Difference between revisions of "20220630 Culture 6"
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*[[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_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 | *[[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 | ||
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| + | ==英语笔译 刘珍 Liu Zhen 202170081588== | ||
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| + | <center>'''Chinese Guqin '''</center> | ||
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| + | <center>Liu Zhen</center> | ||
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| + | ===Abstract=== | ||
| + | Qin, also known as Chinese harp/lute, peptachord, jade harp, lyre, now called Guqin(a seven-stringed plucked instrument), it is one of the oldest stringed plucked instrument in the history of traditional Chinese folk musical instruments. For thousands of years, the literature on Guqin retention is very profound. Each era has a representative literature of Qin manufacturing, Qin player, Qin music, theory, skills, as well as the special Chinese traditional music culture phenomenon, the remains are abundant. Until today, Guqin still occupies a special position in the Chinese traditional culture. However, with the development and change of society, people's cognition has changed a lot; As the infiltration and integration of western music culture, the new music has become the mainstream of Chinese music culture, while Guqin art as a representative of traditional Chinese culture was marginalized in modern culture. With the change of social environment, the survival condition of Guqin has been changed, the crisis of the survival and development of Guqin art under commercialization, he integration of eastern and western music culture, the disappearance of the traditional literati stratum and the differentiation of the social roles of Guqin player highlights the survive and thrive problem of contemporary Guqin art. From three aspects: the historical overview, current situation and contemporary significance of Guqin art, this article made an on-the-spot investigation on how to inherit and develop Guqin art in today's social environment. | ||
| + | |||
| + | ===Key Words=== | ||
| + | Guqin; Development; Inheritance; Significance | ||
| + | |||
| + | ===Introduction=== | ||
| + | '''The Research Object | ||
| + | ''' | ||
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| + | Qin, also known as Yao Qin, Silk, jade qin, seven-stringed qin, is now known as Guqin. It is one of the oldest stringed plucking instruments in China's traditional national Musical Instruments. It has a long history of about 3,000 years. There are legends such as Fu Xi Shennong making qin, Huang Di Tang Yao making qin, etc. From five strings, King Wen and King Wu each added one string and finally made it seven strings. For thousands of years, qin has been the top of the "four arts", as well as a tool for the literati to cultivate their morality and realize the road. UNESCO listed it as one of the first oral and intangible cultural heritage of humanity representative works in 2003, namely for its artistic value, historical status | ||
| + | Full affirmation of. | ||
| + | Guqin art is an important part of Chinese traditional culture. From ancient times to the present, the legendary Fuxi, Yao and Shun, to the emperors, literati and music officials of all dynasties have promoted the development of guqin music art with their superb performance skills, literature and art, as well as traditional philosophy and aesthetic thoughts. In the long growth process of guqin art, it gradually created a series of unique systems of philosophy, aesthetics, musicology, notation, playing techniques and so on. | ||
| + | There are extensive literatures about guqin, from the Spring and Autumn and Warring States periods to the development periods of the Wei, Jin and Southern and Northern Dynasties, to the prosperity periods of the Tang, Song and Yuan dynasties, and to the popularity periods of the Ming and Qing Dynasties. In each era, there are representative historical documents on qin making, qin music, qin musicians, qin theory and qin art, as well as special phenomena of Traditional Chinese music culture. | ||
| + | |||
| + | '''The Research Status''' | ||
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| + | Since the 1950s, in order to integrate the art of guqin with modern culture, the academic circle has carried out a series of appropriate explorations. It is mainly manifested in the following aspects: the work of music, the creation of Musical Instruments, the establishment of playing disciplines, the theoretical research of Musical Instruments and so on. We have made achievements in literature review and textual examination on the system, history, song, theory and score of qin, and quite a few achievements have even become the foundation stone of contemporary and contemporary research on the art of guqin. In particular, he has made remarkable contributions to the study of qin music and qin song, qin man and qin school, as well as music score and playing score. In this section of Chinese zither research, modern and modern scholars have made effective efforts in digging, collecting, sorting, preserving and inheriting the zither music, and conducted a comprehensive and systematic academic exploration of the literature on all aspects of the study of guqin art in all dynasties and dynasties. Among them, zha Fuxi, Wu Jinglue, Yu Shaoze, Guan Pinghu, Gu Meizang, Wu Zhao, Wang Di and other famous musicians published their works. These researches and explorations have greatly stimulated the development and inheritance of guqin art by summarizing historical experience and combining historical background, and their historical value should be fully affirmed. As a bridge connecting the tradition of guqin art with modern culture, they have value and significance that cannot be underestimated. | ||
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| + | '''Research Purpose and Significance''' | ||
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| + | At a time when the historical and cultural value of guqin has been constantly recognized, this ancient musical instrument has left its instrument, music and theory from an academic perspective. Contemporary scholars from musicology, history, sociology, anthropology and other aspects of the academic research and many academic achievements. Especially in music history, music aesthetics and music theory and other aspects of the research results are relatively rich. In the current situation where traditional culture is fading, it is of certain academic value and practical significance to study and explore the art of guqin deeply. | ||
| + | Scholars focus more on textual research, analysis and exploration from the perspective of qin itself. Therefore, contemporary theories of qin have made great achievements in such fields as qin making, qin players, qin music, qin history, qin theory and qin school, while thematic studies on the contemporary significance and value of guqin are a little weak. Based on the existing research results of guqin art, the author breaks through the limitations of the ontology research of guqin music, further insights into the social and cultural living conditions of contemporary guqin music, and reveals its cultural and spiritual connotations at a deeper level. On the basis of inheriting traditional culture, correctly grasping the current situation of contemporary social culture, and then elucidating the enlightenment of guqin related theories to contemporary cultural society, as well as thinking about aesthetic and musical cultural identity in the context of contemporary culture, will be more conducive to the inheritance, development and innovation of guqin art. It is hoped that through the research of this project, some necessary research materials and academic experience will be accumulated for the enrichment and further development of the research system of guqin art. | ||
| + | In addition to the above academic and social significance, the research and writing process of this project is the best way to deeply understand guqin music culture. The author expects to further organize and study the epitaxial data of this project, and further study and understand the historical data of qin science, the spiritual connotation of qin music and traditional culture, so as to complete this project with excellence and realize the innovation and value of this project. In the future study, scientific research and work, we will effectively make some specific achievements for the inheritance and development of guqin art. | ||
| + | |||
| + | ===Historical Overview of Guqin Art=== | ||
| + | '''2.1 Artistic Characteristics''' | ||
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| + | The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings. | ||
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| + | The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings. | ||
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| + | The reverse side of the surface is called the bottom of the instrument. The bottom is exactly the same as the surface of the instrument, and the part that falls under the "Yueshan" on the surface is called "Zhen Chi" or "xian Groove". There are "wild goose foot" in the back part of the qin, and a large and small slender groove hole on the bottom of the qin, namely "dragon Pond" and "Feng Marsh". | ||
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| + | String is the material basis for the existence of stringed instruments, and the string is the main vocal body of the instrument. There are seven strings, arranged from the outside to the inside according to the height of the scattered notes of each string. The lowest and highest notes are called the first string and the seventh string respectively. The strings used are the thickest and thinnest, and the seventh string is close to the player. As for the method of making strings, the ancient silk string manufacturing technology has formed a quite mature technological system and theory. According to literature records, the ancient string-making method is very elegant from the selection of strings to the production process, the selection of materials from the type of silk to the origin, the weather, heat and other factors during the process are very strict, and the necessary winding and drying of strings in the process are also very flexible and maneuverable. According to the selection of materials and the different era, the production procedures of the dynasties have different degrees of difference. However, since the 1920s, with the progress of The Times and the introduction of modern industrial technology in the West, the ancient Chinese traditional and ancient silk string making method has been on the verge of being lost, replaced by steel and nylon strings. In the process of modern qin chopping, the selection of strings has changed, the timbre and quality of qin have changed to different degrees, and the artistic style and spiritual connotation of ancient traditional qin music have also changed. | ||
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| + | '''2.2 Qin Song and qin song''' | ||
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| + | Guqin song is an indispensable and important part of the research field of guqin, as well as a special form of expression in the art of guqin. So far, there are about 600 musical scores of guqin songs. The most famous collection of ancient qin songs is Boya Xinfa, written by Yang Lun, a representative of the qin Song school, which was published before 1609. It experienced a historical process of ups and downs from the budding period of pre-Qin dynasty to the peak period of Tang and Song Dynasty and then to the decline period of Ming and Qing Dynasties. It was not until the forties and fifties that the art of qinge was again attached great importance to by famous musicians such as Wu Jinglue, Zha Fuxi and Zhang Ziqian. They have done a lot of digging, sorting and research on the art of qinge, which has played a positive role in the revitalization and revival of the art of qinge. | ||
| + | Qin song refers to singing while playing the qin, which can be sung by one person alone or accompanied by others. It was called "string song" in ancient times. Qinge songs are varied in tone and varied in topic selection. There is a direct relationship between literary creation and qinge songs creation in different historical periods, and there are qinge songs works with artistic characteristics in different historical periods. | ||
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| + | With the change of dynasties, the development of guqin music itself tends to be mature. With the enhancement of the artistry of guqin music and the enrichment of guqin playing techniques, guqin solo has been able to meet the needs of musical emotion and artistic expression, and luthiers pay more attention to guqin solo, causing the decline of guqin song art for a time. However, the existence of qin song art should not be ignored, its existence value lies in that it is the original appearance of Chinese traditional classical art songs, for the study of Chinese contemporary national vocal music in ancient art songs singing skills, has a certain degree of continuity and development. For the development and inheritance of qinge art, the countermeasures for the contemporary development of qinge art include: exploring, sorting and creating more qinge works, expanding the performance forms of qinge, and constantly innovating with the help of modern media to strengthen the publicity of qinge art. | ||
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| + | Of our country's existing text spectrum music of violin tateishi tone. "orchid is the oldest in the world of music, the song of Confucius to travel, will not be accepted and thought, on the way to see orchid between weeds, can not help but think of oneself condition caused by the inner sadness, orchid is a symbol of elegant and noble quality, but neglected to forget, Their ideas for the good of the world are also disregarded. This is a kind of ancient people often borrow things wing, lyric way of borrowing scene. The rigorous structure of the music is not only reflected in the close relationship between the four sections, but also in the strong logic between the sections and phrases within each section. | ||
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| + | The similarities and differences in the content of qin qu determine the different musical structure and musical artistic expression techniques. According to the content of the performance needs, which the music melody of the link between the past and the future, contrast, presentation, development, reproduction, variation, mold forward, expansion and other techniques are needed. Moreover, the theme melody in the vast majority of Musical Instruments often changes twice or more, that is, on the basis of the original theme melody, according to the advancement of the music content, and then leads the music to the climax. Therefore, the music used to have a continuous, integrated, natural sense of advancement. | ||
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| + | === Innovation of Guqin Art=== | ||
| + | '''3.1 Improvement of Qin''' | ||
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| + | Chinese guqin production technology has a long history, there are myths and legends with anthropological value, such as Fu Xi and Shen Nong making guqin and Shun making five-stringed guqin. There are many descriptions in historical documents such as Taigu Yi Yin and Qin Shu Daquan. Due to the special social atmosphere of the 20th century and the existence of a large number of ancient guqin, the scale of new guqin production was restrained to a certain extent, resulting in the reduction of the craftsmen and the loss of craftsmanship. | ||
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| + | Demand for pianos is also growing. So the process of qin was gradually restored, musical instrument factories, pianists, folk workshops and so on have resumed the production of new qin. | ||
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| + | The specific process of piano production includes six important steps, such as sample production, material selection, panel production, base plate production, piano fitting and dressing. In addition, the line sawing, grooving belly, accessories production, painting, installation accessories and strings and other auxiliary processes are particularly important. The following points should be avoided when the qin is chopped :(1) the emblem should be appropriate in size, rather small than large. (2) Yueshan should not be too thick. (3) The slope of dragon gum should be larger than yue Shan. (4) Goose foot should not be too high. (5) The material of Qin Zhen should not be too thick or thin. Choose a kind of style that likes namely when model making, delimit wood proportion correctly. About selecting material, model is optimal with the old fir of hundred years above, next paulownia | ||
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| + | Can also be used; When making accessories, Yueshan, jiao Tail, dragon gum, goose foot and other parts need more hard wood such as rosewood, red sandalwood and other materials; The music emblems are made of clam shell, jade, gold, porcelain and jade. As for the production of strings, the ancient silk string manufacturing technology is very mature. Due to the loss of production technology and the introduction of western modern science and technology chemical industry and string making technology, the ancient silk string manufacturing technology is on the verge of extinction, so nylon strings are used in modern times. The newly made guqin should meet the following conditions :(1) the string energy should be lowered, and the string should not be too high from the surface of the qin. (2) The piano surface should not be too flat. (3) Chord spacing should not be too wide or too narrow. (4) The effective chord length of the qin is the length from the pass of Yueshan mountain to the gum of the tail dragon, with 110 cm to 111 cm as the positive system. (5) The surface paint of the piano should be smooth. (6) Timbre and quality of piano. (7) Accuracy of emblem position. One of the most famous guitar artists in the field of contemporary Chinese guitar is Mr. Wang Peng, a professional guitarist. His rationalism piano technique in inheriting predecessors on the basis of continuous innovation, to create more than 70 kinds of guqin style, his rationalism jean exquisite workmanship, pure tone color, modelling is novel, he founded "fang jun day" in the third batch of Beijing municipal intangible cultural heritage list, he will be with the identity of the intangible cultural heritage inheritance people make this has continued for thousands of years of art. | ||
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| + | === Contemporary Significance of Guqin Art=== | ||
| + | '''4.1 Guqin art in the Context of Contemporary Society and Culture''' | ||
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| + | Since the 20th century, China has experienced a great change, from the social system, politics, economic system, culture, morality and other aspects have experienced a series of earth-shaking changes and unprecedented violent impact. As a traditional Chinese culture, the art of guqin has undergone the most drastic transformation. Up to now, the development of guqin art has changed quietly. Contemporary Guqin art is in a very critical period, and it has come to a stage of self-examination and reflection. | ||
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| + | Firstly, the change of social environment leads to the change of the living state of guqin art. The creation of Musical Instruments before the Song and Yuan dynasties was far more fruitful than that between the end of Ming dynasty and modern times, and the artistic styles of musical compositions were quite different. Especially, since the end of Qing Dynasty, the inheritance of Musical Instruments was almost cut off, and even the traditional string-making technology, which had been passed on for thousands of years, was gradually lost. So far, there are few inheritors of traditional string-making. During the War of Resistance against Japanese aggression, the social turmoil, guqin literature lost, which is more unfavorable to the development and inheritance of guqin art. | ||
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| + | Secondly, in the process of economic and cultural globalization, the introduction of western music culture has a certain degree of influence on the development of guqin art. In addition to western culture, the prevalence of modern media and mass culture in China are also different forms of globalization. At the beginning of the 20th century, with the infiltration of Western music culture, new schools across China began to teach a large number of music classes | ||
| + | European and American tunes, these original songs are recorded in simple notation. With the promotion of enlightenment music educators represented by Li Shu-tong, Zeng Zhi-min, Shen Xin-gong, the school songs are spread in the way of selecting songs and filling lyrics. The emergence of school music also represents the beginning of China's modern music history. At this time, western music system and music education system, Chinese new music has gradually become the mainstream of China's music culture. Chinese people have undergone profound changes in music concept, education system, music theory, aesthetic way, music form and value system. Modern music colleges and universities take western music education system as the main body and refer to western music system. However, the collection, collation, research and learning of Traditional Chinese music are relatively backward, so the students trained are mainly western music technology and western music thinking mode. Under the environment implanted by the Western education system, guqin art lost its original mode of self-entertainment of literati and was forced to change to the stage art of mass culture. | ||
