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)

In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)

Conclusion

The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.

References

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Terms and expressions

Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子

Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙

Cut: 切 chop：剁 split：劈 scrape：剔

Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥

Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤

stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

Quick-frying shredded Mutton with Scallion：葱爆羊肉丝

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗

Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁

Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋

Jade and White Jade, Shrimp with green Vegetable：翡翠白玉

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕

The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠

Crusade against daddy：早生贵子

Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅

The Sacred Family of the Confucian Mansion：孔府衍圣公

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会

Full of Prosperity：满园春色

Questions

1.How many naming methods are mentioned?

2.Who is the Four-Joy Meatballs associated with?

3.In the Chinese cuisine names, what is hibiscus often used to refer to?

Answers

1.Eight.

2.Zhang Jiuling

3.Egg white.

英语笔译 李欣 Li Xin 202170081577

The contradiction between language and mind 李欣

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

References

• Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 李颖 Li Ying 202170081578

Overview on Miaoyu Li Ying

Abstract

Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.

Keywords

Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language

Literature Review

In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.

After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.

During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.

At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.

Methods and Theories

This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.

Subtitle 1：The Motivation of the Miaoyu

In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

Subtitle 2:Miao Nationality

1.The Source of the Name “Miao”

There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.

2.The Distribution of Miao Nationality

(1)Domestic Distribution

The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.

(2)Overseas Distribution

The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places. In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.

The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

Subtitle 3:The origin of the Hmong and the historical formation of the Hmong

1.Origin of the Miao

Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.

There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.

The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."

2.Historical formation of the Hmong

This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".

The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.

Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.

During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

Subtitle 4: Miao Folk Beliefs

The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.

Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.

The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.

Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.

Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.

In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

Subtitle 5:Overview of the Hmong Language

Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.

After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.

Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.

1.Characteristics of Xiangxi dialect

The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.

2.Qiandong dialect

The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.

3.Chuanqian Dian dialect

The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.

The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.

The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.

The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.

The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.

The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.

(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.

(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".

In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables. Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.

The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."

The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.

(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example

In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.

The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.

The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.

Conclusion

China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

References

• Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.
• Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.
• Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.
• Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.
• Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.
• Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.
• Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.
• Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University
• Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp
• Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house
• Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house

英语笔译 李媛 Li Yuan 202170081579

On Phonetic Loan Character (Tongjiazi) in Chinese and its English Translation in The Analects of Confucius LiYuan

Abstract

The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in The Analects of Confucius as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.

Key words

phonetic loan characters(tongjiazi); English translation methods; The Analects of Confucius

Introduction

The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context, and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang Li, 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, and that they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translations of passwords on the Internet, and the original texts are all medical texts, which means that the field of English translations of passwords still needs more exploration. In this paper, the English translation of Xu Yuanchong's text of the Analects of Confucius is taken as an example, and the translation methods used in translating the passages are analysed. hopes that the study of the English translation of passages in canonical texts will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of passages.

Definition of phonetic loan characters (Tongjiazi)

The use of a character with the same or similar pronunciation is one of the phenomena of Chinese character use, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, instead of using the original character, the writer temporarily borrows a character with the same or a similar sound. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific character is used as the standard character. As can be seen, a generic character is a borrowing of an existing character. The character that is replaced by a generic character is called the 'original character'. They may or may not have the same or similar pronunciation, different forms, or related meanings as the original character. To clearly define a generic word, one needs to be aware of its distinction and connection with archaic and modern words, variant words and pseudonyms. Ancient and modern characters are different words used in the same word in ancient and modern times, and this group of words is called ancient and modern characters. As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a phenomenon of substitution through time. In contrast, a generic character appears at a particular time in place of the original character, and is a kind of co-temporal substitution. A variant character is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a generic character has the same pronunciation as the original character, but is not written in the same sense or in the same way. A pseudoword is a substitution for a word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted a word with the same or similar pronunciation, in which case the original character appears to be missing. By contrast a pass-word is a substitution for a word that is already there. It can be seen that there are several characteristics of the Tongjiao character: firstly, it is a pseudonym; secondly, there is an original character; thirdly, it is a co-temporal substitution; and fourthly, it is homophonic, non-homonymous and non-homomomorphic. Therefore, it can be defined as a co-temporal substitution of the original character, which is homophonic, heteromorphic and heteronymous with the original character.

Origin and Development of phonetic loan characters (Tongjiazi)

This article summarises the following theories about the origins of tongyongzi, or the causes of tongyongzi.

One is due to the limited number of ancient Chinese characters. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and usage going from arbitrary to standardised. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of pseudo-borrowing came into being. In his Shuowen Jiezi, Xu Shen writes: "A pseudo-borrower is one who originally has no character, but relies on the sound to support the matter, so that the long is also." This is the situation he is referring to, where for an object, for which there was no Chinese character at the time to represent the object, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a pseudonym for an existing character, the appearance of a generic character would have followed the appearance of the pseudonym.

One reason is that ancient Chinese characters did not develop a fixed normative usage. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning.

