Difference between revisions of "20220630 Culture"

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==英语笔译 卞王倩 Bian Wangqian 202170081563==
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Back to course homepage: [[Chinese_Language_and_Culture_2022]]
  
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==英语笔译 曹姣 Cao Jiao 202170081564==
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=This is the final exam paper website overview=
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===Introduction===
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Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]
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'''1.Court Culture'''
 
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As the unique residence of the empire, the highest ruling class, and the core part of the state’s political power, the palace, or say the court, plays an extremely important and special role in the development of human society, especially in ancient Chinese society. Compared with the study of court history, the study of court culture is especially weak. As an organic part of the whole social culture, court culture has not only one side associated with other aspects of social culture, but also one side of its own particularity. The study of palace culture can not only enrich our understanding of the whole social culture, but also enable us to obtain a new perspective on the development of palace literature and art. Therefore, it is very necessary to strengthen the study of palace culture, no matter for the overall study of cultural history or literary history.
 
  
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As for "court culture", historians and cultural historians seem to have not made a clear definition and interpretation of it. While Liu Zunming, a famous scholar from Hubei University, believes that palace culture should be composed of material culture and non-material culture, and is the sum total of lifestyles, ideology and products created by the imperial aristocracy. Then the scope of court culture should include court architecture, politics, system, economy, religion, education, literature and art, lifestyles in court and so on.
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==Papers 1-5==
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[[20220630_Culture_1]] papers 1-5: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 , 2: 英语笔译 曹姣 Cao Jiao 202170081564 , 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,
  
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'''2.The poem ''the Everlasting Regret'' and its author'''
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==Papers 6-10==
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Changhenge, also known as ''The Everlasting Regret'', with a romantic realistic means, interprets Li Longji and Yang Yuhuan's love tragedy against the backdrop before and after the Anshi Rebellion in the middle Tang Dynasty; at the same time, it covers a variety of themes, such as eulogizing love, lamenting fate and admonishing Kings. The first part of ''The Everlasting Regret'' mainly describes Li and Yang's love story and the lavish and luxurious court life, implying an allegory of the emperor's adultery and mismanagement of the country. The second half is full of poignant and sympathetic description of Xuanzong's profound love for him, singing the praises of The constancy of Li Yang's love. The whole poem adopts the realistic writing technique of romanticism, so that the narrative and lyric feelings complement each other, which has become the artistic feature of The Everlasting Regret, and also leaves an endless aftertaste and research space for future generations. What’s particularly valuable is that it contains a lot of information reflecting Tang Dynasty court culture life details, and involves the depiction of characters, women’s dress and makeup, court architecture, music of court banquets and so on. In this sense, The Everlasting Regret as unprecedented literature unseen in 10 centuries, is also of great historical value in the study of court culture in the Tang Dynasty.(c.f: Yao Ronghua 2012,121-127)
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[[20220630_Culture_2]] papers6-10 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
  
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Bai Juyi was an ancient realist poet. In many of his works, there are descriptions related to the cultural life of the Tang Dynasty court. These descriptions are not made up out of groundless rumor or supposition, but come from his careful observation and speculation on this kind of subject matter, which makes the descriptions appear meticulous and vivid.
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==Papers 11-15==
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[[20220630_Culture_3]]  papers 11-15: 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
  