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| + | Finally, the trend of modern commercialization is not conducive to the development and inheritance of guqin art. When food, clothing, shelter and transportation are no longer a problem, there must be some spiritual needs, to find some purpose for survival and entertainment. These spiritual requirements, just like for survival, material needs, there is demand. Supply is naturally created to meet these needs, and naturally becomes a commodity to be bought and sold. Especially after the success of applying for world Heritage status, some merchants in the "Guqin fever" misrepresented children, jacked up the price of guqin, and took advantage of guqin fraud and other commercial speculation activities. These phenomena, which are not conducive to the development of guqin art, make it lose its original cultural value. The adverse atmosphere caused by the impact of commodity economy and driven by interests needs to be timely restrained and guided by the establishment and improvement of relevant systematic laws and regulations. | ||
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| + | '''4.2 Modern inheritance and significance of Guqin art''' | ||
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| + | The final development of Huaqin culture is largely related to the long tradition of "music education" and "poetry education" of Confucian culture, and is also closely related to the active participation and promotion of Confucian scholars in the upper social status. As Confucian culture occupies the mainstream position of Chinese culture, it maintains and promotes the concepts of self-cultivation, family harmony, governance and world peace. Since the Zhou Dynasty, Duke Zhou's "making ritual and music" has played a further systematic role in ancient Chinese ritual and music civilization, and has been incorporated into the system culture, making it more rational into the norms of people's behavior, so as to achieve an organic integration. Due to ancient Confucian scholar have mostly with three cardinal guides the p5 ethic morality as the center, such as the "writing carry doctrine" on the early music domain is invisible expanded by jean missionary, jean is combined with music education closely, music education is one of the modern people understand the premise of the Chinese piano culture, the internal concept of piano, gradually mature. | ||
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| + | The inheritance of modern guqin art is mainly carried out in three ways: college teaching inheritance, guqin association inheritance and modern guqin museum inheritance. First, the school's teaching heritage. The professional direction of guqin performance has been established for more than 50 years. The earliest time that Guqin entered the school can be traced back to the early 20th century. CAI Yuanpei invited Wang Lu and Yang Shibai, the guqin players sent by Zhucheng, to teach in Peking University. Modern guqin education not only cultivates a large number of guqin talents, but also forms a certain scale of professional teaching and performance teams. Modern music education can make use of audio-visual multimedia, physical performance and other means to teach in the design of teaching programs, and the understanding of classical music and celebrity music allusions can also be taught in the way of appreciation through pictures and networks. | ||
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| + | Second, the inheritance of the qin club. Under the current social and cultural background, traditional folk qin clubs are gradually transforming into professional institutions, similar to the current Yuqin Club. Taking the famous West Lake Qin Club as an example, the inheritance mode of Qin music is gradually becoming popular, expanding and transforming the function of Qin music in the public and commodity environment, and exploring the operation mode of qin music in the commodity market. | ||
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| + | Third, the inheritance of modern piano museums. The appearance of the guqin pavilion first appeared in the early 20th century, especially after it was selected as the Intangible Cultural Heritage in 2003, with the rise of the "guqin fever", the guqin pavilion blossomed all over the country. The rise of modern guqin museums has not only met the increasing social demand, but also played a certain degree of inheritance function in the mining, sorting, research and training of guqin art. | ||
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| + | === Contemporary Cultural Significance and Value of Guqin Art=== | ||
| + | '''5.1 The Significance of Guqin Art in the Inheritance of National Traditional Culture''' | ||
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| + | China has a 5,000-year history of cultural inheritance and development. The art of guqin is a culture created by the Chinese nation in China, and the cultural connotation and artistic value of guqin has lasted for thousands of years, which is the artistic essence of China's national culture. Guqin music culture is not only formed by the accumulation of the specific geographical environment, political and economic structure, aesthetic ideology, traditional philosophical thoughts and cosmology of the Chinese nation, but also passed down to the present after being recognized by the vast majority of the Chinese nation. | ||
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| + | First, the art of guqin is the embodiment of Chinese civilization and the spiritual pillar of safeguarding national interests. As a product of Chinese social consciousness, the development and inheritance of traditional guqin music culture can not only enhance national self-esteem, pride, patriotic consciousness and feelings, but also help improve the consciousness of national subject. Therefore, carrying forward the traditional cultural spirit of guqin music is conducive to enhancing national cohesion. | ||
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| + | Second, the correct ideas in traditional culture, such as values, moral standards and moral aspirations, can to some extent solve the problems of interpersonal relationship, morality and value in the commodity society. Therefore, the development and inheritance of traditional guqin music culture can not only resist and supervise individualism, money worship and other undesirable moral concepts, but also promote traditional cultural spirit, which is more conducive to the construction of socialist spiritual civilization with Chinese characteristics. | ||
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| + | Thirdly, on the basis of inheriting the traditional music culture, we should also make it communicate, collide and integrate with the world human culture, so as to provide a strong space for its healthy development. | ||
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| + | '''5.2 Difficulties in the development and inheritance of contemporary Guqin art''' | ||
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| + | As a typical representative of Chinese folk music tradition, guqin art has received much attention from people of insight in today's major cultural transition. How to look at and inherit the guqin tradition and how to develop it in today's society has always been the common concern of the qin and music circles. However, the art of guqin has encountered difficulties in the course of its development and inheritance. | ||
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| + | First, how to correctly handle and grasp the dialectical relationship between tradition and modernity. In the 21st century, guqin circles have different opinions on the development and inheritance of guqin. Apart from conflicting feelings, they also have different understandings on how to position guqin. Since the formation of Chinese culture, before Confucius, guqin has played both the function and role of music and cultural cultivation, and has been passed down continuously for three or four thousand years. Therefore, guqin, as a cultural tradition and humanistic cultivation, can not be ignored. Therefore, before inheriting the "traditional heritage", we must study and study it deeply, distinguish the essence and non-essence, excellent and dross through the test of time and practice, and carry on the traditional inheritance while spreading new development. | ||
| + | |||
| + | Second, the neglect of piano research. In the 20th century, the Chinese Music Research Institute led by Mr. Cha Fuxi made important contributions to the rescue work of sorting out old guqin materials, preserving ancient music records, and researching music records. However, these work has been stalled for a long time now, and it is urgent to continue. The Chinese Music Research Institute lacks a large number of guqin art researchers due to the reorganization of the organization and the disunity between the concept of cultural officials and professional piano players. | ||
| + | |||
| + | Third, the popularity is low. Guqin art itself is not a strong popularity, in ancient times is often the nobility or the palace of elegant music, and the lack of full understanding of traditional culture, modern guqin performance is also seen in public, do not pay enough attention to social communication leads to the low degree of guqin art foundation, it is difficult to get the great attention of the public, also make the guqin art into a dilemma of marginalization. | ||
| + | |||
| + | Fourth, the unprofessionalization of practitioners. After the application of guqin art to the World Heritage List was successful, a new phenomenon emerged in the field of guqin, with a growing number of proud guqin museums. Although the rise of modern guqin museums has met the increasing social needs, it has a certain degree of inheritance function in the exploration, sorting, research and training of guqin art. | ||
| + | |||
| + | ===Conclusion=== | ||
| + | With its long history, rich heritage, high cultural status and value, and many subjects to be studied, guqin has become an eye-catching representative instrument in national instrumental music. The change of social environment, the integration of Western music culture and the trend of modern commercialization are all unfavorable to the development and inheritance of guqin art to a certain extent. | ||
| + | |||
| + | Guqin art development up to now, has the vital significance in the contemporary social and cultural life and value, this article through to the history of the guqin art situation, development and innovation, of gu qin art in the contemporary music education in the value, the value of modern value and music therapy, provide material for the contemporary music creation, such as value, The paper analyzes and explores the significance of guqin art in the inheritance and development of Chinese traditional music culture, arouses thoughts on the inheritance and development of guqin art in the contemporary era, and puts forward relevant suggestions by analyzing the dilemma of guqin art in the contemporary development. Firstly, as an important traditional Chinese culture, the Chinese national spirit contained in guqin art is of great value. Inheriting, developing and carrying forward the excellent traditional culture of our nation plays an irreplaceable role in creating and developing the new socialist culture with Chinese characteristics. Chinese traditional music culture education is almost in the situation of breaking down in contemporary music education. The traditional education thought reflected by guqin art has enlightenments and values for contemporary music education. | ||
| + | |||
| + | ===References=== | ||
| + | Li Xiangting李祥霆.(2014). 古琴综议[A Comprehensive Discussion on Guqin][M]. 中国人民大学出版社[China Renmin University Press]. | ||
| + | |||
| + | Zhang Bin张斌.(2014). 宋代古琴文化考论[A Study on Guqin Culture in Song Dynasty][M]. 南京大学出版社[Nanjing University Press]. | ||
| + | |||
| + | Zhu Changwen.朱长文(2010). 琴史[A History of Qin][M]. 北京:中华书局[Beijing: Zhonghua Book Company]. | ||
| + | |||
| + | Wu Zhao.吴钊(2006).传统与现代——中国古琴艺术面临的挑战[Tradition and Modernity -- Challenges Facing Chinese Guqin Art][J].人民音乐[People's Music], 2005(6)，22-24. | ||
| + | |||
| + | Zhan Qiaoling. 詹桥玲(2005).琴歌的历史与现状[History and Present Situation of Qinge][J]. 中国音乐学[Chinese Musicology], 2005(4)，99-101. | ||
| + | |||
| + | Zhang Huaying.章华英(2013).文人阶层消亡与当代古琴人文精神之缺失[The disappearance of Literati Class and the Absence of Contemporary Guqin Humanistic Spirit][J]. 艺术评论[Art Review],2013(9)，26-29. | ||
| + | |||
| + | Zhang Haitao.张海涛(2011). 古琴艺术当代发展思考[Thoughts on the Contemporary Development of Guqin Art][J]. 民族艺术研究[Ethnic Art Research], (02):52-57. | ||
| + | |||
| + | ===Terms and Expressions=== | ||
| + | the "Yellow Emperor": 黄帝 | ||
| + | |||
| + | tablature：指法谱 | ||
| + | |||
| + | the Palace Museum ：故宫博物馆 | ||
| + | |||
| + | the Voyager Golden Record：旅行者金唱片 | ||
| + | |||
| + | geographical isolation：地理隔绝 | ||
| + | |||
| + | tempo：节奏、拍子 | ||
| + | |||
| + | Organology：乐器学 | ||
| + | |||
| + | ===Questions=== | ||
| + | 1.What can guqin also be called? | ||
| + | |||
| + | 2. According to legend, who were involved in the creation of guqin? | ||
| + | |||
| + | 3. What has caused qin pai (琴派) over the centuries? | ||
| + | |||
| + | 4.Who is the writer of Qin Fu 【琴賦】? | ||
| + | |||
| + | 5.What is the earliest example of the modern shorthand tablature? | ||
| + | |||
| + | ===Answers=== | ||
| + | 1.It can also be called qixianqin 「七絃琴」 ("seven-stringed instrument"). | ||
| + | |||
| + | 2.The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation. | ||
| + | |||
| + | 3. Geographical isolation in China resulted in the development of many distinct qin schools known as qin pai (琴派) over the centuries. | ||
| + | |||
| + | 4.Xi Kang 嵇康: Sage of the Bamboo Grove, musician and poet, writer of Qin Fu 【琴賦】. | ||
| + | |||
| + | 5.The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石調幽蘭》 (Solitary Orchid in Stone Tablet Mode). | ||
| + | |||
| + | ==英语笔译 龙翰良 Long Hanliang 202170081589== | ||
| + | <center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center> | ||
| + | |||
| + | <center>Long Hanliang</center> | ||
| + | |||
| + | ===Abstract=== | ||
| + | |||
| + | At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1) | ||
| + | |||
| + | As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1) | ||
| + | |||
| + | This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1) | ||
| + | |||
| + | ===Key words=== | ||
| + | |||
| + | Chinese culture; Teaching Chinese as a second language; Cultural Exchange | ||
| + | |||
| + | ===Introduction=== | ||
| + | |||
| + | As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18) | ||
| + | |||
| + | The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18) | ||
| + | |||
| + | Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18) | ||
| + | |||
| + | ===Overall Design=== | ||
| + | The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5) | ||
| + | |||
| + | Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK. | ||
| + | Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33) | ||
| + | |||
| + | ===Test Assessment=== | ||
| + | The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49) | ||
| + | |||
| + | Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49) | ||
| + | |||
| + | The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK) | ||
| + | |||
| + | The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK) | ||
| + | |||
| + | Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK) | ||
| + | |||
| + | The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK) | ||
| + | |||
| + | In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK) | ||
| + | |||
| + | 1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK) | ||
| + | |||
| + | 2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK) | ||
| + | |||
| + | 3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time. | ||
| + | At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK) | ||
| + | |||
| + | Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49) | ||
| + | |||
| + | As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49) | ||
| + | |||
| + | ===Means and methods=== | ||
| + | |||
| + | Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67) | ||
| + | |||
| + | However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | ===Textbook Compilation=== | ||
| + | 1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | (1) Practicality | ||
| + | |||
| + | Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60) | ||
| + | |||
| + | The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | (2) Knowledge | ||
| + | |||
| + | The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | (3)Scientificity | ||
| + | |||
| + | 1. To teach standardized and common Chinese characters | ||
| + | |||
| + | The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | 2. The organization of teaching content should conform to the law of language teaching | ||
| + | |||
| + | The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | (4)Interest | ||
| + | |||
| + | Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60) | ||
| + | |||
| + | ===Classroom Teaching=== | ||
| + | |||
| + | Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44) | ||
| + | |||
| + | This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44) | ||
| + | |||
| + | The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44) | ||
| + | |||
| + | The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44) | ||
| + | |||
| + | Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44) | ||
| + | |||
| + | In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44) | ||
| + | |||
| + | The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44) | ||
| + | |||
| + | It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154) | ||
| + | |||
| + | Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154) | ||
| + | |||
| + | At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles： | ||
| + | |||
| + | 1. Respect each other among different cultures and adhere to the principle of cultural equality. | ||
| + | |||
| + | 2. Disseminate the essence of culture and avoid clamoring for attention. | ||
| + | |||
| + | 3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44) | ||
| + | |||
| + | In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154) | ||
| + | |||
| + | ===Training of TCSL Teachers=== | ||
| + | |||
| + | With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115) | ||
| + | |||
| + | At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115) | ||
| + | |||
| + | Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115) | ||
| + | |||
| + | Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115) | ||
| + | |||
| + | 1. modern Chinese knowledge | ||
| + | |||
| + | Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | 2. linguistic knowledge | ||
| + | |||
| + | The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | 3. cultural knowledge | ||
| + | |||
| + | Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | 4. foreign language knowledge | ||
| + | |||
| + | Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118) | ||
| + | |||
| + | ===Conclusion=== | ||
| + | |||
| + | After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9) | ||
| + | |||
| + | ===References=== | ||
| + | |||
| + | Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118. | ||
| + | |||
| + | Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社. | ||
| + | |||
| + | Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社. | ||
| + | |||
| + | Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5) | ||
| + | |||
| + | 国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm | ||
| + | |||
| + | ===Terms and expressions=== | ||
| + | Classroom teaching 课堂教学 | ||
| + | |||
| + | HSK 中国汉语水平考试 | ||
| + | |||
| + | Hanban（Chinese National Office for Teaching Chinese as a Foreign Language） 国家汉办 | ||
| + | |||
| + | teaching Chinese as a second language 对外汉教 | ||
| + | |||
| + | cultural exchange 文化交流 | ||
| + | |||
| + | Confucius Institute 孔子学院 | ||
| + | |||
| + | overall design 整体设计 | ||
| + | |||
| + | CCTV TV programs 中央电视台电视节目 | ||
| + | |||
| + | Voice of China 中国好声音 | ||
| + | |||
| + | belt and road initiative一带一路 | ||
| + | |||
| + | supply side structural reform 供给侧结构性改革 | ||
| + | |||
| + | Alipay 支付宝 | ||
| + | |||
| + | street stall economy 地摊经济 | ||
| + | |||
| + | Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区 | ||
| + | |||
| + | mahjong 麻将 | ||
| + | |||
| + | chow mein 炒面 | ||
| + | |||
| + | ===Questions=== | ||
| + | 1.What are the four links of the whole process and teaching activities of second language teaching? | ||
| + | |||
| + | 2.When was HSK officially implemented? | ||
| + | |||
| + | 3.What is the most important link of teaching activities among the four links of teaching activities? | ||
| + | |||
| + | 4.What are the principles of spreading Chinese culture in Chinese education abroad? | ||
| + | |||
| + | 5.What types of HSK exams are there? | ||
| + | |||
| + | 6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with? | ||
| + | |||
| + | ===Answers=== | ||
| + | 1.Overall design, textbook compilation and selection, classroom teaching and achievement test. | ||
| + | |||
| + | 2.The Chinese Proficiency Test (HSK) was officially implemented in 1990 | ||
| + | |||
| + | 3.Classroom teaching | ||
| + | |||
| + | 4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality. | ||
| + | |||
| + | Ⅱ. Disseminate the essence of culture and avoid clamoring for attention. | ||
| + | |||
| + | Ⅲ. Handle sensitive issues properly and maintain national dignity. | ||
| + | |||
| + | 5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)). | ||
| + | |||
| + | 6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge. | ||
| + | |||
| + | ==英语笔译 罗姚林 Luo Yaolin 202170081590== | ||
| + | <center>'''On Chinese Dialects and Translation from Functional Equivalence Theory-- Southwest Dialect Translation'''</center> | ||
| + | |||
| + | <center>罗姚林 Luo Yaolin</center> | ||
| + | |||
| + | ===Abstract=== | ||
| + | Dialect is the language used by people in local areas, which has become a unified national language through economic and political centralization. Its formation is inseparable from economic and political concentration. According to the characteristics of dialects, the formation and development of dialects, China can be divided into seven regions where dialects are distributed, among which there are six dialects in the south. | ||
| + | |||
| + | Dialect whose study belongs to the field of linguistic research is regarded as units structurally dependent on higher level systems. The theories of dialect translation are mainly based on linguistic theories, such as the relevance theory and the language function theory. Dialect translation is not only a process of language conversion, but also involves cultural fields such as sociology, folklore and etc. The research on dialect translation at home and abroad mainly includes the methods of dialect translation, cultural aspect of dialect translation and the linguistic theories of dialect translation. | ||