One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some readers and recorded by others in writing. These readers also recited the content from their own memory, and their pronunciation may have been influenced by the dialect and they could not say the sound of some words, and then the writers often heard one word as another and recorded the same word in different forms.

One is the ancient emphasis on the sound of words rather than their form. The ancients believed that language existed by virtue of sound, and emphasized that the sound was the meaning of the word, and that the hearer knew the meaning when he heard the sound, so the ancients often recorded the words according to sound. In this way, the creation of tongyong characters was a natural consequence of the contradictory movement between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan Lin, 1987).

One is to forget the original word and substitute it with the same sound. The ancient people, when making records, could not think of the original word and used a different word instead, as pointed out by Zhao Yi of the Qing Dynasty: "The word with the same sound and different meaning is unknown to common scholars, and is often written by mistake, as the world calls it." The first person to write this way was of course writing a white character, as mentioned earlier, but when later people followed suit, it became a "generic" character.

One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the character and save writing time.

One is for the sake of avoidance. It was most taboo for the ancients to call their parents by the word in their names, or to write the word in their parents' names directly, borrowing other words instead. All but the emperor himself could not write the name of the emperor of the dynasty.

The creation and development of the Tongjiao character is inseparable from history. During the Spring and Autumn and Warring States Periods, when a hundred schools of thought were contending for supremacy, society at the time was full of new ideas and changes, and the unprecedented demand and usefulness of written records had a major impact on the evolution and development of Chinese characters. During this period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of variant, homograph and passwords in later times (Chen Zheng, 2015). It was only after the Qin state unified the six states and implemented the "same script", using the small seal script as the unified script for the whole country, that the use of characters became more standardized and the use of common pseudonyms gradually decreased. During the Eastern Han Dynasty, Xu Shen's "Shuowen Jiezi" was published and the use of characters became more standardised, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some literati still used pass-words, but during the Tang and Song dynasties, apart from the occasional use of previous pass-words in folk literature, new pass-words were generally not written, and any use of previous pass-words or new pass-words was seen as a misspelling of characters. From this time onwards, the use of tongyong characters was gradually discontinued, but the tongyong characters in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the vernacular, the use of the Tongjiao characters ceased completely. Many experts and scholars have systematized and standardized the customary usage of the ancient Tong Pai characters by sorting out and examining them, and have published some ancient Chinese dictionaries to facilitate modern readers' access to the explanations and usage of Tong Pai characters.

The Role of phonetic loan characters (Tongjiazi) in the Development of Chinese Characters

The existence of pass-words has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of pass-words nowadays. As to the role, or significance, of the existence of tongyong characters, some previous scholars have argued that tongyong characters were a counter-current in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of pass-words ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous pass-words after their use was standardised, so it is clear that pass-words should have their own unique role in the history of Chinese character development, and an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987), the role of tongyong is, firstly, a major morphological shift in the use of character harmonies; secondly, tongyong reflects the richness and dynamism of the Chinese vocabulary; thirdly, tongyong contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardisation of Chinese characters is a regular requirement in the development of tongyong. The existence of passwords is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of characters was social rather than personal, and the correspondence of the characters in ancient texts was largely fixed (Wei Ying, 2013: 27).

Influence of phonetic loan characters (Tongjiazi) on translation

To translate ancient texts, it is a crucial step to identify the common characters in them. It is only by successfully identifying the pass-words that the meaning of the sentence can be correctly understood and the translation can be ensured to be smooth and fluent, so the English translation of pass-words is of research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, in-language translations, from literary texts into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, etc., all of which have contributed to the translation of pass-words. At this point, the choice of the translation base will also affect the effectiveness of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some pass-words, if the translation feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translation should be promptly checked, and methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries can be adopted. In addition, in today's fast-changing world of modern science and technology, translators should be good at using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of common and false characters in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of pass-words, as well as authoritative translations of some canonical texts, of which the translations of pass-words are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords "通假字" and "英译" on the Chinese Internet, I found that there are only two papers on the English translation of Tong Pao characters, one of which is "An Analysis of Tong Pao Characters in the English Translation of Chinese Medical Terms --The other one is "An Analysis of the Treatment of Tong Fei Characters in the English Translation of the Jin Kui Yao (Essentials of Jin Kui): An Example of Luo Xiwen's Translation", and the other one is "An Analysis of the Treatment of Tong Fei Characters in the English Translation of the The study is focused on the use of the Chinese characters in Chinese medical texts. This shows that the depth of research in the field of English translations of passwords is still far from adequate.