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===Make-up and headgear in The Everlasting Regret===
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==Papers 16-20==
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'''1. On eyebrow makeup'''
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[[20220630_Culture_4]] papers 16-20 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
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“That she outshone in six palaces the fairest face”, “Until the Lady Yang was killed before the steed”, “Willow leaves like her brows and lotus like her face” and “Eunuchs and waiting maids looked old in palace deep” these four lines depict the female makeup in the imperial court. In the first sentence, "Fendai" refers to beauties in the imperial palace except for Yang, because aristocratic women in the heyday of the Tang Dynasty often adorned their faces and eyes with makeup and stone dais. The two words "fen" and "dai" have their own meanings respectively: "fen" is the powder used by ancient women to lighten their complexions; "Dai" is the brunet mineral used when drawing eyebrows, especially in ancient times. According to the differentiated shades, they could produce different eyebrow make-up like black eyebrows or emerald green ones. In this case, “dai” refers to the color of eyebrow make-up. The other three sentences describe eyebrow makeup from the aspect of eyebrow shape, reflecting the two most popular eyebrow makeup forms in the Tang Dynasty – “the willow-leaf shaped eyebrow” and “the moth eyebrow”. The moth eyebrow was the most prominent eyebrow makeup in the Tang Dynasty. It is broad in shape, vaguely ethereal in outline, light and natural in color, and looks like the wings of a moth in appearance, hence the name. As can be seen from the name, the willow-leaf shaped eyebrow is a slender eyebrow makeup similar to willow leaves. It is slightly thick in the middle and tapers at both ends, which can increase the charm of feminine charm. Historical data did not record Yang wearing willow-leaf shaped eyebrows clearly, but from a host of Tang poetry and painting materials, it is easy to judge willow-leaf shaped eyebrows are one of the popular eyebrow makeup styles in the Tang Dynasty, and whether court ladies or ordinary girls are happy to draw it to present their dignified and beautiful amorous feelings. (c.f: Tian Miao 2003,108-112)
 
  
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'''2.On clothing and headgear'''
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==Papers 21-25==
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The description of female jewelry in ''The Everlasting Regret'' can be seen frequently, such as " flowerlike face and cloudlike hair, golden-headdressed,", " golden bird and comb with which her head was crowned " and " for him to carry back, hairpin and case of gold ". In these sentences, descriptions like “golden-headdressed” or “Zan”, " golden bird and comb ", "golden finch", "Jade headdress", "golden hairpin", " case of jewelry " and other things related to women's headgear. Women’s headgears in ancient China were used mainly for hairstyles, with its original function as hair constraint. With the development of society, the specification of women’s headgear became increasingly complex. Consequently, a new feature appeared: headgear was not only the embodiment of a girl well into her adulthood, a demonstration of wealth, and a sign of social status, but also a part of etiquette. There are four main types of headgears mentioned in The Everlasting Regret: Zan, Chai, Buyao, as well as Dianhe or cases of jewelry (inlaid with gold, silver and jewels).
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[[20220630_Culture_5]]  papers 21-25: 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,
  
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Zan is the most antique and widely spread in ancient China, also the oldest appliance for hair constraint in China. In the early days, most of them were made of natural materials such as wood, bamboo, animal bone, stone, etc., with practical function in general. By the Tang Dynasty, due to the social function of Zan becoming more and more obvious, great progress had been made in materials selection, production technology and decorative design, etc., and Zan, made of jade, gold and silver, emerald green feathers, and shells, appeared. On top of the change in material, its decorative graphics have also seen great changes, more complex and delicate.
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==Papers 26-30==
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[[20220630_Culture_6]] papers26-30 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
  
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The main function of the Chai tends to be a decorative one, compared with Zan. Women decorated hairstyles with them in order to project their charm, and show off wealth and status, so the Chai in the Tang Dynasty became the most important headgear. A set of Chai often contains two pieces each, with symmetrical patterns, inserted in hair with one on the left and the other right. However, women in the Tang Dynasty often wore multiple Chai at the same time, and the number of them varied in light of the height of chignon. The higher the chignon was, the more Chai there would be. Unlike Zan, the foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". In The Everlasting Regret, the sentence “keeping one side of the case and one wing of the Chai" tells that Yang Yuhuan broke the golden Chai into two from the part of the Chai thighs, which well embodies the modeling characteristics of Chai thighs.
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==Papers 31-35==
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[[20220630_Culture_7]] papers 31-35: 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,
  