| + | |||
| + | This paper is mainly divided into the following parts: in the first part, the distribution and current situation of Chinese dialects are briefly explained; The second part is a brief review and summary of the history of dialect translation studies. The third part introduces Eugene Nida's functional equivalence theory and combines it with dialect translation. The fourth part introduces Sichuan dialect; The fifth part is based on Eugene Nida's functional equivalence theory to illustrate dialect translation from Sichuan dialect examples. The last part is a summary of this paper. | ||
| + | |||
| + | ===Key Words=== | ||
| + | Dialect translation; Functional Equivalence Theory; Sichuan Dialect; | ||
| + | |||
| + | ===An Introduction of Chinese Dialects=== | ||
| + | In the process of the development of the Han society, different degrees of differentiation and unity have appeared, so the Chinese gradually produced dialects. Modern Chinese has a variety of dialects, which are spread over a wide area. The differences between different languages in modern Chinese are manifested in phonetics, vocabulary and grammar, especially in phonetics. But because these dialects and common language have certain phonetic regular corresponding vocabulary. There are also many similarities in grammar, so they are not independent languages. According to the characteristics of dialects, the history of their formation and development, and the results of the current investigation about dialects, dialects of modern Chinese can be divided into several different types. | ||
| + | |||
| + | At present, there is not a complete agreement on the division of modern Chinese dialects in Chinese linguistics. According to most people's opinion, there are seven dialects of modern Chinese. | ||
| + | |||
| + | The northern dialect, represented by Beijing dialect, is the basis of the common language of modern Han nationality. It has the widest geographical distribution, accounting for about 73% of the total Han population. The northern dialect can be divided into four sub-dialects, the first one is north China and Northeast China dialect distributed in Beijing and Tianjin. Hebei, Henan, Shandong, Liaoning, Jilin, Heilongjiang provinces and parts of Inner Mongolia Province. The second one is northwest dialect, which is distributed in Shaanxi, Shanxi, Gansu provinces and some areas of Qinghai, Ningxia and Inner Mongolia. The language used by the Han people in Xinjiang also belongs to the northwest dialect, while the southwest dialect is distributed in Sichuan and Yunnan, Guizhou and other provinces and most of the southeast corner of Hubei Province, except xianning area, northwestern Guangxi, northwestern Hunan and so on. The fourth one is Jianghuai Dialect, which is distributed in Anhui Province, Jiangsu Province and north of the Yangtze River. | ||
| + | |||
| + | The Hakka dialect is represented by Mei county( in the northwest of Guangdong Province) dialect in Guangdong province. Hakka people are distributed in Guangdong, Fujian, Taiwan, Jiangxi, Guangxi, Hunan, Sichuan and other provinces, mainly in the north and east of Guangdong Province, western of Fujian Province, southern of Jiangxi and southeast of Guangxi Provinces. | ||
| + | |||
| + | Xiang dialect, also known as Hunan dialect, is one of the seven Chinese dialects with a relatively small area of common use. There are many different languages in Hunan Province, among which Xiang dialect is the most influential one. | ||
| + | |||
| + | Wu dialect is customarily called Wu dialect, also called Jiangzhe dialect or Jiangnan dialect. Wu is the name of the ancient region, being used the prevailing region. Wu dialect is spoken in Jiangnan( the southern of the Yangtze River), southern Jiangsu, Shanghai, Zhejiang, northeastern Jiangxi, northwestern Fujian and part of southern Anhui Province. | ||
| + | |||
| + | Cantonese dialect is also known as Cantonese, commonly known as Cantonese, which is the seven dialects of Chinese language phenomenon is more complex, retain archaic characteristics and more ancient words, the internal differences of the dialect is popular in Guangdong, Guangxi Province, with Guangzhou as the center. | ||
| + | |||
| + | Fujian dialect, also called Min dialect, commonly known as Fu-Lao dialect, is the most complex language phenomenon and has the largest internal disagreement among the seven Chinese dialects. Min dialect is mainly spoken in fujian, Guangdong, Taiwan, southern Zhejiang and some areas in Jiangxi, Guangxi and Jiangsu provinces. | ||
| + | |||
| + | Gan dialect, also known as Gan language, is a dialect with a smaller area and the smallest population among the seven Chinese dialect regions. It is mainly spoken in Jiangxi Province. | ||
| + | |||
| + | ===Previous Studies on dialect translation=== | ||
| + | Since the 1990s, dialect translation has been included in the research of translation, which has gradually gone from strength both at home and abroad. | ||
| + | |||
| + | In 1996, Annie Brisset analyzed the relations between power, ideology and culture which arose from the translation between French used in Quebec and English used as the Canadian official language by means of corpus-based study on drama scripts. | ||
| + | |||
| + | After analyzing the early translations of Finnish writer Kalle Paatalo, Ritvaeppihalne (2000, P. 247-269) found that domestication was the main translation | ||
| + | strategy to transfer dialects and most of Pãätalo's translations had a tendency of standardization. In his research, with the aid of parataxis, such as translator's translation instructions and reader's letters, Leppihalme indicated that the standardization of dialects had not posed a great challenge to their acceptance. | ||
| + | |||
| + | In 2007, Sánchez illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics. According to these relationships, Sánchez deemed that dialect translation was not only a translation for language, but also a translation for culture. Meanwhile, in 2009 Sánchez analyzed three Spanish translations, that were Pygmalion, Lady Chatterley's Lover and Wuthering Heights. His study found that the dialects in Spanish translations tended to be standardized compared with the originals, and their characteristics failed to be presented in the translations. Therefore, Sánchez concluded that regional dialects and social dialects were inseparable from the source language culture in terms of their region and culture, and were difficult to represent in translation. | ||
| + | |||
| + | The year 2011 witnessed the booming of dialect translation researches. ColiulsZabalbeascoa (2011, pp.113-130) argued that there existed a third language in addition to the source language and the target language. This third language can be a natural and existing language, a dialect or a variant, or a hypothetical and fictional language. They had summarized the translation mechanism and compensation strategies of the third language in the films, together with the possible translation effects that various translation methods put on. Remarkably, Translating Dialects and Languages of Minorities from the series of "'New Trends in Translatology" by Peter Lang Publishing House had come out in 2011. There are many articles in the book to study the translation of regional dialects, social dialects or minority languages from the viewpoint of ideology, poetics and other cultural perspectives. | ||
| + | |||
| + | José Manuel Rodíguez Heirera (2014, pp 278-294) held that the French, Spanish and Italian versions of The Adventure of Huckleberry Finn all tended to standardize American Black English, hindering the acceptance of the translations. Later on, in the article The Adventures of Huckleberry Finn and Jim in China: A Case of What Corpus Pragmatics Can Do for the Translation of Dialect", Henrera had proven that "corpus linguistics can greatly contribute to gauging whether dialect has been transcribed consistently or accurately" (Herrera, 2017, p.385) | ||
| + | |||
| + | Currently, Annie Brisset (2017, pp.127-156) drew attention to the Quebec stage of Shakespeare's works and analyzed the translation strategies employed in the translations of dialects. Additionally, Veronika Ritt-Benmimou dealt with "the preposition fi in the Bedouin dialect of Düz in Southern Tunisia, not in its well-known local and temporal functions, but rather as a marker of various, mainly progressive, durative and habitual aspects" (Ritt-Benmimoun, 2017, p.319) | ||
| + | The study of dialect translation in China is later and less popular than that in foreign countries. At the beginning of the 20th century, Chinese academics set out to show their concerns on dialects for translation. | ||
| + | |||
| + | Taking Tess of the D'Urbervilles as his research object, Han Ziman (2002, pp.86-90) suggested that the dialects in Tess of the D'Urbervilles were hard for the translator to translate and the features of these dialects were also hard to represent. In the meanwhile, the dialect translation in the book even made it harder for readers to understand, although it was presented a rustic style. | ||
| + | |||
| + | Huang Zhonglian(2012,144) put forward seven kinds of dialect transformation mechanisms based on the four elements such as original dialect,standard original, standard translation and dialect in the target language. | ||
| + | |||
| + | Yu Jing has contributed a lot to the translation of dialect. In 2015. Yu explored six common methods of translating American literature into Chinese. and described the "gap" between each translation method and standard language forms ( 余静, 2015, p.107-110). In 2018, Yu Jing proposed a broad framework for dialect translation in general. a localized framework for descriptive studies of literary dialect translation, and a comprehensive and systematic framework capable of accommodating different areas of descriptive studies of dialect translation is also sketched, so as to facilitate the efforts by concerned Chinese researchers to find suitable issues for their research projects from this specialized area of inquiry(余静2018, p.19). | ||
| + | |||
| + | In addition, Sang Zhonggang(2015,pp. 935-944) discovered that most of the current western studies on the topic concerned are of literary corpus-based descriptive research generalizing the normalized dialect translation strategies and procedures, and domestic studies mainly deal with the critical-interpretive evaluation of dialect translation cases. Therefore,he brought up a new research approach to the process of dialect translation strategy-selection in light of Active Theory ( 桑仲刚, 2015,p. 935). | ||
| + | |||
| + | Wang Enke believed that the respective handling might be a key to the breakthrough of today's research lock and introduced readers, a new element , into the study of dialect translation, and then suggested that translation of dialects into dialects would facilitate the reproduction of the charm the dialects in the original have, and that the descriptive approach instead of the prescriptive one would further the study of dialect translation (王恩科, 2015, P.83). | ||
| + | |||
| + | Zhou Lingshun (2016, pp. 23-27) defined the concept of vernacular language, and pointed out that the critical study of vernacular language translation needs three research approaches: the diachronic investigation of one translator in terms of his different translations in different periods, the synchronic investigation of different translators, and the application of the updated evaluation models in translation practice and translation criticism. | ||
| + | |||
| + | Meanwhile, Wang Baorong and Xie Haifeng presented a critical review of current Western studies on four translation strategies the translator may opt for, observing that dialectal standardization and dialect-for-dialect translation are generally found to be extreme solutions. They proceeded to suggest several possible avenues of further research to improve the current lack of systematic and empirical studies in this fascinating research field (王宝荣&谢海丰, 2016, p.39) Additionally, Jiang Jing (2016, p. 123-131) focused on the literature review of foreign dialect translation studies in the past 30 years, especially the main progress and viewpoints in the aspects of dialect translation strategies, dialect translation and sociocultural context. | ||
| + | |||
| + | In conclusion, the researches on dialect translation suggest that the translation of dialects can be undertaken not only within the linguistic level, but also within the cultural level. Meanwhile, critical researches on translation and interpretive research under a theoretical framework are two main aspects involving in the study of dialect translation. Although the study of the dialect translation around the world has been at an initial stage, there has appeared a climax of dialect translation nowadays. | ||
| + | |||
| + | ===Functional Equivalence Theory=== | ||
| + | The famous American translator Eugene Nida constructed a huge theoretical system between 1960s and 1970s, the core of which is the functional equivalence theory, that is, target readers can understand the function of the original in the same way that the original readers understand the original. Equivalence theory includes formal equivalence and functional equivalence. The former one refers to the equivalence of the target language and the source text in form, emphasizing the information itself. The latter is to restructure the original text information and language structure in a flexible and appropriate way, so as to achieve the basic equivalence of the original text audience between the target language audience. | ||
| + | |||
| + | The predecessor of functional equivalence translation theory is dynamic equivalence, which originated from The Theory and Practice of Translation written by Nida in 1969. Dynamic equivalence consists of lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. The core of dynamic equivalence theory is to make the target language readers' response to the translation equivalent to the original language reader's response to the original. In short, it aims to achieve the closest natural equivalence of the translation. Such translation understanding of this point of view has exerted a great controversy, mainly manifested in the above four principles as the principle to measure whether the translation is good sometimes appears stiff and the functionality that translation is supposed to achieve is often overlooked. In order to change this measurement standard and strengthen the concept of function, Nida replaced the theory of dynamic equivalence with the concept of functional equivalence in 1993. Nida proposed that the translation should be smooth and natural, and the content should be vivid and expressive, so that readers' feelings and reactions are similar (谭载喜, 2004, 234). It can be seen that the core of the theoretical framework is functional equivalence, and the purpose of functional equivalence is to achieve equivalence between translation and original text in language function, rather than simple correspondence in language form(叶子南，2013). | ||
| + | |||
| + | Functional equivalence has three principles, namely accurately convey original information and style; The translation should be consistent with the grammar and expression habits of the target language and the reader's response should be similar, which requires the translator to have a full grasp of the connotation and spirit of the original text before starting the translation. Only in this way can the target language reader have an equivalent response to that of the original reader. In order to meet the above three criteria, it is inevitable that there will be irreconcilable contradictions between content and form. In this regard, Nida advocates that content is more important than form, because translators should seek equivalents rather than identical languages. In a sense, that is to emphasize the reproduction of the original information, rather than the preservation of its expression form. In addition, Nida also put forward three criteria for the quality of translation, which can make the audience understand the original text correctly. The translation language is concise and easy to understand, as well as the form is appropriate and attractive to the audience. | ||
| + | |||
| + | ===Case Study=== | ||
| + | Dialect reflects the integration of a nation and the inheritance of culture. Sichuan dialect, for example, has retained many ancient and middle ages colloquial expressions and words unique to the ancient ba( ancient Chongqing) language. In each area of Sichuan Province, the pronunciation of Sichuan dialect is also different, and there is often a case of polysemy. The meaning of the same word will change in different contexts. | ||
| + | |||
| + | The meaning of the same word may change in different contexts. In translation, in order to achieve the equivalence of communicative functions, the translator needs to fit the context and choose the most appropriate meaning. | ||
| + | |||
| + | e.g：瓜娃子。 | ||
| + | |||
| + | The word "瓜娃子" is a characteristic word in Sichuan dialect. Its meaning can be roughly divided into three categories:(1) indicating nicknames between intimate relationships; (2) meaning that there's something wrong with one's nerves; (3) It means that someone is not smart enough to do something. The literal translation of "melon child" would be ironic if the translator did not understand its cultural context. Here are three examples to understand its interest and meaning. | ||
| + | |||
| + | Example 1：我的小瓜娃子，几天不见，好想你。 | ||
| + | |||
| + | Analysis: Obviously, in such case, there is always room for translating the word"瓜娃子" into "darling","dear" and "Sweetheart". In translation, the translator can also understand the relationship between the speakers on the basis of the context, and further achieve functional equivalence. | ||
| + | |||
| + | Example 2：你看那个人在垃圾堆里捡东西吃，怕是个瓜娃子哦。 | ||
| + | |||
| + | Analysis：The phrase “瓜娃子” in this sentence means insane, which can be translated as "neurotic insane". It takes a lot of work for the translator to achieve functional equivalence from the complete translation of words and phrases, and to convey the tone of surprise of the speaker. | ||
| + | |||
| + | Example 3：那么简单的事都做不好，真的是个瓜娃子。 | ||
| + | |||
| + | Analysis：In this sentence, “瓜娃子”means that someone is not clever enough and not able to do things wisely. | ||
| + | |||
| + | e.g: 抻展 | ||
| + | |||
| + | The word "抻展" in standard Chinese means to stretch something out. But in Sichuan dialect, the meaning of the word is quite different. It can be used to describe someone who looks good, or someone who does things well, who is beautiful, who dresses well, etc. In other words, the word is conjugated from a verb to an adjective with multiple meanings. In translation, the translator should first be able to understand the correct meaning of the word in different contexts to achieve equivalence in vocabulary selection, and then adjust syntax, part of speech, tone, etc., so as to make the reader feel roughly the same and achieve functional equivalence. | ||
| + | |||
| + | |||
| + | example 1: 小明你把这道题搞抻展没得? | ||
| + | |||
| + | Analysis: In this sentence, the phrase "抻展" can be described as understand, figure out and so on. While here in this case, it can be thought as" figure out" or "work out". According to the context, we can easily find that its meaning is mainly known as "figure out". | ||
| + | |||
| + | example 2: 她今天穿的还算抻展。 | ||
| + | |||
| + | Analysis: In this context, the phrase "抻展" can be translated as "well fitting", "decently"。In order to realize the equivalence of communicative functions, we should pay attention to the change of parts of speech. "抻展" in the original sentence is an adverb, but actually, it is used as an adjective to describe clothes, so it would be better to translate it into an adjective. | ||
| + | |||
| + | example 3: 他长得好抻展啊，不愧是校草。 | ||
| + | |||
| + | Analysis: With no doubt, "抻展" in this sentence means "handsome", "good looking", "attractive" and so on. When it comes to describe women, we have more options depending on the context. For a little girl, it can be translated as "cute" and "beautiful". For a young woman, it can be translated as "attractive", "sexy" and so on. An older woman can be described as "intellectual", "elegant"and "graceful". | ||
| + | |||
| + | example 4: 耙耳朵 | ||
| + | |||
| + | The word“耙耳朵” originates from a kind of ear in Chengdu bicycle (soft cushion), which is invented by men in Chengdu for their wives so that they could sit more comfortably in the back seat. Some streets in Chengdu can still see a small number of such bicycles. The expression evolved to today, meaning "hen-pecked wife's man ". In Sichuan, the term is both humorous but meanwhile full of praise, because the man who is afraid of his wife shows that he has a deep love for his wife, and also demonstrates that men in Sichuan generally have a kind of virtue. "耙" means "soft", if translated literally as "soft ear", which is obviously wrong, and foreign readers or listeners will not understand its connotation. In order to achieve the equivalence of communicative functions, translators need take the method of free translation, looking for similar western cultural background, such as "hen-pecked husband". | ||
| + | |||
| + | example 5: 假老练 | ||
| + | |||
| + | Do you still Remember Tom and Jerry? In the Sichuan dialect version, the cat, originally named Tom, is given a funny name called "fake sophisticated", because in Sichuan dialect, this phrase fits Tom's character, that is, he pretends to have experienced a lot while actually he knows nothing, which is similar a kind of banter of "puffing up your face and pretending to be fat". | ||
| + | |||
| + | In the everyday language of Sichuan dialect, we also often use "fake sophisticated "to describe this type of person. But it is often difficult for the translator | ||
| + | to find the corresponding word, with "witling" barely working, but only to achieve equivalence at the lexical level. To truly achieve functional equivalence, the translator should adopt the method of translation and interpretation. | ||
| + | |||
| + | example 5：梭边边 | ||
| + | |||
| + | analysis：One of the characteristics of Sichuan dialect is the use of reduplication. Translators all know that reduplication in Chinese is translated into English by omitting translation, adding translation and changing parts of speech and so on to achieve the functional equivalence. Then, the translation of reduplication in Sichuan dialect will also encounter the same problem. For example, "梭边边" means "slip away or evade responsibility", which can not be found in the translation of the corresponding verb, thus the translation has to find a relevant similar translation, saying "avoid responsibility". | ||