English translation methods of phonetic loan characters (Tongjiazi) in the Analects of Confucius

The number of passwords in the Analects is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong has stronger Chinese language skills and is more accurate in his understanding of the original text. In Xu Yuanchong's translation of the Analects, the main methods of translating the passages into English are the direct translation of the original characters, the (1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》) TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care. In this sentence, "便" means "argue". The original meaning of "convenient" is to be comfortable, while the original meaning of "argue" is to conduct a case, which requires good speech. Therefore, in the sense of "good at speech", "便" is used as "辯". In Xu Yuanchong's translation, "便便言" is translated as "he spoke readily", which according to the Oxford Dictionary means "According to the Oxford Dictionary, the word 'readily' means 'quickly and without difficulty', which indeed has a meaning of being eloquent. As for the translation method, "readily" is not a direct translation of the original word "辯", but rather a synonymic paraphrase combining the generic word and the original word. (2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》) TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error. In this sentence, "加" is used as "假", meaning "give", and the translation is "give" . (3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》) TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?” (4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) TT: He wears a black robe over lamp’ s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur. In this sentence, the word '麑' means '幼鹿'. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The colour of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the word 'fawn'. (5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) 。 TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.In this sentence, the word "have" is translated as "again", meaning "again, plus". The word "ten and five" means "ten plus five years", or "fifteen years", and is translated as "fifteen". The translation is "fifteen". The translation method adopted is a direct translation of the generic word, because the meaning of "there" as "again, plus" has already been agreed upon, and the actual meaning is known even without the perspective of the generic word and the original word. (6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described. In this sentence, "獻" means "ritual", and the original meaning of "獻" is the dog used in the temple sacrifice. The word "document" refers to a book or a sage. The word "documents" has been used in modern Chinese to refer to records and records, so it is directly translated as "documents".

Conclusion

This article introduces the definition of a generic character in ancient Chinese, i.e. a co-temporal substitution of a character that originally existed and was homophonically different from the original character. One was due to the need for simplicity; one was due to the need to avoid taboo, and the common characters appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when translating such texts. When translating such texts, then, translators need to acquire certain literacy and skills. In addition to a certain level of literacy and literacy and a basic grasp of the style and sentence structure of literary texts, they also need to have the ability to identify and verify passwords. In addition, modern translators should master certain computer-assisted translation techniques, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on passages. This paper takes Xu Yuanchong's English translation of Theses as an example, analyses the English translation of the pass-words in it, and comes up with three methods for the English translation of pass-words: direct translation of the original characters, direct translation of the pass-words, and synonymous paraphrasing, in order to make the research on the English translation of pass-words in canonical texts a step forward, and to make more scholars and translators pay attention to the research on the English translation of pass-words, so as to produce higher quality English translations of Chinese canonical texts and better spread Chinese language and culture abroad.

英语笔译 李梓婕 Li Zijie 202170081580

Confucius Institutes Li Zijie

Introduction

The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

英语笔译 廖诗韵 Liao Shiyun 202170081582

Study on The translation Strategies of Chinese Idioms Liao Shiyun

Abstract

An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.

Key words

Idioms; Fortress Besieged; Foreignization; Domestication

Introduction

With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.

Literature review

Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation. Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.

the Translation Strategy of Idioms

Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.

(1)Foreinization and Domestication

Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.

Advantages and disadvantages of Domestication

The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture.

However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.

Advantagaes and disadvantages of Foreignization

As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.

Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.

The Introduction of Chinese Idioms

(1)Definition

Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.

(2) Basic features

(2.1) Fixed structure The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.

(2.2)Number-fixed words In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.

(2.3) The intergrity of meaning The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".

The Cultural Difference between Chinese and English idioms

English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.

(1) Differences in Living Environment

Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.

(2) Differences in social customs

Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..

(3) Differences in Religious Beliefs

Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.

(4) Differences in History and Culture

Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..

Case study

This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.

(1) Foreinization

When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.

Example 1：艳如桃李，冷若冰霜

Translation：as delectable as peach and plum and as cold as frost and ice

Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.

Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。

Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.

Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.

Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。

Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”

Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.

(2) Domestication The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.

Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。

Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.

Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.

Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。

Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”   Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.

Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。

Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.

Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression “were not in each other’s way”, so that the target language readers can quickly understand the original text.

Conclusion

Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.

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英语笔译 刘唱 Liu Chang 202170081583

Analysis on Localized Translation of English Games Based on Skopos Theory --Taking League of legends as an Example Liu Chang

Abstract

At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

Key words

Skopos Theory; Game Translation; League of Legends

Introduction

(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything! In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

Literature Review

(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).” There are four stages of the development of the Skopos Theory of Translation: The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009). Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

Methods and Theories

(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996). Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

Translation Under Skopos Theory

(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

Mistranslation in League of Legends

During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

Conclusion

Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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英语笔译 刘乐乐 Liu Lele 202170081584

The Transmission of Chinese Folk Art

Introduction

There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy. Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===

Similarities

2.1 A Special Academy There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.

Application

Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere. 德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。 婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。 In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so... 这也许是杜斯礼一家搞的恶作剧？

也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？ Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”? When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.

References

[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96. [2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118. [3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160. [4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20. [5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31. [6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13. [7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

英语笔译 刘双英 Liu Shuangying 202170081585

The Transmission of Chinese Folk Art

Introduction

China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.