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Buyao is another kind of traditional Chinese women's headgear, which is interpreted in an ancient book as: Buyao, with drooping beads over it, will shake the beads as a wearer is walking. Therefore, the name of "Buyao" is taken from the meaning of "shaking as stepping". The buyao vibrates with the steps of women, and the intertwining of beads, jade, gold and silver makes it appear colorful, which can best reflect the graceful bearing of women's vigor and vitality. By the Tang Dynasty, with the increasing prosperity of the social economy and the increasing extravagance and pomp, the etiquette symbolized in gold Buyao started to tamper among the aristocracy and gradually became popular among ordinary people. The popular shape of Buyao in the Tang Dynasty was like " a gold phoenix, with a bottom at below, a pin at the front, decorated with colorful jade beads shaking as stepping by."(Yao Ronghua,2012)
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==Papers 36-40==
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[[20220630_Culture_8]] papers36-40 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
  
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===Court banquets===
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==Papers 41-45==
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In addition to embodying the deep love between Yang and Li， those two sentences "in revels as in feasts she shared her lord’s delight" and “drunk with wine and spring at banquet in Jade Tower” can also reflect the frequency of holding court banquets or banquets for all. Court banquet generally refers to the feast held by the emperor for rewarding reasons, attended by officials at all levels and envoys from all over the world, in which court music, dance and acrobatics performances on a certain scale would be arranged. If it was on a larger scale, where even ordinary people may attend,  it was called "banquet for all",  normally lasting for several days. Rulers held banquets for all, also known as "bestowing banquets", and the whole country was covered in huge hilarity in the banquet hall during the events. Both the aristocracy and the common people could find their freedom and happiness in the private banquet. Concerning the purpose of bestowing banquets, on the one hand, it was to satisfy the cultural needs of the people as well as seek cohesiveness from them; on the other, was to consolidate its feudal regime, demonstrate the rulers' authority and give benefits to the people. (Yang Guoyu,2016)
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[[20220630_Culture_9]] papers 41-45: 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,
  
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===Palaces and architectures===
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==Papers 46-50==
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Among the names of palaces or places mentioned in the poem, some of which are authentic, while some are fictitious for artistic reasons.
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[[20220630_Culture_10]] papers46-50 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
  
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“She bathed in glassy water of Huaqing Pool”, “ in lotus-flower curtain she spent the night blessed”, “her beauty served the night when dressed in Golden Bower ”,  “drunk with wine and spring at banquet in Jade Tower” etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet described the content of their love life, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing, and the exclusive love to Yang; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan, and also render their love story.
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==Papers 51-55==
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[[20220630_Culture_11]] papers 51-55: 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,
  
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In the sentences of " Knocking at the western gate of palace hall, he bade", " days and months appeared long in the fairyland halls", "Jin Que" or “ Palace Hall”, and "Penglai Palace" both are palaces existing in mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace" and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" refers to the palace where they lived together during those years, while "Golden House" and "Jade Tower" are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.
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==Papers 56-60==
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[[20220630_Culture_12]] papers56-60 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
  
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===Conclusion===
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==Papers 61-65==
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In a nutshell, descriptions of women’s appearances and dressings, imperial court life and architecture in The Everlasting Regret were meant to reflect the love between the two, and show us what the history was. On the other hand, regarding this poem as part of the historical materials provides a significant perspective on historical research.
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[[20220630_Culture_13]]  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,
  
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===Preferences===
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==Papers 66-70==
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[1]Liu Zunming刘尊明.中国古代的宫廷及其文化特征. 湖北大学中文系(文史知识),61-65.
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[[20220630_Culture_14]] papers66-70 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
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[2]Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究. 南京师大学报(社会科学版)(06),121-127.
 
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[3] Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究(博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh
 
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[4]Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨. 北京社会科学(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201.
 
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[5]Tian Miao田苗.(2003).唐代妇女眉妆演变考论. 西北大学学报(哲学社会科学版)(02),108-112.
 