| + | |||
| + | Another example is "鱼摆摆", which actually refers to "fish", "pendulum" is just an expression of image in Sichuan dialect, describing fish swimming in the water. A similar phrase is "睡告告", which means "go to bed"or "sleep";"吃莽莽 "which means "have a meal"; "吃嘎嘎" means "eat meat". | ||
| + | |||
| + | There is also the word "火瞟瞟"，which is used to describe "burning pain". In translation, the translator can use addition and free translation in order to achieve the equivalence of its communicative functions; And "光咚咚", which means "without clothes". | ||
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| + | There are also AABB-like refrains such as "咔咔咯咯", which means" a corner that is difficult to find". When translating, the translator has to translate it according to the specific context for translating as "corner", "gap", "a place hard to find" and so on. | ||
| + | |||
| + | The above is a translation of some dialects used in daily life. Next, we will talk about the subtitle translation of Sichuan and Chongqing dialects, and discuss how to apply functional equivalence theory through the film anonymous. | ||
| + | |||
| + | With the globalization of the world and the acceleration of the process of cultural diversity, cultural exchanges between countries are becoming more frequent. More and more high-quality Chinese films are going to the whole world through the medium of subtitle translation. To disseminate unique Chinese culture and consciousness to the outside world. A Cool Fish is a Chinese dialect film featured by Chongqing dialect( the southwest dialect). It has been well received in China and received warm response abroad. | ||
| + | |||
| + | As a film with unique characteristics of southwest China, it should achieve the purpose of cultural exchange, which requires that the subtitle translation of the film not only makes the translation response to the original with vivid, appropriate and natural way of good faith to the purpose and the audience, but also on the basis of the text, makes the maximum reduction of emotional attitude, style and characteristics. The goal is to make the audience has a similar spiritual experience with the original audience. It coincided with the Nida's functional equivalence theory, that the purpose is to make the audience's reaction to the translation is basically the same as the original English audience's reaction to the original text. Therefore, the following cases, based on the functional equivalence theory, analyzes the translation strategies used by the film translator and its quality. | ||
| + | |||
| + | example: 你莫骗老子哈。 | ||
| + | |||
| + | Translation: Don't you make a fool of me? | ||
| + | |||
| + | Analysis: This scene is the two men( one called "Glass" and the other one is " the Big Head" ) were hiding at the heroin, Ma Jiaqi's home after robing at the phone store. Glass was asking Ma whether the liquid medicine would make him feel painful when the Big Head was applying unction for him. In Chongqing dialect, “莫”means "no", "don't"; the original meaning of the sentence is warming Ma not playing trick on him, but the word " lie" is not able to express the tone of teasing. Therefore, it is translated as" make a fool of me", which has such meaning. Here the literal translation is chosen to accurately express the attitude and convey the original text 's style and message. | ||
| + | |||
| + | example 2: 老子耍女人的时候你娃还在吃鼻屎！ | ||
| + | |||
| + | translation: I was already a womanizer when you were still shitting your pants! | ||
| + | |||
| + | The so-called free translation, that is, only faithful to the content of the original text, but not confined to the original text (Meng Qingsheng, 2009). In the example, Glass does not admit that he does not have girlfriend and he is still a virgin. In the original text, "Boose-eating," refers to an unworldly child. If the literal translation would make the foreign audience feel disgusting and unacceptable, the translator is here translated as "shit one's pants", referring to children who pee their pants, and the texts correspond to each other, both faithful to the original text and considering the audience's feelings. | ||
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| + | Example 3: 等于是你永远不会睡着嘛？ | ||
| + | |||
| + | Translation: Will you never fall asleep? | ||
| + | |||
| + | In the case, the underlined part was omitted in the translation. The translator sacrifices the original form to translate in an appropriate way to show its spirit, essence and content( Zoe, 1995). In this case,Ma is threatening Glass, and if he would leave, Ma will cry out for help. This is what the Glass put forward to deal with Ma's trick. In Chongqing dialect, “等于是”means"难不成”、“难道, which is often in interrogative sentence. There is no exact equivalent words or phrases in English. So the translation delete it. It will not affect the purpose and the audience's understanding of the original text, but make the translation more concise and more in line with the requirements of subtitle translation. | ||
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| + | This paper analyzes and summarizes the translation of the subtitle of the film--A Cool Fish--under the guidance of functional equivalence theory. The subtitle translation strategy of Chongqing Dialect is flexible, translation strategies including deletion, reconstruction, literal translation and free translation, all of which are used in the faithful manner. Based on the faithful expression about the original text, the characteristics of Chongqing dialect are fully displayed, and to a large extent, the original retained the appeal and attraction of the audience and the original audience to achieve the same film experience and effect, and finally achieve Nida's "functional equivalence". | ||
| + | |||
| + | ===Conclusion=== | ||
| + | Translating dialects is a very interesting practice. Even if it is a simple word, its meaning changes a lot. The translator can choose the most appropriate one from Nida's functional equivalence theory to realize lexical equivalence; Try to achieve syntactic equivalence through appropriately taking use of translating methods including changing the part of speech; Then according to the context and speakers' relationships, grasping the tone of translation, and finally realizing the equivalence of communication functions. | ||
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| + | The translator should not blindly pursue the brevity of language to use "hard translation" or "dead translation", which would make the translation hard to understand and inconsistent with linguistic habits of the target language readers. On the contrary, the translator should be appropriately make use of addition, omission, changing part of speech and the word order to make the translation fluent and natural, achieve functional equivalence and truly realize communication between local residents and tourists or readers. | ||
| + | |||
| + | Through the above translation and analysis of Sichuan and Chongqing dialect that we can see, Nida's functional equivalence theory is applicable to the translation of dialects. The core of his theory is that the translation should be smooth and easy to translate, which means that after reading, the reader's reaction is similar to that of the original reader and finally achieve dynamic equivalence, that is, to achieve lexical, syntactic, textual and stylistic equivalence, but the ultimate goal is to achieve communicative function. In dialect translation, in order to make the target language audience know the fun and charm of the language and feel the regional cultural characteristics, namely, to achieve the equivalence of communicative functions, in translation, the translator should make appropriate addition, omission and free translation, etc. In the era of globalization, people matter on the one hand keeping pace with the times to speak standardized mandarin and to learn standardized English; and on the other hand, people should well keep the language treasure house left by their ancestors and inherit the characteristics of its nation. | ||
| + | |||
| + | ===References=== | ||
| + | Brisset, A.(2017).Shakespeare, a late bloomer on the Quebec stage. In R. M. Irena & P. Kathryn (Eds). Shakespeare and Canada:Remembrance of ourselves pp.127-156. Ottawa:University of Ottawa Press. | ||
| + | |||
| + | Corrius, M. & Zabalbeascoa, P. (2011). Language variation in source texts and their translations: The case of L3 in film translation, Target, 23 (1), 113-130. | ||
| + | |||
| + | De Linde, Zoe, “Read my lips: Subtitling principals: Practices and problems.” In Perspectives, Studies in Translatology, 1995, 3(1)：9-20. | ||
| + | |||
| + | Herrera, J. M. R. (2014). The reverse side of Mark Twain's brocade: The Adventures of Huckleberry Finn and the translation of sialect. European Journal of English Studies, 18 (3), 278-294. | ||
| + | |||
| + | Herrera, J. M. R. (2017). The Adventures of Huckleberry Finn and Jim in China: A case of what Corpus Pragmatics can do for the translation of dialect. Digital Scholarship in the Humanities, 32(2), 385-397. | ||
| + | |||
| + | Leppihalme, R. (2000). The two faces of standardization:On the translation of regionalism in literary dialogue. The Translator, 6(2), 247-269. | ||
| + | |||
| + | Ritt-Benmimoun V. (2017). The preposition fi: As an object and aspect marker in a south Tunisian Bedouin dialect[J]. Journal of Semitic Studies, 62(2), 319-355. | ||
| + | |||
| + | Han ziman韩子满. (2002). 试论方言对译的局限性——以张谷若先生译《德伯家的苔丝》为例. [ On the limitation of dialect translation-- take the translation of The Tess of the d'Ubervilles by Zhang Guruo as an example][J]. 解放军外国语学院学报[Journal of PLA Foreign Language Institute], 25(4): 86-90. | ||
| + | |||
| + | Huang Zhonglian黄忠廉. (2012). 方言翻译转换机制[ Conversion Mechanism of Dialect Translation ][J]. 北京理工大学学报[ Journal of Beijing Institute of Technology ] 14(2): 144-151. | ||
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| + | Jiang Jing姜静. (2016). 国外方言翻译研究三十年：现状与趋势[ For 30 years' Dialect Translation Studies in Foreign Countries: Current Situation and Trend ][J]. 放军外国语学院学报[ Journal of PLA Foreign Language Institute ], 39(2): 123-132. | ||
| + | |||
| + | Meng Qingsheng孟庆升. (2009). 新编实用汉英翻译教程[ A New Practical Chinese-English Translation Course ][M]. 天津：天津大学出版社[Tianjin: Tianjin University Press ]. | ||
| + | Tan Zaixi谭载喜. (2004)西方翻译简史[ A Brief History of Western Translation][M]. 北京：商务印书馆[ Beijing: The Commercial Press ]. | ||
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| + | Wang Baorong & Xie Haifeng汪宝荣, 谢海丰. (2016). 西方的文学方言翻译策略研究述评[A Review of the Translation Strategies of Western Literary Dialects ][J]. 外国语言研究[ Foreign Language Studies ], 2(4): 39-49. | ||
| + | |||
| + | Wang Enke王恩科. ((2015). 文学作品中方言翻译再思考[ Rethinking on Dialect Translation in Literary Works ][J]. 外国语文[ Foreign Language ], 31(4): 83-90. | ||
| + | |||
| + | Ye Zinan叶子南. 高级英汉翻译与实践(第三版）[ Advanced English-Chinese Translation and Practice( The Third Edition) ][M]. 北京：清华大学出版社[ Beijing: Tsinghua University Press ], 2013. | ||
| + | |||
| + | Yu Jing余静. (2015). 论方言翻译的“落差”策略[ On the Fall-off Strategy of Dialect Translation ][J]. 中国翻译[ Chinese Translation ], 17(2): 107-110. | ||
| + | |||
| + | Yu Jing余静. (2018). 文学方言描写翻译研究路线图[ Research Roadmap of Descriptive Translation of Literary Dialect ][J]. 中国翻译[Chinese Translation ], 19(3): 19-27. | ||
| + | Zhou Lingsong周领顺. (2016). 乡土文学、乡土语言及其翻译研究[Study on Local Literature and Local Language and Translation ][J]. 158(1): 23-27. | ||
| + | |||
| + | ===Terms and expressions=== | ||
| + | relevance theory 关联理论 | ||
| + | |||
| + | language function theory 语言功能理论 | ||
| + | |||
| + | sociology 社会学 | ||
| + | |||
| + | Pygmalion 《匹格玛利翁》 | ||
| + | |||
| + | Lady Chatterley's Lover 《 查泰莱夫人的情人》 | ||
| + | |||
| + | Wuthering Heights 《呼啸山庄》 | ||
| + | |||
| + | The Adventure of Huckleberry Finn 《哈克贝利费恩历险记》 | ||
| + | |||
| + | Tess of the D'Urbervilles 《德伯家的苔丝》 | ||
| + | |||
| + | functional equivalence theory 功能对等理论 | ||
| + | |||
| + | The Theory and Practice of Translation 《翻译理论与实践》 | ||
| + | |||
| + | A Cool Fish 无名之辈 | ||
| + | |||
| + | ===Questions=== | ||
| + | 1. How many local dialects in China? | ||
| + | |||
| + | 2. which dialect is spoken in Zhejiang Province? | ||
| + | |||
| + | 3.Who illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics? | ||
| + | |||
| + | 4. The phrase "瓜娃子" means that someone is "smart", true or false? | ||
| + | |||
| + | 5.What unique characteristic does the film A Cool Fish featuring? | ||
| + | ===Anwsers=== | ||
| + | 1.Seven | ||
| + | |||
| + | 2.Wu dialect | ||
| + | |||
| + | 3.Sánchez | ||
| + | |||
| + | 4.False | ||
| + | |||
| + | 5. Chongqing dialect | ||
| + | |||
| + | ==英语笔译 马艳焕 Ma Yanhuan 202170081591== | ||
| + | <center>'''The Differences and significance of adaptation of Folktales -- A Case study of The Legend of the White Snake '''</center> | ||
| + | |||
| + | <center>马艳焕</center> | ||
| + | |||
| + | ===Abstract=== | ||
| + | Folktales, also known as ancient sayings and ancient classics, are mostly spread in oral form, with exaggerated plots and fantasies, which mostly show people's good intentions, and often endure with the course of human growth. The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially shaped in Feng Menglong's "General words of warning the World" in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation. In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination. | ||
| + | |||
| + | ===Key words===Differences； adaptation； folktale； The Legend of the White Snake | ||
| + | |||
| + | ===Introduction=== | ||
| + | Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories. | ||
| + | Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times. | ||
| + | The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories. | ||
| + | |||
| + | ===I. the process of adaptation of the Legend of the White Snake. === | ||
| + | 1. The Python incident originating from Luoyang in the Tang Dynasty. | ||
| + | According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of the Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles." So he attacked it with the Tianzhu mantra, and the snake died a few days later. | ||
| + | Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu. | ||
| + | 2. The Tang Dynasty‘s Legend —the White Snake | ||
| + | In the early 9th century, Yuanhe Year of Tang Xianzong Reign Period, a rich son named Li Huang(李黄）met a beautiful woman in white in the East City of Chang'an. | ||
| + | The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days. Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head. | ||
| + | The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes. | ||
| + | 3. Song Dialect--the Chronicles of the three Pagodas of the West Lake (see the vernacular of Pingshantang in the Qing Dynasty) | ||
| + | When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart. | ||
| + | With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den. | ||
| + | Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas. | ||
| + | 4. Ming Dynasty— Feng Menglong's The Lady in White Weighing down the Leifeng Pagoda （《白娘子永镇雷峰塔》）in the Stories to Warn Men(《警世通言》）It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him. Later，they became the couple.After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear. Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife. After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring. | ||
| + | Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Leifeng and caught White and Green Snakes in the Pagoda. | ||
| + | 5. Qing Dynasty version. | ||
| + | During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda". | ||
| + | The main framework of the story of the White Snake has been largely completed since then. | ||
| + | The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake. Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda. | ||
| + | In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman. Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late. | ||
| + | 6. Modern adapted version. | ||
| + | Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939. The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady. Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man. The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on. | ||
| + | |||
| + | ===II.The Differences and Reasons of the Adapted Version. === | ||
| + | |||
| + | '''1. White snake image.''' | ||
| + | Since the beginning of the story of White Snake in the Tang Dynasty, the image of White Snake has changed greatly. By bringing the new white snake image into the evolution system of the white snake story after the middle of the 20th century, from the perspective of both sexes, we can find that the evolution of the white snake image in the eyes of men can be divided into three stages: banshee, good wife and lover. | ||
| + | According to the different descriptions of the white snake by men in these three stages, the emotional type of the human snake goes through the changing process of lust, kindness and love, and the relationship between human and snake changes from alienation to intimacy to alienation under different emotional states. | ||
| + | From the point of view of the discourse right of both men and women, this is actually a process in which women represented by White Snake "do not have their own discourse system-being incorporated into male discourse system-begin to establish their own discourse system". The evolution of the image of White Snake is actually a process from a demon to a woman, and then to a truly independent person [1]. | ||
| + | The author believes that the evolution of the white snake image is mainly divided into three stages, namely, demon-human-immortal. | ||
| + | The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake". | ||
| + | Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men. | ||
| + | The animalistic side of her transcends the human side. | ||
| + | The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market. | ||
| + | In the later TV series Legend of the New White Lady, the reason why the White Lady played by Zhao Yazhi was so popular was that she created a perfectly idealistic female image. She was not only beautiful and considerate, but also a gentle and virtuous wife and mother; moreover, she was the embodiment of the Quan Yin Bodhisattva and was the embodiment of the Quan Yin Bodhisattva, completing the transformation from a demon to an immortal, which not only beautified women, but also conformed to the vision of men's expectations. | ||
| + | |||
| + | '''2. Attitude towards women.''' | ||
| + | The change in the image of White Snake shows a change in attitude towards women. | ||
| + | Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status. | ||
| + | |||
| + | '''3. Storyline.''' | ||
| + | In the process of evolution, the story of the White Snake is constantly enriching and deepening. | ||
| + | From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "The Flooding of Jinshan Temple（水漫金山）", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete. | ||
| + | |||
| + | '''4. The story ends.''' | ||
| + | It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten. White Snake evolved from the tragedy of being suppressed at first to the happy ending of a family reunion later. Before modern times, the ending of White Snake was divided into two kinds, one was Yongzhen under Leifeng Pagoda, and the other was the happy ending of White Snake rescued by his son Xu Shilin's sacrificial Pagoda. But in both endings, White Snake is the passive party and can only wait to be rescued by others. | ||
| + | Later, Tian Han adapted the Legend of the White Snake and adapted the ending into the Green Snake to destroy the Leifeng Pagoda and save the White Snake, reflecting the spirit of self-rescue and resistance of the oppressed. | ||
| + | |||
| + | '''5. The ways of spreading folktales.''' | ||
| + | The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television. | ||
| + | At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added. In the past two decades, the rise of the National Cartoon has promoted the development of anime films. | ||
| + | |||
| + | '''The reason for the change:''' | ||
| + | '''1. The decline of totem（图腾） faith.''' | ||
| + | The primitive ancestors worshipped snakes because they believed that snakes had some supernatural power and formed kinship with snakes so that snakes would not harm them, so they chose snakes, a powerful and ferocious natural creature, as the object of tribal worship to show closeness for protection. | ||
| + | This lays the foundation for the possibility of human serpent love in folktales. | ||
| + | However, since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased. Slowly, people have abandoned their belief in totem, leaving only fear without respect. | ||
| + | Snake venom can kill people, the image is ugly and omnipresent, and people feel horrible and disgusting, leaving only the image of harm [2]. | ||
| + | |||
| + | '''2. The influence of the literati's concept of "beauty disaster（红颜祸水）".''' | ||
| + | The white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the evil demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. Warning word, self-evident [1]. | ||
| + | |||
| + | '''3. Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties.''' | ||
| + | Gifted scholars and beauties refer to talented men and beautiful women, and generally refer to talented men and women. | ||
| + | The life of ordinary people is not satisfactory. They expect to have a partner with both ability and political integrity and a happy and stable family. | ||
| + | The only way for the lower class to change their fate is to get fame, but at that time, most people were often depressed, so they wrote stories about talented scholars and beauty to place their dreams that could not be realized. therefore, when creating the image of the White Snake, it is more inclined toward the wife, expressing people's vision of better family life. | ||
| + | |||
| + | '''4. Ideological Emancipation''' | ||
| + | Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification. | ||
| + | |||
| + | '''5. The Development of Science and Technology'' | ||
| + | The development of science and technology has given birth to a new way of transmission. | ||