  
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===Terms and Expressions===
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==Papers 71-75==
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The Everlasting Regret 《长恨歌》
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[[20220630_Culture_15]] papers 71-75: 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,
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the Anshi Rebellion 安史之乱
 
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eyebrow makeup 眉妆
 
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headgear 头饰
 
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the willow-leaf shaped eyebrow 柳叶眉
 
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the moth eyebrow 蛾眉
 
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golden-headdressed; Zan 簪
 
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Chai 钗
 
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Buyao 步摇
 
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court banquet
 
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banquet for all 酺会
 
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bestowing banquet 赐酺
 
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Huaqing Pool 华清池
 
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Golden Bower（Jinwu） 金屋
 
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Jade Tower 玉楼
 
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Jin Que or Palace Hall: 金阙
 
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Penglai Palace：蓬莱阁
 
  
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===Questions===
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==Papers 76-80==
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1. What is "Chai thighs"?
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[[20220630_Culture_16]] papers76-80 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
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2. What does “Fendai” mean?
 
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3. What is “Buyao”?
 
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4. Does “Jinque” and “Penglai Palace” exist in the real world?
 
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===Answers===
 
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1.The foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs".
 
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2."Fendai" refers to beauties in the imperial palace except for Yang Yuhuan.
 
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3.“Buyao” is a kind of traditional Chinese women's headgear, with drooping beads over it, and will shake the beads as a wearer is walking. Therefore, it also known as “Shaking as Stepping”.
 
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4."Jin Que" or “ Palace Hall”, and "Penglai Palace" both are palaces existing in mythology, which are set off as the background for the appearance of this imperial concubine.
 
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==英语笔译 陈路瑶 Chen Luyao 202170081565==
 
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==
 
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==英语笔译 邓阳林 Deng Yanglin 202170081567==
 
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==英语笔译 高智慧 Gao Zhihui 202170081568==
 
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==英语笔译 何丽娜 He Lina 202170081569==
 
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==英语笔译 胡良明 Hu Liangming 202170081570==
 
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==英语笔译 黄琼 Huang Qiong 202170081571==
 
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==
 
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==英语笔译 黎溢佳 Li Yijia 202170081573==
 
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==英语笔译 李思敏 Li Simin 202170081574==
 
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==英语笔译 李思源 Li Siyuan 202170081575==
 
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==英语笔译 李婷 Li Ting 202170081576==
 
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==英语笔译 李欣 Li Xin 202170081577==
 
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==英语笔译 李颖 Li Ying 202170081578==
 
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==英语笔译 李媛 Li Yuan 202170081579==
 
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==英语笔译 李梓婕 Li Zijie 202170081580==
 
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==英语笔译 梁思婷 Liang Siting 202170081581==
 
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==
 
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==英语笔译 刘唱 Liu Chang 202170081583==
 
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<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
 
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--Taking League of legends as an Example'''</center>
 
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<center>Liu Chang</center>
 
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===Abstract===
 
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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.
 
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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.
 
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===Key words===
 
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Skopos Theory; Game Translation; League of Legends
 
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===Introduction===
 
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===Literature Review===
 
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===Methods and Theories===
 
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===Subtitle 1===
 
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===Subtitle 2===
 
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===Subtitle 3===
 
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===Subtitle 4===
 
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===Conclusion===
 
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===References===
 
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==英语笔译 刘乐乐 Liu Lele 202170081584==
 
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==英语笔译 刘双英 Liu Shuangying 202170081585==
 
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==英语笔译 刘婷 Liu Ting 202170081586==
 
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==英语笔译 刘瑶 Liu Yao 202170081587==
 
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==英语笔译 刘珍 Liu Zhen 202170081588==
 
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==英语笔译 龙翰良 Long Hanliang 202170081589==
 
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==英语笔译 罗姚林 Luo Yaolin 202170081590==
 
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==
 
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==英语笔译 聂薇 Nie Wei 202170081592==
 
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==英语笔译 孙丽君 Sun Lijun 202170081593==
 
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==
 
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==英语笔译 童略雅 Tong Lueya 202170081595==
 
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==英语笔译 庹树梅 Tuo Shumei 202170081596==
 
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==英语笔译 王思琪 Wang Siqi 202170081597==
 
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==英语笔译 王亚娟 Wang Yajuan 202170081598==
 
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==英语笔译 肖冬晴 Xiao Dongqin 202170081599==
 
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==
 
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==
 
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==
 
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==英语笔译 颜媛 Yan Yuan 202170081603==
 
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==英语笔译 杨心怡 Yang Xinyi 202170081604==
 
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==英语笔译 杨紫微 Yang Ziwei 202170081605==
 
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==英语笔译 张国浩 Zhang Guohao 202170081606==
 
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<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>
 
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<center>Zhang Guohao</center>
 
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===Abstract===
 
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Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.
 