| + | In an era when there was no television or film, people could only spread stories orally or in writing. | ||
| + | With the industrial revolution and the development of information technology, people slowly innovated the presentation of literature, resulting in the emergence of television and movies, as well as later animation. | ||
| + | |||
| + | ===The value and significance of the continuous adaptation of folktales=== | ||
| + | 1. Enrich the content of folk stories. | ||
| + | In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education but also enriches people's recreational life because of its cultural connotation. | ||
| + | The Legend of the White Snake develops from a single story ending at first to a happy ending with ups and downs later, which shows that the adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales. | ||
| + | 2. It helps to expand the audience and promote the inheritance of intangible cultural heritage. | ||
| + | The legend of the White Snake in Hangzhou, Zhejiang Province is a bright pearl in Chinese folk literature. The characters such as Bai Niangzi, Xu Xian, Fahai, and Xiaoqing express the broad masses of people's desire for the liberation of human nature and are the precious spiritual and cultural heritage of the Chinese nation. | ||
| + | Because of a large number of ancient traditional customs preserved in the legend, the Legend of White Snake has become one of the oral heritages with the richest folk cultural information in China and was selected into the first batch of the national intangible cultural heritage list in 2006. | ||
| + | The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales. | ||
| + | 3. A peek into the change in society and the change in people's thinking. | ||
| + | Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness. | ||
| + | In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love. | ||
| + | As the director of the Legend of the White Snake said, the heroine Bai 11 has a certain embodiment of modern female values on self-growth and how to pursue more powerfully and autonomously, reflecting the way modern men and women think about love. It emphasizes the positive materialism that the leading actors are unwilling to succumb to the arrangement of fate and strive to rewrite their own destiny and protect the people in the world[4]. | ||
| + | |||
| + | ===Conclusion=== | ||
| + | If folktales want to spread forever and endure, they must be integrated into the spirit of the times through innovative means and spread the old culture in new forms. | ||
| + | The reason for the adaptation of the Legend of the White Snake is not only the influence of the creator's subjective factors but also the limitation of objective factors such as the cultural concept and the development of science and technology at that time. | ||
| + | It is this kind of adaptation that not only makes people see the traditional culture contained in folktales, but also injects new vitality into Chinese traditional culture, brings new educational significance to each generation, and gives folktales more connotations of the times. to meet the trend of today's historical development, in line with the aesthetic taste of more people. And by virtue of novel ways of presentation to attract more audiences and promote the spread of Chinese culture. | ||
| + | |||
| + | ===References=== | ||
| + | *[1]Chen Shunan陈舒楠（2018）.由妖到人:从两性视角看白蛇形象的演变[J].中华女子学院学报,2018,30(05):97-102.DOI:10.13277/j.cnki.jcwu.2018.05.013. | ||
| + | *[2]Fang Hongying方红英(2014). 白娘子形象演变研究[D].曲阜师范大学Qufu Normal University. | ||
| + | *[3]Song Luyun,Li Wanjiao宋璐云，李婉娇（2020）《白蛇传》：白娘子的前世今生_故事 (sohu.com)。 | ||
| + | *[4]https://xueqiu.com/5868117133/110046322 | ||
| + | ===Questions=== | ||
| + | 1. The Legend of White Snake is one of four folktales of China, True or False? | ||
| + | 2. Why have people abandoned the belief of snakes in totems? | ||
| + | 3. When was The Legend of White Snake listed as intangible cultural heritage? | ||
| + | ===Questions=== | ||
| + | 1. True | ||
| + | 2. Since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased. | ||
| + | 3. 2006 | ||
| + | |||
| + | ==英语笔译 聂薇 Nie Wei 202170081592== | ||
| + | <center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center> | ||
| + | |||
| + | <center>聂薇</center> | ||
| + | |||
| + | ===Introduction=== | ||
| + | Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27) | ||
| + | |||
| + | This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34) | ||
| + | |||
| + | With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27) | ||
| + | |||
| + | The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27) | ||
| + | ===The evolution of the Spring Festival travel rush=== | ||
| + | As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32) | ||
| + | |||
| + | In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32) | ||
| + | |||
| + | |||
| + | (i) The difficulty of travelling during the Spring Festival in ancient times | ||
| + | |||
| + | Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27) | ||
| + | |||
| + | In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27) | ||
| + | |||
| + | Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27) | ||
| + | |||
| + | |||
| + | (ii) The difficulty of travelling during the Spring Festival in modern times | ||
| + | |||
| + | The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27) | ||
| + | |||
| + | With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28) | ||
| + | ===Cultural factors behind the Spring Festival travel rush in China=== | ||
| + | The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33) | ||
| + | |||
| + | |||
| + | (i) Confucian culture | ||
| + | |||
| + | In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28) | ||
| + | |||
| + | The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28) | ||
| + | |||
| + | It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28) | ||
| + | |||
| + | The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28) | ||
| + | |||
| + | In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84) | ||
| + | |||
| + | A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84) | ||
| + | |||
| + | But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85) | ||
| + | |||
| + | This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85) | ||
| + | |||
| + | |||
| + | (ii) ceremonial culture | ||
| + | |||
| + | In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28) | ||
| + | |||
| + | During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28) | ||
| + | |||
| + | The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28) | ||
| + | |||
| + | Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85) | ||
| + | |||
| + | |||
| + | (iii) institutional culture | ||
| + | |||
| + | One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29) | ||
| + | |||
| + | The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29) | ||
| + | |||
| + | |||
| + | (ⅳ) the concept of family-and-nation | ||
| + | |||
| + | In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85) | ||
| + | |||
| + | In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85) | ||
| + | |||
| + | However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85) | ||
| + | |||
| + | As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85) | ||
| + | |||
| + | Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85) | ||
| + | ===Way of relieving pressure from the rush=== | ||
| + | Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33) | ||
| + | ===The prevalence of the Anti-Spring Festival travel rush=== | ||
| + | In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86) | ||
| + | |||
| + | On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86) | ||
| + | |||
| + | But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86) | ||
| + | |||
| + | On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86) | ||
| + | |||
| + | Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86) | ||
| + | ===Conclusion=== | ||
| + | No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87) | ||
| + | |||
| + | The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87) | ||
| + | |||
| + | Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82) | ||
| + | |||
| + | The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87) | ||
| + | |||
| + | It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82) | ||
| + | |||
| + | The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82) | ||
| + | |||
| + | Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82) | ||
| + | ===Terms and expressions=== | ||
| + | Spring Festival travel rush：春运 | ||
| + | |||
| + | epic population migration：史诗般的人口迁徙 | ||
| + | |||
| + | Confucian culture：儒家文化 | ||
| + | |||
| + | ceremonial culture：仪式文化 | ||
| + | |||
| + | institutional culture：制度文化 | ||
| + | |||
| + | farming culture：农耕文化 | ||
| + | |||
| + | patriarchal clan system：宗法制度 | ||
| + | |||
| + | clan gathering：家族聚居 | ||
| + | |||
| + | displaced people：流民 | ||
| + | |||
| + | the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想 | ||
| + | |||
| + | affectionate elders and dutiful juniors：父慈子孝 | ||
| + | |||
| + | agriculture is valued while commerce is restrained：重农抑商 | ||
| + | |||
| + | fishing, woodcutting, farming and learning：渔樵耕读 | ||
| + | |||
| + | The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌） | ||
| + | |||
| + | The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂” | ||
| + | |||
| + | worshiping ancestors：祭祖 | ||
| + | |||
| + | paying a New Year call：拜年 | ||
| + | |||
| + | putting up spring scrolls：贴春联 | ||
| + | |||
| + | the system of urban-rural regional segregation：城乡区域隔离制度 | ||
| + | |||
| + | the household registration system：户籍制度 | ||
| + | |||
| + | the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化” | ||
| + | |||
| + | the concept of family-and-nation：家国观念 | ||
| + | |||
| + | Spring and Autumn Period：《春秋繁露》 | ||
| + | |||
| + | the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲 | ||
| + | |||
| + | Earthbound China：《乡土中国》 | ||
| + | |||
| + | the Double Ninth Festival：重阳节 | ||
| + | |||
| + | statutory long holidays：法定节日长假 | ||
| + | |||
| + | elderly drifters：老年漂族 | ||
| + | |||
| + | thinking of one's relatives every time the festival comes around：每逢佳节倍思亲 | ||
| + | ===References=== | ||
| + | *Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29. | ||
| + | *Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33. | ||
| + | *Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82. | ||
| + | *Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36. | ||
| + | *Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87. | ||
| + | *Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店. | ||
| + | ===Questions=== | ||
| + | 1.How long does the Spring Festival travel rush usually last? | ||
| + | A.30 days | ||
| + | B.40 days | ||
| + | C.50 days | ||
| + | D.60 days | ||
| + | |||
| + | 2.Which one of the following group is not the main reason that results to the rush? | ||
| + | A.Migrant workers | ||
| + | B.Students | ||
| + | C.Those planning to visit relatives | ||
| + | D.Tourists | ||
| + | |||
| + | 3.Which one of the following cultures is the main factor that encourages family reunion? | ||
| + | A.Confucian culture | ||
| + | B.Taoist culture | ||
| + | C.Buddhist culture | ||
| + | D.Christian culture | ||
| + | ===Answers=== | ||
| + | 1.40days | ||
| + | |||
| + | 2.Tourists | ||
| + | |||
| + | 3.Confucian culture | ||
Latest revision as of 04:45, 8 July 2022
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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 刘珍 Liu Zhen 202170081588
Abstract
Qin, also known as Chinese harp/lute, peptachord, jade harp, lyre, now called Guqin(a seven-stringed plucked instrument), it is one of the oldest stringed plucked instrument in the history of traditional Chinese folk musical instruments. For thousands of years, the literature on Guqin retention is very profound. Each era has a representative literature of Qin manufacturing, Qin player, Qin music, theory, skills, as well as the special Chinese traditional music culture phenomenon, the remains are abundant. Until today, Guqin still occupies a special position in the Chinese traditional culture. However, with the development and change of society, people's cognition has changed a lot; As the infiltration and integration of western music culture, the new music has become the mainstream of Chinese music culture, while Guqin art as a representative of traditional Chinese culture was marginalized in modern culture. With the change of social environment, the survival condition of Guqin has been changed, the crisis of the survival and development of Guqin art under commercialization, he integration of eastern and western music culture, the disappearance of the traditional literati stratum and the differentiation of the social roles of Guqin player highlights the survive and thrive problem of contemporary Guqin art. From three aspects: the historical overview, current situation and contemporary significance of Guqin art, this article made an on-the-spot investigation on how to inherit and develop Guqin art in today's social environment.
Key Words
Guqin; Development; Inheritance; Significance
Introduction
The Research Object
Qin, also known as Yao Qin, Silk, jade qin, seven-stringed qin, is now known as Guqin. It is one of the oldest stringed plucking instruments in China's traditional national Musical Instruments. It has a long history of about 3,000 years. There are legends such as Fu Xi Shennong making qin, Huang Di Tang Yao making qin, etc. From five strings, King Wen and King Wu each added one string and finally made it seven strings. For thousands of years, qin has been the top of the "four arts", as well as a tool for the literati to cultivate their morality and realize the road. UNESCO listed it as one of the first oral and intangible cultural heritage of humanity representative works in 2003, namely for its artistic value, historical status Full affirmation of. Guqin art is an important part of Chinese traditional culture. From ancient times to the present, the legendary Fuxi, Yao and Shun, to the emperors, literati and music officials of all dynasties have promoted the development of guqin music art with their superb performance skills, literature and art, as well as traditional philosophy and aesthetic thoughts. In the long growth process of guqin art, it gradually created a series of unique systems of philosophy, aesthetics, musicology, notation, playing techniques and so on. There are extensive literatures about guqin, from the Spring and Autumn and Warring States periods to the development periods of the Wei, Jin and Southern and Northern Dynasties, to the prosperity periods of the Tang, Song and Yuan dynasties, and to the popularity periods of the Ming and Qing Dynasties. In each era, there are representative historical documents on qin making, qin music, qin musicians, qin theory and qin art, as well as special phenomena of Traditional Chinese music culture.
The Research Status
Since the 1950s, in order to integrate the art of guqin with modern culture, the academic circle has carried out a series of appropriate explorations. It is mainly manifested in the following aspects: the work of music, the creation of Musical Instruments, the establishment of playing disciplines, the theoretical research of Musical Instruments and so on. We have made achievements in literature review and textual examination on the system, history, song, theory and score of qin, and quite a few achievements have even become the foundation stone of contemporary and contemporary research on the art of guqin. In particular, he has made remarkable contributions to the study of qin music and qin song, qin man and qin school, as well as music score and playing score. In this section of Chinese zither research, modern and modern scholars have made effective efforts in digging, collecting, sorting, preserving and inheriting the zither music, and conducted a comprehensive and systematic academic exploration of the literature on all aspects of the study of guqin art in all dynasties and dynasties. Among them, zha Fuxi, Wu Jinglue, Yu Shaoze, Guan Pinghu, Gu Meizang, Wu Zhao, Wang Di and other famous musicians published their works. These researches and explorations have greatly stimulated the development and inheritance of guqin art by summarizing historical experience and combining historical background, and their historical value should be fully affirmed. As a bridge connecting the tradition of guqin art with modern culture, they have value and significance that cannot be underestimated.
Research Purpose and Significance
At a time when the historical and cultural value of guqin has been constantly recognized, this ancient musical instrument has left its instrument, music and theory from an academic perspective. Contemporary scholars from musicology, history, sociology, anthropology and other aspects of the academic research and many academic achievements. Especially in music history, music aesthetics and music theory and other aspects of the research results are relatively rich. In the current situation where traditional culture is fading, it is of certain academic value and practical significance to study and explore the art of guqin deeply. Scholars focus more on textual research, analysis and exploration from the perspective of qin itself. Therefore, contemporary theories of qin have made great achievements in such fields as qin making, qin players, qin music, qin history, qin theory and qin school, while thematic studies on the contemporary significance and value of guqin are a little weak. Based on the existing research results of guqin art, the author breaks through the limitations of the ontology research of guqin music, further insights into the social and cultural living conditions of contemporary guqin music, and reveals its cultural and spiritual connotations at a deeper level. On the basis of inheriting traditional culture, correctly grasping the current situation of contemporary social culture, and then elucidating the enlightenment of guqin related theories to contemporary cultural society, as well as thinking about aesthetic and musical cultural identity in the context of contemporary culture, will be more conducive to the inheritance, development and innovation of guqin art. It is hoped that through the research of this project, some necessary research materials and academic experience will be accumulated for the enrichment and further development of the research system of guqin art. In addition to the above academic and social significance, the research and writing process of this project is the best way to deeply understand guqin music culture. The author expects to further organize and study the epitaxial data of this project, and further study and understand the historical data of qin science, the spiritual connotation of qin music and traditional culture, so as to complete this project with excellence and realize the innovation and value of this project. In the future study, scientific research and work, we will effectively make some specific achievements for the inheritance and development of guqin art.
Historical Overview of Guqin Art
2.1 Artistic Characteristics
The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings.
The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings.
The reverse side of the surface is called the bottom of the instrument. The bottom is exactly the same as the surface of the instrument, and the part that falls under the "Yueshan" on the surface is called "Zhen Chi" or "xian Groove". There are "wild goose foot" in the back part of the qin, and a large and small slender groove hole on the bottom of the qin, namely "dragon Pond" and "Feng Marsh".
String is the material basis for the existence of stringed instruments, and the string is the main vocal body of the instrument. There are seven strings, arranged from the outside to the inside according to the height of the scattered notes of each string. The lowest and highest notes are called the first string and the seventh string respectively. The strings used are the thickest and thinnest, and the seventh string is close to the player. As for the method of making strings, the ancient silk string manufacturing technology has formed a quite mature technological system and theory. According to literature records, the ancient string-making method is very elegant from the selection of strings to the production process, the selection of materials from the type of silk to the origin, the weather, heat and other factors during the process are very strict, and the necessary winding and drying of strings in the process are also very flexible and maneuverable. According to the selection of materials and the different era, the production procedures of the dynasties have different degrees of difference. However, since the 1920s, with the progress of The Times and the introduction of modern industrial technology in the West, the ancient Chinese traditional and ancient silk string making method has been on the verge of being lost, replaced by steel and nylon strings. In the process of modern qin chopping, the selection of strings has changed, the timbre and quality of qin have changed to different degrees, and the artistic style and spiritual connotation of ancient traditional qin music have also changed.
2.2 Qin Song and qin song
Guqin song is an indispensable and important part of the research field of guqin, as well as a special form of expression in the art of guqin. So far, there are about 600 musical scores of guqin songs. The most famous collection of ancient qin songs is Boya Xinfa, written by Yang Lun, a representative of the qin Song school, which was published before 1609. It experienced a historical process of ups and downs from the budding period of pre-Qin dynasty to the peak period of Tang and Song Dynasty and then to the decline period of Ming and Qing Dynasties. It was not until the forties and fifties that the art of qinge was again attached great importance to by famous musicians such as Wu Jinglue, Zha Fuxi and Zhang Ziqian. They have done a lot of digging, sorting and research on the art of qinge, which has played a positive role in the revitalization and revival of the art of qinge. Qin song refers to singing while playing the qin, which can be sung by one person alone or accompanied by others. It was called "string song" in ancient times. Qinge songs are varied in tone and varied in topic selection. There is a direct relationship between literary creation and qinge songs creation in different historical periods, and there are qinge songs works with artistic characteristics in different historical periods.
With the change of dynasties, the development of guqin music itself tends to be mature. With the enhancement of the artistry of guqin music and the enrichment of guqin playing techniques, guqin solo has been able to meet the needs of musical emotion and artistic expression, and luthiers pay more attention to guqin solo, causing the decline of guqin song art for a time. However, the existence of qin song art should not be ignored, its existence value lies in that it is the original appearance of Chinese traditional classical art songs, for the study of Chinese contemporary national vocal music in ancient art songs singing skills, has a certain degree of continuity and development. For the development and inheritance of qinge art, the countermeasures for the contemporary development of qinge art include: exploring, sorting and creating more qinge works, expanding the performance forms of qinge, and constantly innovating with the help of modern media to strengthen the publicity of qinge art.
Of our country's existing text spectrum music of violin tateishi tone. "orchid is the oldest in the world of music, the song of Confucius to travel, will not be accepted and thought, on the way to see orchid between weeds, can not help but think of oneself condition caused by the inner sadness, orchid is a symbol of elegant and noble quality, but neglected to forget, Their ideas for the good of the world are also disregarded. This is a kind of ancient people often borrow things wing, lyric way of borrowing scene. The rigorous structure of the music is not only reflected in the close relationship between the four sections, but also in the strong logic between the sections and phrases within each section.
The similarities and differences in the content of qin qu determine the different musical structure and musical artistic expression techniques. According to the content of the performance needs, which the music melody of the link between the past and the future, contrast, presentation, development, reproduction, variation, mold forward, expansion and other techniques are needed. Moreover, the theme melody in the vast majority of Musical Instruments often changes twice or more, that is, on the basis of the original theme melody, according to the advancement of the music content, and then leads the music to the climax. Therefore, the music used to have a continuous, integrated, natural sense of advancement.
Innovation of Guqin Art
3.1 Improvement of Qin
Chinese guqin production technology has a long history, there are myths and legends with anthropological value, such as Fu Xi and Shen Nong making guqin and Shun making five-stringed guqin. There are many descriptions in historical documents such as Taigu Yi Yin and Qin Shu Daquan. Due to the special social atmosphere of the 20th century and the existence of a large number of ancient guqin, the scale of new guqin production was restrained to a certain extent, resulting in the reduction of the craftsmen and the loss of craftsmanship.
Demand for pianos is also growing. So the process of qin was gradually restored, musical instrument factories, pianists, folk workshops and so on have resumed the production of new qin.
The specific process of piano production includes six important steps, such as sample production, material selection, panel production, base plate production, piano fitting and dressing. In addition, the line sawing, grooving belly, accessories production, painting, installation accessories and strings and other auxiliary processes are particularly important. The following points should be avoided when the qin is chopped :(1) the emblem should be appropriate in size, rather small than large. (2) Yueshan should not be too thick. (3) The slope of dragon gum should be larger than yue Shan. (4) Goose foot should not be too high. (5) The material of Qin Zhen should not be too thick or thin. Choose a kind of style that likes namely when model making, delimit wood proportion correctly. About selecting material, model is optimal with the old fir of hundred years above, next paulownia
Can also be used; When making accessories, Yueshan, jiao Tail, dragon gum, goose foot and other parts need more hard wood such as rosewood, red sandalwood and other materials; The music emblems are made of clam shell, jade, gold, porcelain and jade. As for the production of strings, the ancient silk string manufacturing technology is very mature. Due to the loss of production technology and the introduction of western modern science and technology chemical industry and string making technology, the ancient silk string manufacturing technology is on the verge of extinction, so nylon strings are used in modern times. The newly made guqin should meet the following conditions :(1) the string energy should be lowered, and the string should not be too high from the surface of the qin. (2) The piano surface should not be too flat. (3) Chord spacing should not be too wide or too narrow. (4) The effective chord length of the qin is the length from the pass of Yueshan mountain to the gum of the tail dragon, with 110 cm to 111 cm as the positive system. (5) The surface paint of the piano should be smooth. (6) Timbre and quality of piano. (7) Accuracy of emblem position. One of the most famous guitar artists in the field of contemporary Chinese guitar is Mr. Wang Peng, a professional guitarist. His rationalism piano technique in inheriting predecessors on the basis of continuous innovation, to create more than 70 kinds of guqin style, his rationalism jean exquisite workmanship, pure tone color, modelling is novel, he founded "fang jun day" in the third batch of Beijing municipal intangible cultural heritage list, he will be with the identity of the intangible cultural heritage inheritance people make this has continued for thousands of years of art.
Contemporary Significance of Guqin Art
4.1 Guqin art in the Context of Contemporary Society and Culture
Since the 20th century, China has experienced a great change, from the social system, politics, economic system, culture, morality and other aspects have experienced a series of earth-shaking changes and unprecedented violent impact. As a traditional Chinese culture, the art of guqin has undergone the most drastic transformation. Up to now, the development of guqin art has changed quietly. Contemporary Guqin art is in a very critical period, and it has come to a stage of self-examination and reflection.
Firstly, the change of social environment leads to the change of the living state of guqin art. The creation of Musical Instruments before the Song and Yuan dynasties was far more fruitful than that between the end of Ming dynasty and modern times, and the artistic styles of musical compositions were quite different. Especially, since the end of Qing Dynasty, the inheritance of Musical Instruments was almost cut off, and even the traditional string-making technology, which had been passed on for thousands of years, was gradually lost. So far, there are few inheritors of traditional string-making. During the War of Resistance against Japanese aggression, the social turmoil, guqin literature lost, which is more unfavorable to the development and inheritance of guqin art.
Secondly, in the process of economic and cultural globalization, the introduction of western music culture has a certain degree of influence on the development of guqin art. In addition to western culture, the prevalence of modern media and mass culture in China are also different forms of globalization. At the beginning of the 20th century, with the infiltration of Western music culture, new schools across China began to teach a large number of music classes European and American tunes, these original songs are recorded in simple notation. With the promotion of enlightenment music educators represented by Li Shu-tong, Zeng Zhi-min, Shen Xin-gong, the school songs are spread in the way of selecting songs and filling lyrics. The emergence of school music also represents the beginning of China's modern music history. At this time, western music system and music education system, Chinese new music has gradually become the mainstream of China's music culture. Chinese people have undergone profound changes in music concept, education system, music theory, aesthetic way, music form and value system. Modern music colleges and universities take western music education system as the main body and refer to western music system. However, the collection, collation, research and learning of Traditional Chinese music are relatively backward, so the students trained are mainly western music technology and western music thinking mode. Under the environment implanted by the Western education system, guqin art lost its original mode of self-entertainment of literati and was forced to change to the stage art of mass culture.
Finally, the trend of modern commercialization is not conducive to the development and inheritance of guqin art. When food, clothing, shelter and transportation are no longer a problem, there must be some spiritual needs, to find some purpose for survival and entertainment. These spiritual requirements, just like for survival, material needs, there is demand. Supply is naturally created to meet these needs, and naturally becomes a commodity to be bought and sold. Especially after the success of applying for world Heritage status, some merchants in the "Guqin fever" misrepresented children, jacked up the price of guqin, and took advantage of guqin fraud and other commercial speculation activities. These phenomena, which are not conducive to the development of guqin art, make it lose its original cultural value. The adverse atmosphere caused by the impact of commodity economy and driven by interests needs to be timely restrained and guided by the establishment and improvement of relevant systematic laws and regulations.
4.2 Modern inheritance and significance of Guqin art
The final development of Huaqin culture is largely related to the long tradition of "music education" and "poetry education" of Confucian culture, and is also closely related to the active participation and promotion of Confucian scholars in the upper social status. As Confucian culture occupies the mainstream position of Chinese culture, it maintains and promotes the concepts of self-cultivation, family harmony, governance and world peace. Since the Zhou Dynasty, Duke Zhou's "making ritual and music" has played a further systematic role in ancient Chinese ritual and music civilization, and has been incorporated into the system culture, making it more rational into the norms of people's behavior, so as to achieve an organic integration. Due to ancient Confucian scholar have mostly with three cardinal guides the p5 ethic morality as the center, such as the "writing carry doctrine" on the early music domain is invisible expanded by jean missionary, jean is combined with music education closely, music education is one of the modern people understand the premise of the Chinese piano culture, the internal concept of piano, gradually mature.
The inheritance of modern guqin art is mainly carried out in three ways: college teaching inheritance, guqin association inheritance and modern guqin museum inheritance. First, the school's teaching heritage. The professional direction of guqin performance has been established for more than 50 years. The earliest time that Guqin entered the school can be traced back to the early 20th century. CAI Yuanpei invited Wang Lu and Yang Shibai, the guqin players sent by Zhucheng, to teach in Peking University. Modern guqin education not only cultivates a large number of guqin talents, but also forms a certain scale of professional teaching and performance teams. Modern music education can make use of audio-visual multimedia, physical performance and other means to teach in the design of teaching programs, and the understanding of classical music and celebrity music allusions can also be taught in the way of appreciation through pictures and networks.
Second, the inheritance of the qin club. Under the current social and cultural background, traditional folk qin clubs are gradually transforming into professional institutions, similar to the current Yuqin Club. Taking the famous West Lake Qin Club as an example, the inheritance mode of Qin music is gradually becoming popular, expanding and transforming the function of Qin music in the public and commodity environment, and exploring the operation mode of qin music in the commodity market.
Third, the inheritance of modern piano museums. The appearance of the guqin pavilion first appeared in the early 20th century, especially after it was selected as the Intangible Cultural Heritage in 2003, with the rise of the "guqin fever", the guqin pavilion blossomed all over the country. The rise of modern guqin museums has not only met the increasing social demand, but also played a certain degree of inheritance function in the mining, sorting, research and training of guqin art.
Contemporary Cultural Significance and Value of Guqin Art
5.1 The Significance of Guqin Art in the Inheritance of National Traditional Culture
China has a 5,000-year history of cultural inheritance and development. The art of guqin is a culture created by the Chinese nation in China, and the cultural connotation and artistic value of guqin has lasted for thousands of years, which is the artistic essence of China's national culture. Guqin music culture is not only formed by the accumulation of the specific geographical environment, political and economic structure, aesthetic ideology, traditional philosophical thoughts and cosmology of the Chinese nation, but also passed down to the present after being recognized by the vast majority of the Chinese nation.
First, the art of guqin is the embodiment of Chinese civilization and the spiritual pillar of safeguarding national interests. As a product of Chinese social consciousness, the development and inheritance of traditional guqin music culture can not only enhance national self-esteem, pride, patriotic consciousness and feelings, but also help improve the consciousness of national subject. Therefore, carrying forward the traditional cultural spirit of guqin music is conducive to enhancing national cohesion.
Second, the correct ideas in traditional culture, such as values, moral standards and moral aspirations, can to some extent solve the problems of interpersonal relationship, morality and value in the commodity society. Therefore, the development and inheritance of traditional guqin music culture can not only resist and supervise individualism, money worship and other undesirable moral concepts, but also promote traditional cultural spirit, which is more conducive to the construction of socialist spiritual civilization with Chinese characteristics.
Thirdly, on the basis of inheriting the traditional music culture, we should also make it communicate, collide and integrate with the world human culture, so as to provide a strong space for its healthy development.
5.2 Difficulties in the development and inheritance of contemporary Guqin art
As a typical representative of Chinese folk music tradition, guqin art has received much attention from people of insight in today's major cultural transition. How to look at and inherit the guqin tradition and how to develop it in today's society has always been the common concern of the qin and music circles. However, the art of guqin has encountered difficulties in the course of its development and inheritance.
First, how to correctly handle and grasp the dialectical relationship between tradition and modernity. In the 21st century, guqin circles have different opinions on the development and inheritance of guqin. Apart from conflicting feelings, they also have different understandings on how to position guqin. Since the formation of Chinese culture, before Confucius, guqin has played both the function and role of music and cultural cultivation, and has been passed down continuously for three or four thousand years. Therefore, guqin, as a cultural tradition and humanistic cultivation, can not be ignored. Therefore, before inheriting the "traditional heritage", we must study and study it deeply, distinguish the essence and non-essence, excellent and dross through the test of time and practice, and carry on the traditional inheritance while spreading new development.
Second, the neglect of piano research. In the 20th century, the Chinese Music Research Institute led by Mr. Cha Fuxi made important contributions to the rescue work of sorting out old guqin materials, preserving ancient music records, and researching music records. However, these work has been stalled for a long time now, and it is urgent to continue. The Chinese Music Research Institute lacks a large number of guqin art researchers due to the reorganization of the organization and the disunity between the concept of cultural officials and professional piano players.
Third, the popularity is low. Guqin art itself is not a strong popularity, in ancient times is often the nobility or the palace of elegant music, and the lack of full understanding of traditional culture, modern guqin performance is also seen in public, do not pay enough attention to social communication leads to the low degree of guqin art foundation, it is difficult to get the great attention of the public, also make the guqin art into a dilemma of marginalization.
Fourth, the unprofessionalization of practitioners. After the application of guqin art to the World Heritage List was successful, a new phenomenon emerged in the field of guqin, with a growing number of proud guqin museums. Although the rise of modern guqin museums has met the increasing social needs, it has a certain degree of inheritance function in the exploration, sorting, research and training of guqin art.
Conclusion
With its long history, rich heritage, high cultural status and value, and many subjects to be studied, guqin has become an eye-catching representative instrument in national instrumental music. The change of social environment, the integration of Western music culture and the trend of modern commercialization are all unfavorable to the development and inheritance of guqin art to a certain extent.
Guqin art development up to now, has the vital significance in the contemporary social and cultural life and value, this article through to the history of the guqin art situation, development and innovation, of gu qin art in the contemporary music education in the value, the value of modern value and music therapy, provide material for the contemporary music creation, such as value, The paper analyzes and explores the significance of guqin art in the inheritance and development of Chinese traditional music culture, arouses thoughts on the inheritance and development of guqin art in the contemporary era, and puts forward relevant suggestions by analyzing the dilemma of guqin art in the contemporary development. Firstly, as an important traditional Chinese culture, the Chinese national spirit contained in guqin art is of great value. Inheriting, developing and carrying forward the excellent traditional culture of our nation plays an irreplaceable role in creating and developing the new socialist culture with Chinese characteristics. Chinese traditional music culture education is almost in the situation of breaking down in contemporary music education. The traditional education thought reflected by guqin art has enlightenments and values for contemporary music education.
References
Li Xiangting李祥霆.(2014). 古琴综议[A Comprehensive Discussion on Guqin][M]. 中国人民大学出版社[China Renmin University Press].
Zhang Bin张斌.(2014). 宋代古琴文化考论[A Study on Guqin Culture in Song Dynasty][M]. 南京大学出版社[Nanjing University Press].
Zhu Changwen.朱长文(2010). 琴史[A History of Qin][M]. 北京:中华书局[Beijing: Zhonghua Book Company].
Wu Zhao.吴钊(2006).传统与现代——中国古琴艺术面临的挑战[Tradition and Modernity -- Challenges Facing Chinese Guqin Art][J].人民音乐[People's Music], 2005(6)，22-24.
Zhan Qiaoling. 詹桥玲(2005).琴歌的历史与现状[History and Present Situation of Qinge][J]. 中国音乐学[Chinese Musicology], 2005(4)，99-101.
Zhang Huaying.章华英(2013).文人阶层消亡与当代古琴人文精神之缺失[The disappearance of Literati Class and the Absence of Contemporary Guqin Humanistic Spirit][J]. 艺术评论[Art Review],2013(9)，26-29.
Zhang Haitao.张海涛(2011). 古琴艺术当代发展思考[Thoughts on the Contemporary Development of Guqin Art][J]. 民族艺术研究[Ethnic Art Research], (02):52-57.
Terms and Expressions
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学
Questions
1.What can guqin also be called?
2. According to legend, who were involved in the creation of guqin?
3. What has caused qin pai (琴派) over the centuries?
4.Who is the writer of Qin Fu 【琴賦】?
5.What is the earliest example of the modern shorthand tablature?
Answers
1.It can also be called qixianqin 「七絃琴」 ("seven-stringed instrument").
2.The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation.
3. Geographical isolation in China resulted in the development of many distinct qin schools known as qin pai (琴派) over the centuries.
4.Xi Kang 嵇康: Sage of the Bamboo Grove, musician and poet, writer of Qin Fu 【琴賦】.
5.The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石調幽蘭》 (Solitary Orchid in Stone Tablet Mode).
英语笔译 龙翰良 Long Hanliang 202170081589
Abstract
At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)
As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)
This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)
Key words
Chinese culture; Teaching Chinese as a second language; Cultural Exchange
Introduction
As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)
The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)
Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)
Overall Design
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)
To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)
Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)
This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)
Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)
Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)
The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)
Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)
Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)
For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)
For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)
Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)
Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK. Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)
The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)
The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)
The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)
Test Assessment
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)
Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)
The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)
The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)
Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)
The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)
In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)
1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)
2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)
3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time. At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)
Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)
As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)
Means and methods
Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)
After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)
Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)
We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)
One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)
For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)
First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)
For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)
This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)
The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)
There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)
The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)
However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)
Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)
Textbook Compilation
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)
(1) Practicality
Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)
The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)
It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)
The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)
(2) Knowledge
The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)
Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)
(3)Scientificity
1. To teach standardized and common Chinese characters
The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)
The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)
In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)
2. The organization of teaching content should conform to the law of language teaching
The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)
The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)
The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)
(4)Interest
Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)
Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)
In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)
In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)
Classroom Teaching
Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)
This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)
The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)
The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)
Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)
In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)
The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)
It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)
Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)
At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：
1. Respect each other among different cultures and adhere to the principle of cultural equality.
2. Disseminate the essence of culture and avoid clamoring for attention.
3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)
In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)
Training of TCSL Teachers
With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)
Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
1. modern Chinese knowledge
Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
2. linguistic knowledge
The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
3. cultural knowledge
Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
4. foreign language knowledge
Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
Conclusion
After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)
References
Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.
Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.
Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.
Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)
国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm
Terms and expressions
Classroom teaching 课堂教学
HSK 中国汉语水平考试
Hanban（Chinese National Office for Teaching Chinese as a Foreign Language） 国家汉办
teaching Chinese as a second language 对外汉教
cultural exchange 文化交流
Confucius Institute 孔子学院
overall design 整体设计
CCTV TV programs 中央电视台电视节目
Voice of China 中国好声音
belt and road initiative一带一路
supply side structural reform 供给侧结构性改革
Alipay 支付宝
street stall economy 地摊经济
Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区
mahjong 麻将
chow mein 炒面
Questions
1.What are the four links of the whole process and teaching activities of second language teaching?