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===Key words===
 
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New media; Electronic language; Language culture
 
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===Introduction===
 
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===Literature Review===
 
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===Methods and Theories===
 
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===Subtitle 1===
 
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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)
 
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===Subtitle 2===
 
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===Subtitle 3===
 
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===Subtitle 4===
 
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===Conclusion===
 
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===References===
 
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*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
 
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==
 
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==英语笔译 张瑞 Zhang Rui 202170081608==
 
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==
 
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==
 
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==英语笔译 钟青 Zhong Qing 202170081611==
 
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==
 
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==英语笔译 周哲 Zhou Zhe 202170081613==
 
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==
 
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==英语口译 段小蝶 Duan Xiaodie 202170081615==
 
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==英语口译 方楚晗 Fang Chuhan 202170081616==
 
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==英语口译 胡雯雯 Hu Wenwen 202170081617==
 
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==英语口译 黄天琪 Huang Tianqi 202170081618==
 
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==英语口译 兰绮 Lan Qi 202170081619==
 
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==英语口译 李丹 Li Dan 202170081620==
 
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==英语口译 李立飞 Li Lifei 202170081621==
 
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==英语口译 莫雨婷 Mo Yuting 202170081622==
 
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==英语口译 彭慧璇 Peng Huixuan 202170081623==
 
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==英语口译 时友洁 Shi Youjie 202170081624==
 
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==英语口译 伍佳惠 Wu Jiahui 202170081625==
 
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==英语口译 夏晶 Xia Jing 202170081626==
 
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==英语口译 向师琦 Xiang Shiqi 202170081627==
 
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==英语口译 向望 Xiang Wang 202170081628==
 
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==英语口译 徐舞 Xu Wu 202170081629==
 
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==英语口译 张静芝 Zhang Jingzhi 202170081630==
 
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==英语口译 张旻丰 Zhang Minfeng 202170081631==
 
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==日语笔译 曹梦然 Cao Mengran 202170081632==
 
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==
 
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==日语笔译 张白鹭 Zhang Bailu 202170081634==
 
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==
 
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==
 
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==
 
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==
 
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==外国语言文学   Akira 202121080009==
 
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==比较文学与跨文化研究   Mahzad 202021080004==
 
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==英语语言文学   Mimi 2020GBJ002301==
 

Latest revision as of 16:03, 6 July 2022

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Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: 20220630_Culture_save

Papers 1-5

20220630_Culture_1 papers 1-5: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 , 2: 英语笔译 曹姣 Cao Jiao 202170081564 , 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,

Papers 6-10

20220630_Culture_2 papers6-10 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

Papers 11-15

20220630_Culture_3 papers 11-15: 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

Papers 16-20

20220630_Culture_4 papers 16-20 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

Papers 21-25

20220630_Culture_5 papers 21-25: 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,

Papers 26-30

20220630_Culture_6 papers26-30 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

Papers 31-35

20220630_Culture_7 papers 31-35: 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,

Papers 36-40

20220630_Culture_8 papers36-40 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

Papers 41-45

20220630_Culture_9 papers 41-45: 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,

Papers 46-50

20220630_Culture_10 papers46-50 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

Papers 51-55

20220630_Culture_11 papers 51-55: 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,

Papers 56-60

20220630_Culture_12 papers56-60 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

Papers 61-65

20220630_Culture_13 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,

Papers 66-70

20220630_Culture_14 papers66-70 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

Papers 71-75

20220630_Culture_15 papers 71-75: 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,

Papers 76-80

20220630_Culture_16 papers76-80 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

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