2.When was HSK officially implemented?
3.What is the most important link of teaching activities among the four links of teaching activities?
4.What are the principles of spreading Chinese culture in Chinese education abroad?
5.What types of HSK exams are there?
6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?
Answers
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.
2.The Chinese Proficiency Test (HSK) was officially implemented in 1990
3.Classroom teaching
4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.
Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.
Ⅲ. Handle sensitive issues properly and maintain national dignity.
5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).
6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.
英语笔译 罗姚林 Luo Yaolin 202170081590
Abstract
Dialect is the language used by people in local areas, which has become a unified national language through economic and political centralization. Its formation is inseparable from economic and political concentration. According to the characteristics of dialects, the formation and development of dialects, China can be divided into seven regions where dialects are distributed, among which there are six dialects in the south.
Dialect whose study belongs to the field of linguistic research is regarded as units structurally dependent on higher level systems. The theories of dialect translation are mainly based on linguistic theories, such as the relevance theory and the language function theory. Dialect translation is not only a process of language conversion, but also involves cultural fields such as sociology, folklore and etc. The research on dialect translation at home and abroad mainly includes the methods of dialect translation, cultural aspect of dialect translation and the linguistic theories of dialect translation.
This paper is mainly divided into the following parts: in the first part, the distribution and current situation of Chinese dialects are briefly explained; The second part is a brief review and summary of the history of dialect translation studies. The third part introduces Eugene Nida's functional equivalence theory and combines it with dialect translation. The fourth part introduces Sichuan dialect; The fifth part is based on Eugene Nida's functional equivalence theory to illustrate dialect translation from Sichuan dialect examples. The last part is a summary of this paper.
Key Words
Dialect translation; Functional Equivalence Theory; Sichuan Dialect;
An Introduction of Chinese Dialects
In the process of the development of the Han society, different degrees of differentiation and unity have appeared, so the Chinese gradually produced dialects. Modern Chinese has a variety of dialects, which are spread over a wide area. The differences between different languages in modern Chinese are manifested in phonetics, vocabulary and grammar, especially in phonetics. But because these dialects and common language have certain phonetic regular corresponding vocabulary. There are also many similarities in grammar, so they are not independent languages. According to the characteristics of dialects, the history of their formation and development, and the results of the current investigation about dialects, dialects of modern Chinese can be divided into several different types.
At present, there is not a complete agreement on the division of modern Chinese dialects in Chinese linguistics. According to most people's opinion, there are seven dialects of modern Chinese.
The northern dialect, represented by Beijing dialect, is the basis of the common language of modern Han nationality. It has the widest geographical distribution, accounting for about 73% of the total Han population. The northern dialect can be divided into four sub-dialects, the first one is north China and Northeast China dialect distributed in Beijing and Tianjin. Hebei, Henan, Shandong, Liaoning, Jilin, Heilongjiang provinces and parts of Inner Mongolia Province. The second one is northwest dialect, which is distributed in Shaanxi, Shanxi, Gansu provinces and some areas of Qinghai, Ningxia and Inner Mongolia. The language used by the Han people in Xinjiang also belongs to the northwest dialect, while the southwest dialect is distributed in Sichuan and Yunnan, Guizhou and other provinces and most of the southeast corner of Hubei Province, except xianning area, northwestern Guangxi, northwestern Hunan and so on. The fourth one is Jianghuai Dialect, which is distributed in Anhui Province, Jiangsu Province and north of the Yangtze River.
The Hakka dialect is represented by Mei county( in the northwest of Guangdong Province) dialect in Guangdong province. Hakka people are distributed in Guangdong, Fujian, Taiwan, Jiangxi, Guangxi, Hunan, Sichuan and other provinces, mainly in the north and east of Guangdong Province, western of Fujian Province, southern of Jiangxi and southeast of Guangxi Provinces.
Xiang dialect, also known as Hunan dialect, is one of the seven Chinese dialects with a relatively small area of common use. There are many different languages in Hunan Province, among which Xiang dialect is the most influential one.
Wu dialect is customarily called Wu dialect, also called Jiangzhe dialect or Jiangnan dialect. Wu is the name of the ancient region, being used the prevailing region. Wu dialect is spoken in Jiangnan( the southern of the Yangtze River), southern Jiangsu, Shanghai, Zhejiang, northeastern Jiangxi, northwestern Fujian and part of southern Anhui Province.
Cantonese dialect is also known as Cantonese, commonly known as Cantonese, which is the seven dialects of Chinese language phenomenon is more complex, retain archaic characteristics and more ancient words, the internal differences of the dialect is popular in Guangdong, Guangxi Province, with Guangzhou as the center.
Fujian dialect, also called Min dialect, commonly known as Fu-Lao dialect, is the most complex language phenomenon and has the largest internal disagreement among the seven Chinese dialects. Min dialect is mainly spoken in fujian, Guangdong, Taiwan, southern Zhejiang and some areas in Jiangxi, Guangxi and Jiangsu provinces.
Gan dialect, also known as Gan language, is a dialect with a smaller area and the smallest population among the seven Chinese dialect regions. It is mainly spoken in Jiangxi Province.
Previous Studies on dialect translation
Since the 1990s, dialect translation has been included in the research of translation, which has gradually gone from strength both at home and abroad.
In 1996, Annie Brisset analyzed the relations between power, ideology and culture which arose from the translation between French used in Quebec and English used as the Canadian official language by means of corpus-based study on drama scripts.
After analyzing the early translations of Finnish writer Kalle Paatalo, Ritvaeppihalne (2000, P. 247-269) found that domestication was the main translation strategy to transfer dialects and most of Pãätalo's translations had a tendency of standardization. In his research, with the aid of parataxis, such as translator's translation instructions and reader's letters, Leppihalme indicated that the standardization of dialects had not posed a great challenge to their acceptance.
In 2007, Sánchez illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics. According to these relationships, Sánchez deemed that dialect translation was not only a translation for language, but also a translation for culture. Meanwhile, in 2009 Sánchez analyzed three Spanish translations, that were Pygmalion, Lady Chatterley's Lover and Wuthering Heights. His study found that the dialects in Spanish translations tended to be standardized compared with the originals, and their characteristics failed to be presented in the translations. Therefore, Sánchez concluded that regional dialects and social dialects were inseparable from the source language culture in terms of their region and culture, and were difficult to represent in translation.
The year 2011 witnessed the booming of dialect translation researches. ColiulsZabalbeascoa (2011, pp.113-130) argued that there existed a third language in addition to the source language and the target language. This third language can be a natural and existing language, a dialect or a variant, or a hypothetical and fictional language. They had summarized the translation mechanism and compensation strategies of the third language in the films, together with the possible translation effects that various translation methods put on. Remarkably, Translating Dialects and Languages of Minorities from the series of "'New Trends in Translatology" by Peter Lang Publishing House had come out in 2011. There are many articles in the book to study the translation of regional dialects, social dialects or minority languages from the viewpoint of ideology, poetics and other cultural perspectives.
José Manuel Rodíguez Heirera (2014, pp 278-294) held that the French, Spanish and Italian versions of The Adventure of Huckleberry Finn all tended to standardize American Black English, hindering the acceptance of the translations. Later on, in the article The Adventures of Huckleberry Finn and Jim in China: A Case of What Corpus Pragmatics Can Do for the Translation of Dialect", Henrera had proven that "corpus linguistics can greatly contribute to gauging whether dialect has been transcribed consistently or accurately" (Herrera, 2017, p.385)
Currently, Annie Brisset (2017, pp.127-156) drew attention to the Quebec stage of Shakespeare's works and analyzed the translation strategies employed in the translations of dialects. Additionally, Veronika Ritt-Benmimou dealt with "the preposition fi in the Bedouin dialect of Düz in Southern Tunisia, not in its well-known local and temporal functions, but rather as a marker of various, mainly progressive, durative and habitual aspects" (Ritt-Benmimoun, 2017, p.319) The study of dialect translation in China is later and less popular than that in foreign countries. At the beginning of the 20th century, Chinese academics set out to show their concerns on dialects for translation.
Taking Tess of the D'Urbervilles as his research object, Han Ziman (2002, pp.86-90) suggested that the dialects in Tess of the D'Urbervilles were hard for the translator to translate and the features of these dialects were also hard to represent. In the meanwhile, the dialect translation in the book even made it harder for readers to understand, although it was presented a rustic style.
Huang Zhonglian(2012,144) put forward seven kinds of dialect transformation mechanisms based on the four elements such as original dialect,standard original, standard translation and dialect in the target language.
Yu Jing has contributed a lot to the translation of dialect. In 2015. Yu explored six common methods of translating American literature into Chinese. and described the "gap" between each translation method and standard language forms ( 余静, 2015, p.107-110). In 2018, Yu Jing proposed a broad framework for dialect translation in general. a localized framework for descriptive studies of literary dialect translation, and a comprehensive and systematic framework capable of accommodating different areas of descriptive studies of dialect translation is also sketched, so as to facilitate the efforts by concerned Chinese researchers to find suitable issues for their research projects from this specialized area of inquiry(余静2018, p.19).
In addition, Sang Zhonggang(2015,pp. 935-944) discovered that most of the current western studies on the topic concerned are of literary corpus-based descriptive research generalizing the normalized dialect translation strategies and procedures, and domestic studies mainly deal with the critical-interpretive evaluation of dialect translation cases. Therefore,he brought up a new research approach to the process of dialect translation strategy-selection in light of Active Theory ( 桑仲刚, 2015,p. 935).
Wang Enke believed that the respective handling might be a key to the breakthrough of today's research lock and introduced readers, a new element , into the study of dialect translation, and then suggested that translation of dialects into dialects would facilitate the reproduction of the charm the dialects in the original have, and that the descriptive approach instead of the prescriptive one would further the study of dialect translation (王恩科, 2015, P.83).
Zhou Lingshun (2016, pp. 23-27) defined the concept of vernacular language, and pointed out that the critical study of vernacular language translation needs three research approaches: the diachronic investigation of one translator in terms of his different translations in different periods, the synchronic investigation of different translators, and the application of the updated evaluation models in translation practice and translation criticism.
Meanwhile, Wang Baorong and Xie Haifeng presented a critical review of current Western studies on four translation strategies the translator may opt for, observing that dialectal standardization and dialect-for-dialect translation are generally found to be extreme solutions. They proceeded to suggest several possible avenues of further research to improve the current lack of systematic and empirical studies in this fascinating research field (王宝荣&谢海丰, 2016, p.39) Additionally, Jiang Jing (2016, p. 123-131) focused on the literature review of foreign dialect translation studies in the past 30 years, especially the main progress and viewpoints in the aspects of dialect translation strategies, dialect translation and sociocultural context.
In conclusion, the researches on dialect translation suggest that the translation of dialects can be undertaken not only within the linguistic level, but also within the cultural level. Meanwhile, critical researches on translation and interpretive research under a theoretical framework are two main aspects involving in the study of dialect translation. Although the study of the dialect translation around the world has been at an initial stage, there has appeared a climax of dialect translation nowadays.
Functional Equivalence Theory
The famous American translator Eugene Nida constructed a huge theoretical system between 1960s and 1970s, the core of which is the functional equivalence theory, that is, target readers can understand the function of the original in the same way that the original readers understand the original. Equivalence theory includes formal equivalence and functional equivalence. The former one refers to the equivalence of the target language and the source text in form, emphasizing the information itself. The latter is to restructure the original text information and language structure in a flexible and appropriate way, so as to achieve the basic equivalence of the original text audience between the target language audience.
The predecessor of functional equivalence translation theory is dynamic equivalence, which originated from The Theory and Practice of Translation written by Nida in 1969. Dynamic equivalence consists of lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. The core of dynamic equivalence theory is to make the target language readers' response to the translation equivalent to the original language reader's response to the original. In short, it aims to achieve the closest natural equivalence of the translation. Such translation understanding of this point of view has exerted a great controversy, mainly manifested in the above four principles as the principle to measure whether the translation is good sometimes appears stiff and the functionality that translation is supposed to achieve is often overlooked. In order to change this measurement standard and strengthen the concept of function, Nida replaced the theory of dynamic equivalence with the concept of functional equivalence in 1993. Nida proposed that the translation should be smooth and natural, and the content should be vivid and expressive, so that readers' feelings and reactions are similar (谭载喜, 2004, 234). It can be seen that the core of the theoretical framework is functional equivalence, and the purpose of functional equivalence is to achieve equivalence between translation and original text in language function, rather than simple correspondence in language form(叶子南，2013).
Functional equivalence has three principles, namely accurately convey original information and style; The translation should be consistent with the grammar and expression habits of the target language and the reader's response should be similar, which requires the translator to have a full grasp of the connotation and spirit of the original text before starting the translation. Only in this way can the target language reader have an equivalent response to that of the original reader. In order to meet the above three criteria, it is inevitable that there will be irreconcilable contradictions between content and form. In this regard, Nida advocates that content is more important than form, because translators should seek equivalents rather than identical languages. In a sense, that is to emphasize the reproduction of the original information, rather than the preservation of its expression form. In addition, Nida also put forward three criteria for the quality of translation, which can make the audience understand the original text correctly. The translation language is concise and easy to understand, as well as the form is appropriate and attractive to the audience.
Case Study
Dialect reflects the integration of a nation and the inheritance of culture. Sichuan dialect, for example, has retained many ancient and middle ages colloquial expressions and words unique to the ancient ba( ancient Chongqing) language. In each area of Sichuan Province, the pronunciation of Sichuan dialect is also different, and there is often a case of polysemy. The meaning of the same word will change in different contexts.
The meaning of the same word may change in different contexts. In translation, in order to achieve the equivalence of communicative functions, the translator needs to fit the context and choose the most appropriate meaning.
e.g：瓜娃子。
The word "瓜娃子" is a characteristic word in Sichuan dialect. Its meaning can be roughly divided into three categories:(1) indicating nicknames between intimate relationships; (2) meaning that there's something wrong with one's nerves; (3) It means that someone is not smart enough to do something. The literal translation of "melon child" would be ironic if the translator did not understand its cultural context. Here are three examples to understand its interest and meaning.
Example 1：我的小瓜娃子，几天不见，好想你。
Analysis: Obviously, in such case, there is always room for translating the word"瓜娃子" into "darling","dear" and "Sweetheart". In translation, the translator can also understand the relationship between the speakers on the basis of the context, and further achieve functional equivalence.
Example 2：你看那个人在垃圾堆里捡东西吃，怕是个瓜娃子哦。
Analysis：The phrase “瓜娃子” in this sentence means insane, which can be translated as "neurotic insane". It takes a lot of work for the translator to achieve functional equivalence from the complete translation of words and phrases, and to convey the tone of surprise of the speaker.
Example 3：那么简单的事都做不好，真的是个瓜娃子。
Analysis：In this sentence, “瓜娃子”means that someone is not clever enough and not able to do things wisely.
e.g: 抻展
The word "抻展" in standard Chinese means to stretch something out. But in Sichuan dialect, the meaning of the word is quite different. It can be used to describe someone who looks good, or someone who does things well, who is beautiful, who dresses well, etc. In other words, the word is conjugated from a verb to an adjective with multiple meanings. In translation, the translator should first be able to understand the correct meaning of the word in different contexts to achieve equivalence in vocabulary selection, and then adjust syntax, part of speech, tone, etc., so as to make the reader feel roughly the same and achieve functional equivalence.
example 1: 小明你把这道题搞抻展没得?
Analysis: In this sentence, the phrase "抻展" can be described as understand, figure out and so on. While here in this case, it can be thought as" figure out" or "work out". According to the context, we can easily find that its meaning is mainly known as "figure out".
example 2: 她今天穿的还算抻展。
Analysis: In this context, the phrase "抻展" can be translated as "well fitting", "decently"。In order to realize the equivalence of communicative functions, we should pay attention to the change of parts of speech. "抻展" in the original sentence is an adverb, but actually, it is used as an adjective to describe clothes, so it would be better to translate it into an adjective.
example 3: 他长得好抻展啊，不愧是校草。
Analysis: With no doubt, "抻展" in this sentence means "handsome", "good looking", "attractive" and so on. When it comes to describe women, we have more options depending on the context. For a little girl, it can be translated as "cute" and "beautiful". For a young woman, it can be translated as "attractive", "sexy" and so on. An older woman can be described as "intellectual", "elegant"and "graceful".
example 4: 耙耳朵
The word“耙耳朵” originates from a kind of ear in Chengdu bicycle (soft cushion), which is invented by men in Chengdu for their wives so that they could sit more comfortably in the back seat. Some streets in Chengdu can still see a small number of such bicycles. The expression evolved to today, meaning "hen-pecked wife's man ". In Sichuan, the term is both humorous but meanwhile full of praise, because the man who is afraid of his wife shows that he has a deep love for his wife, and also demonstrates that men in Sichuan generally have a kind of virtue. "耙" means "soft", if translated literally as "soft ear", which is obviously wrong, and foreign readers or listeners will not understand its connotation. In order to achieve the equivalence of communicative functions, translators need take the method of free translation, looking for similar western cultural background, such as "hen-pecked husband".
example 5: 假老练
Do you still Remember Tom and Jerry? In the Sichuan dialect version, the cat, originally named Tom, is given a funny name called "fake sophisticated", because in Sichuan dialect, this phrase fits Tom's character, that is, he pretends to have experienced a lot while actually he knows nothing, which is similar a kind of banter of "puffing up your face and pretending to be fat".
In the everyday language of Sichuan dialect, we also often use "fake sophisticated "to describe this type of person. But it is often difficult for the translator to find the corresponding word, with "witling" barely working, but only to achieve equivalence at the lexical level. To truly achieve functional equivalence, the translator should adopt the method of translation and interpretation.
example 5：梭边边
analysis：One of the characteristics of Sichuan dialect is the use of reduplication. Translators all know that reduplication in Chinese is translated into English by omitting translation, adding translation and changing parts of speech and so on to achieve the functional equivalence. Then, the translation of reduplication in Sichuan dialect will also encounter the same problem. For example, "梭边边" means "slip away or evade responsibility", which can not be found in the translation of the corresponding verb, thus the translation has to find a relevant similar translation, saying "avoid responsibility".
Another example is "鱼摆摆", which actually refers to "fish", "pendulum" is just an expression of image in Sichuan dialect, describing fish swimming in the water. A similar phrase is "睡告告", which means "go to bed"or "sleep";"吃莽莽 "which means "have a meal"; "吃嘎嘎" means "eat meat".
There is also the word "火瞟瞟"，which is used to describe "burning pain". In translation, the translator can use addition and free translation in order to achieve the equivalence of its communicative functions; And "光咚咚", which means "without clothes".
There are also AABB-like refrains such as "咔咔咯咯", which means" a corner that is difficult to find". When translating, the translator has to translate it according to the specific context for translating as "corner", "gap", "a place hard to find" and so on.
The above is a translation of some dialects used in daily life. Next, we will talk about the subtitle translation of Sichuan and Chongqing dialects, and discuss how to apply functional equivalence theory through the film anonymous.
With the globalization of the world and the acceleration of the process of cultural diversity, cultural exchanges between countries are becoming more frequent. More and more high-quality Chinese films are going to the whole world through the medium of subtitle translation. To disseminate unique Chinese culture and consciousness to the outside world. A Cool Fish is a Chinese dialect film featured by Chongqing dialect( the southwest dialect). It has been well received in China and received warm response abroad.
As a film with unique characteristics of southwest China, it should achieve the purpose of cultural exchange, which requires that the subtitle translation of the film not only makes the translation response to the original with vivid, appropriate and natural way of good faith to the purpose and the audience, but also on the basis of the text, makes the maximum reduction of emotional attitude, style and characteristics. The goal is to make the audience has a similar spiritual experience with the original audience. It coincided with the Nida's functional equivalence theory, that the purpose is to make the audience's reaction to the translation is basically the same as the original English audience's reaction to the original text. Therefore, the following cases, based on the functional equivalence theory, analyzes the translation strategies used by the film translator and its quality.
example: 你莫骗老子哈。
Translation: Don't you make a fool of me?
Analysis: This scene is the two men( one called "Glass" and the other one is " the Big Head" ) were hiding at the heroin, Ma Jiaqi's home after robing at the phone store. Glass was asking Ma whether the liquid medicine would make him feel painful when the Big Head was applying unction for him. In Chongqing dialect, “莫”means "no", "don't"; the original meaning of the sentence is warming Ma not playing trick on him, but the word " lie" is not able to express the tone of teasing. Therefore, it is translated as" make a fool of me", which has such meaning. Here the literal translation is chosen to accurately express the attitude and convey the original text 's style and message.
example 2: 老子耍女人的时候你娃还在吃鼻屎！
translation: I was already a womanizer when you were still shitting your pants!
The so-called free translation, that is, only faithful to the content of the original text, but not confined to the original text (Meng Qingsheng, 2009). In the example, Glass does not admit that he does not have girlfriend and he is still a virgin. In the original text, "Boose-eating," refers to an unworldly child. If the literal translation would make the foreign audience feel disgusting and unacceptable, the translator is here translated as "shit one's pants", referring to children who pee their pants, and the texts correspond to each other, both faithful to the original text and considering the audience's feelings.
Example 3: 等于是你永远不会睡着嘛？
Translation: Will you never fall asleep?
In the case, the underlined part was omitted in the translation. The translator sacrifices the original form to translate in an appropriate way to show its spirit, essence and content( Zoe, 1995). In this case,Ma is threatening Glass, and if he would leave, Ma will cry out for help. This is what the Glass put forward to deal with Ma's trick. In Chongqing dialect, “等于是”means"难不成”、“难道, which is often in interrogative sentence. There is no exact equivalent words or phrases in English. So the translation delete it. It will not affect the purpose and the audience's understanding of the original text, but make the translation more concise and more in line with the requirements of subtitle translation.
This paper analyzes and summarizes the translation of the subtitle of the film--A Cool Fish--under the guidance of functional equivalence theory. The subtitle translation strategy of Chongqing Dialect is flexible, translation strategies including deletion, reconstruction, literal translation and free translation, all of which are used in the faithful manner. Based on the faithful expression about the original text, the characteristics of Chongqing dialect are fully displayed, and to a large extent, the original retained the appeal and attraction of the audience and the original audience to achieve the same film experience and effect, and finally achieve Nida's "functional equivalence".
Conclusion
Translating dialects is a very interesting practice. Even if it is a simple word, its meaning changes a lot. The translator can choose the most appropriate one from Nida's functional equivalence theory to realize lexical equivalence; Try to achieve syntactic equivalence through appropriately taking use of translating methods including changing the part of speech; Then according to the context and speakers' relationships, grasping the tone of translation, and finally realizing the equivalence of communication functions.
The translator should not blindly pursue the brevity of language to use "hard translation" or "dead translation", which would make the translation hard to understand and inconsistent with linguistic habits of the target language readers. On the contrary, the translator should be appropriately make use of addition, omission, changing part of speech and the word order to make the translation fluent and natural, achieve functional equivalence and truly realize communication between local residents and tourists or readers.
Through the above translation and analysis of Sichuan and Chongqing dialect that we can see, Nida's functional equivalence theory is applicable to the translation of dialects. The core of his theory is that the translation should be smooth and easy to translate, which means that after reading, the reader's reaction is similar to that of the original reader and finally achieve dynamic equivalence, that is, to achieve lexical, syntactic, textual and stylistic equivalence, but the ultimate goal is to achieve communicative function. In dialect translation, in order to make the target language audience know the fun and charm of the language and feel the regional cultural characteristics, namely, to achieve the equivalence of communicative functions, in translation, the translator should make appropriate addition, omission and free translation, etc. In the era of globalization, people matter on the one hand keeping pace with the times to speak standardized mandarin and to learn standardized English; and on the other hand, people should well keep the language treasure house left by their ancestors and inherit the characteristics of its nation.
References
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Terms and expressions
relevance theory 关联理论
language function theory 语言功能理论
sociology 社会学
Pygmalion 《匹格玛利翁》
Lady Chatterley's Lover 《 查泰莱夫人的情人》
Wuthering Heights 《呼啸山庄》
The Adventure of Huckleberry Finn 《哈克贝利费恩历险记》
Tess of the D'Urbervilles 《德伯家的苔丝》
functional equivalence theory 功能对等理论
The Theory and Practice of Translation 《翻译理论与实践》
A Cool Fish 无名之辈
Questions
1. How many local dialects in China?
2. which dialect is spoken in Zhejiang Province?
3.Who illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics?
4. The phrase "瓜娃子" means that someone is "smart", true or false?
5.What unique characteristic does the film A Cool Fish featuring?
Anwsers
1.Seven
2.Wu dialect
3.Sánchez
4.False
5. Chongqing dialect
英语笔译 马艳焕 Ma Yanhuan 202170081591
Abstract
Folktales, also known as ancient sayings and ancient classics, are mostly spread in oral form, with exaggerated plots and fantasies, which mostly show people's good intentions, and often endure with the course of human growth. The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially shaped in Feng Menglong's "General words of warning the World" in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation. In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination.
===Key words===Differences； adaptation； folktale； The Legend of the White Snake
Introduction
Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories. Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times. The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories.
I. the process of adaptation of the Legend of the White Snake.
1. The Python incident originating from Luoyang in the Tang Dynasty. According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of the Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles." So he attacked it with the Tianzhu mantra, and the snake died a few days later. Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu. 2. The Tang Dynasty‘s Legend —the White Snake In the early 9th century, Yuanhe Year of Tang Xianzong Reign Period, a rich son named Li Huang(李黄）met a beautiful woman in white in the East City of Chang'an. The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days. Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head. The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes. 3. Song Dialect--the Chronicles of the three Pagodas of the West Lake (see the vernacular of Pingshantang in the Qing Dynasty) When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart. With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den. Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas. 4. Ming Dynasty— Feng Menglong's The Lady in White Weighing down the Leifeng Pagoda （《白娘子永镇雷峰塔》）in the Stories to Warn Men(《警世通言》）It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him. Later，they became the couple.After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear. Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife. After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring. Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Leifeng and caught White and Green Snakes in the Pagoda. 5. Qing Dynasty version. During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda". The main framework of the story of the White Snake has been largely completed since then. The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake. Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda. In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman. Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late. 6. Modern adapted version. Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939. The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady. Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man. The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on.
II.The Differences and Reasons of the Adapted Version.
1. White snake image. Since the beginning of the story of White Snake in the Tang Dynasty, the image of White Snake has changed greatly. By bringing the new white snake image into the evolution system of the white snake story after the middle of the 20th century, from the perspective of both sexes, we can find that the evolution of the white snake image in the eyes of men can be divided into three stages: banshee, good wife and lover. According to the different descriptions of the white snake by men in these three stages, the emotional type of the human snake goes through the changing process of lust, kindness and love, and the relationship between human and snake changes from alienation to intimacy to alienation under different emotional states. From the point of view of the discourse right of both men and women, this is actually a process in which women represented by White Snake "do not have their own discourse system-being incorporated into male discourse system-begin to establish their own discourse system". The evolution of the image of White Snake is actually a process from a demon to a woman, and then to a truly independent person [1]. The author believes that the evolution of the white snake image is mainly divided into three stages, namely, demon-human-immortal. The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake". Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men. The animalistic side of her transcends the human side. The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market. In the later TV series Legend of the New White Lady, the reason why the White Lady played by Zhao Yazhi was so popular was that she created a perfectly idealistic female image. She was not only beautiful and considerate, but also a gentle and virtuous wife and mother; moreover, she was the embodiment of the Quan Yin Bodhisattva and was the embodiment of the Quan Yin Bodhisattva, completing the transformation from a demon to an immortal, which not only beautified women, but also conformed to the vision of men's expectations.
2. Attitude towards women. The change in the image of White Snake shows a change in attitude towards women. Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status.
3. Storyline. In the process of evolution, the story of the White Snake is constantly enriching and deepening. From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "The Flooding of Jinshan Temple（水漫金山）", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete.
4. The story ends. It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten. White Snake evolved from the tragedy of being suppressed at first to the happy ending of a family reunion later. Before modern times, the ending of White Snake was divided into two kinds, one was Yongzhen under Leifeng Pagoda, and the other was the happy ending of White Snake rescued by his son Xu Shilin's sacrificial Pagoda. But in both endings, White Snake is the passive party and can only wait to be rescued by others. Later, Tian Han adapted the Legend of the White Snake and adapted the ending into the Green Snake to destroy the Leifeng Pagoda and save the White Snake, reflecting the spirit of self-rescue and resistance of the oppressed.
5. The ways of spreading folktales. The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television. At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added. In the past two decades, the rise of the National Cartoon has promoted the development of anime films.
The reason for the change: 1. The decline of totem（图腾） faith. The primitive ancestors worshipped snakes because they believed that snakes had some supernatural power and formed kinship with snakes so that snakes would not harm them, so they chose snakes, a powerful and ferocious natural creature, as the object of tribal worship to show closeness for protection. This lays the foundation for the possibility of human serpent love in folktales. However, since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased. Slowly, people have abandoned their belief in totem, leaving only fear without respect. Snake venom can kill people, the image is ugly and omnipresent, and people feel horrible and disgusting, leaving only the image of harm [2].
2. The influence of the literati's concept of "beauty disaster（红颜祸水）". The white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the evil demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. Warning word, self-evident [1].
3. Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties. Gifted scholars and beauties refer to talented men and beautiful women, and generally refer to talented men and women. The life of ordinary people is not satisfactory. They expect to have a partner with both ability and political integrity and a happy and stable family. The only way for the lower class to change their fate is to get fame, but at that time, most people were often depressed, so they wrote stories about talented scholars and beauty to place their dreams that could not be realized. therefore, when creating the image of the White Snake, it is more inclined toward the wife, expressing people's vision of better family life.
4. Ideological Emancipation Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification.
'5. The Development of Science and Technology The development of science and technology has given birth to a new way of transmission. In an era when there was no television or film, people could only spread stories orally or in writing. With the industrial revolution and the development of information technology, people slowly innovated the presentation of literature, resulting in the emergence of television and movies, as well as later animation.
The value and significance of the continuous adaptation of folktales
1. Enrich the content of folk stories. In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education but also enriches people's recreational life because of its cultural connotation. The Legend of the White Snake develops from a single story ending at first to a happy ending with ups and downs later, which shows that the adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales. 2. It helps to expand the audience and promote the inheritance of intangible cultural heritage. The legend of the White Snake in Hangzhou, Zhejiang Province is a bright pearl in Chinese folk literature. The characters such as Bai Niangzi, Xu Xian, Fahai, and Xiaoqing express the broad masses of people's desire for the liberation of human nature and are the precious spiritual and cultural heritage of the Chinese nation. Because of a large number of ancient traditional customs preserved in the legend, the Legend of White Snake has become one of the oral heritages with the richest folk cultural information in China and was selected into the first batch of the national intangible cultural heritage list in 2006. The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales. 3. A peek into the change in society and the change in people's thinking. Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness. In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love. As the director of the Legend of the White Snake said, the heroine Bai 11 has a certain embodiment of modern female values on self-growth and how to pursue more powerfully and autonomously, reflecting the way modern men and women think about love. It emphasizes the positive materialism that the leading actors are unwilling to succumb to the arrangement of fate and strive to rewrite their own destiny and protect the people in the world[4].
Conclusion
If folktales want to spread forever and endure, they must be integrated into the spirit of the times through innovative means and spread the old culture in new forms. The reason for the adaptation of the Legend of the White Snake is not only the influence of the creator's subjective factors but also the limitation of objective factors such as the cultural concept and the development of science and technology at that time. It is this kind of adaptation that not only makes people see the traditional culture contained in folktales, but also injects new vitality into Chinese traditional culture, brings new educational significance to each generation, and gives folktales more connotations of the times. to meet the trend of today's historical development, in line with the aesthetic taste of more people. And by virtue of novel ways of presentation to attract more audiences and promote the spread of Chinese culture.
References
- [1]Chen Shunan陈舒楠（2018）.由妖到人:从两性视角看白蛇形象的演变[J].中华女子学院学报,2018,30(05):97-102.DOI:10.13277/j.cnki.jcwu.2018.05.013.
- [2]Fang Hongying方红英(2014). 白娘子形象演变研究[D].曲阜师范大学Qufu Normal University.
- [3]Song Luyun,Li Wanjiao宋璐云，李婉娇（2020）《白蛇传》：白娘子的前世今生_故事 (sohu.com)。
- [4]https://xueqiu.com/5868117133/110046322
Questions
1. The Legend of White Snake is one of four folktales of China, True or False? 2. Why have people abandoned the belief of snakes in totems? 3. When was The Legend of White Snake listed as intangible cultural heritage?
Questions
1. True 2. Since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased. 3. 2006
英语笔译 聂薇 Nie Wei 202170081592
Introduction
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)
This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)
With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)
The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
The evolution of the Spring Festival travel rush
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)
In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)
(i) The difficulty of travelling during the Spring Festival in ancient times
Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)
In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)
Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem Longing for Going Back Home in the New Year, “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)
(ii) The difficulty of travelling during the Spring Festival in modern times
The term "Spring Festival travel rush" was first used in 1980 by the People's Daily. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)
With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
Cultural factors behind the Spring Festival travel rush in China
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)
(i) Confucian culture
In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)
The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)
It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)
The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)
In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)
A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, The Divine Child, says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)
But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)
This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)
(ii) ceremonial culture
In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)
During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)
The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)
Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)
(iii) institutional culture
One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)
The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)
(ⅳ) the concept of family-and-nation
In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)
In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)
However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)
As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)
Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
Way of relieving pressure from the rush
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
The prevalence of the Anti-Spring Festival travel rush
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)
On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)
But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)
On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)
Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
Conclusion
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)
The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)
Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)
The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)
It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)
The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)
Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
Terms and expressions
Spring Festival travel rush：春运
epic population migration：史诗般的人口迁徙
Confucian culture：儒家文化
ceremonial culture：仪式文化
institutional culture：制度文化
farming culture：农耕文化
patriarchal clan system：宗法制度
clan gathering：家族聚居
displaced people：流民
the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想
affectionate elders and dutiful juniors：父慈子孝
agriculture is valued while commerce is restrained：重农抑商
fishing, woodcutting, farming and learning：渔樵耕读
The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）
The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”
worshiping ancestors：祭祖
paying a New Year call：拜年
putting up spring scrolls：贴春联
the system of urban-rural regional segregation：城乡区域隔离制度
the household registration system：户籍制度
the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”
the concept of family-and-nation：家国观念
Spring and Autumn Period：《春秋繁露》
the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲
Earthbound China：《乡土中国》
the Double Ninth Festival：重阳节
statutory long holidays：法定节日长假
elderly drifters：老年漂族
thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
References
- Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].鄂州大学学报Journal of Ezhou University (2):27-29.
- Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].浙江经济Zhejiang Economy (4):32-33.
- Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].商周刊Business Weekly (2):82.
- Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].新余高专学报Journal of Xinyu High School (1):34-36.
- Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].新纪实New Chronicles (1):84:87.
- Fei Xiaotong 费孝通.(2013).乡土中国[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
Questions
1.How long does the Spring Festival travel rush usually last? A.30 days B.40 days C.50 days D.60 days
2.Which one of the following group is not the main reason that results to the rush? A.Migrant workers B.Students C.Those planning to visit relatives D.Tourists
3.Which one of the following cultures is the main factor that encourages family reunion? A.Confucian culture B.Taoist culture C.Buddhist culture D.Christian culture
Answers
1.40days
2.Tourists
3.Confucian culture