Difference between revisions of "20220630 Culture 6"

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*[[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 周哲 Zhou Zhe 202170081613==
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==英语笔译 刘珍 Liu Zhen 202170081588==
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<center>'''Confucian Teaching Thoughts'''</center>
 
  
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<center>周哲 Zhou Zhe</center>
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<center>'''Chinese Guqin '''</center>
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<center>Liu Zhen</center>
  
 
===Abstract===
 
===Abstract===
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The rise of the philosophic schools began with the practice of private teaching. So far as modern scholarship can determine, Confucius was the first person in Chinese history thus to teach large numbers of students in a private capacity, by whom he was accompanied during his travels in different states. According to tradition, he had several thousand students, of whom several tens became famous thinkers and scholars. The former number is undoubtedly a gross exaggeration, but there is no question that he was a very influential teacher, and what is more important and unique, China’s first private teacher. His ideas are best known through the Lun Yü or Confucian Analects, a collection of his scattered sayings which was compiled by some of his disciples.
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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.
  
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===Key words===
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===Key Words===
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Confucian teaching thoughts; kindness; The Analects of Confucius
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Guqin; Development; Inheritance; Significance
  
 
===Introduction===
 
===Introduction===
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Ancient Chinese education is part of the brilliant and diverse ancient Chinese culture, the foundation on which it has been sustained and developed, and the driving force behind its constant innovation. It was passed down from generation to generation through ancient Chinese education. The school education, social education, family education and education in all kinds of craftsmanship were the guarantee of the continuity and development of all kinds of ancient Chinese culture, without which it would have been difficult to create, perpetuate and develop ancient Chinese material and spiritual civilization.
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'''The Research Object
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'''
  
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During the Western Zhou dynasty, there was not only a national school but also a country school, which gradually formed a systematic education based on ritual, music, archery, royalty, calligraphy and mathematics. During the Spring and Autumn and Warring States periods, private schools began to develop as a new form of educational organization, and a number of masters emerged, such as Confucius, Mo Zi, Mencius and Xun Zi, who shone with their wisdom.
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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
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Ancient Chinese education is a humanistic one. It takes the cultivation of a gentleman as the sole purpose and focuses on teaching people virtue and wisdom rather than mere knowledge. It attaches particular importance to moral education and virtue cultivation, emphasizing moral integrity, ethics and lofty spirituality, advocating the development of ambition, and highlighting a sense of moral responsibility. It also promotes the spirit and broad-mindedness. China has gradually formed a long-term and profound educational tradition, starting from Confucius and Mencius, Lao Zi and Chuang-Tzu, and down to Song and Ming philosophy, all paying special attention to self-cultivation by attaching great importance to inspiring students’ self-awareness and initiative, to be persistent in their determination, to refrain from excessive indulgence and to do self-examination and good deeds, and to be subtle and prevent the gradual corruption. In this way, a series of principles and methodologies of moral education and cultivation with unique Chinese characteristics have been gradually developed.
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Full affirmation of.
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===Characteristics of Confucian Teaching Thoughts===
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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.
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In general, ancient Chinese educational thought, broadly speaking, has the following distinctive features.
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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.
  
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First, there is the comprehensive view, that is, the big view of education. Ancient Chinese educators recognized early on that education is a subsystem of the larger system of society as a whole, and that many educational problems are essentially social problems that must be examined and solved in the context of the entire social system. In turn, the solution of educational problems would inevitably promote the development and progress of society as a whole. For example, Confucius attached great importance to education and regarded population, wealth and education as the three major elements of "statehood". From the idea of "The root of a state is in the family. Mencius", he attached importance to the education of family ethics and social morality "filial piety, brotherhood, loyalty and faith". He saw the important role of education in governing the state and stabilizing the social order. This idea of placing education at the forefront of governing the state and the people, and seeing the moral cultivation of the individual and the improvement of social morality as the basis for governing the state and stabilizing it, is very profound. The Book of Rites and Learning summarizes the role of education in sixteen words: "To build a state and rule the people, teaching is the first thing to do" and "To transform the people into customs, it must be learned". The role of education encompasses two interrelated aspects: one is to cultivate the various talents needed by the state, and the other is to form a good social moral style. This is a summary of the function of education as outlined and summarized by Chinese philosophers, which is still relevant today.
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'''The Research Status'''
  
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The second is the dialectical view, that is, the unity of opposites. Ancient Chinese educators emphasized the need to give priority to moral education, while not neglecting the role of intellectual education. For example, Confucius said: "A wise man devotes his attention to what is essential in the foundation of life. When the foundation is laid, wisdom will come. ", "If he (a young man) has time and opportunity to spare, after the performance of those duties, he should then employ them in literary pursuits. " (Analects Xue Er); and at the same time he says: "First there is the mere love of morality: that alone, without culture, degenerates into fatuity."(Analects Yangguo), ""I cannot say," replied Confucius, "if he could be called a moral character."" Dong Zhongshu also said, "If one is benevolent but not wise, one loves but does not distinguish; if one is wise but not benevolent, one is wise but does not do." This is the ancient Chinese view of the unity of morality and wisdom: moral education and its practice come first, followed by intellectual education; moral education is carried out through intellectual education, and intellectual education mainly serves moral education; there is an interdependence and interpenetration between moral education and intellectual education, between "practicing oneself with shame" and "learning from literature" There is a relationship of interdependence and interpenetration between moral education and intellectual education, and between "acting with shame" and "learning from literature". The same is true of moral education. There is also a relationship of unity and opposition between the understanding of moral concepts, the establishment of moral beliefs and the practice of moral behavior. The relationship between teaching and learning, and between teacher and student, is both contradictory and unified, as revealed in everything from the Book of Learning to Han Yu's Teacher's Discourse.
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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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The third is the inner view, which emphasizes the inner moral function and self-awareness of the subject of inspiration. Ancient Chinese education inspires the inner self-consciousness of each person and puts forward a set of principles, requirements and methods of "being human", so that people can get the pleasure of "being human" from it. "It is a set of principles, requirements and methods of being human, from which one can derive the pleasure of being human and express the noble spiritual pursuit of human beings. Unlike Western Christianity and Indian Buddhism, ancient Chinese education is not "sinful education" but "joyful education"; it does not rely on religious beliefs and prayers, and does not advocate leaving society and the family, but emphasizes accumulating moral and good deeds in school, family and daily life, and strengthening self-cultivation. Instead of relying on religious beliefs and prayers, it does not advocate leaving society and family, but emphasizes accumulating moral and good deeds in school, family and daily life, strengthening self-cultivation, i.e., this shore is the other shore, "the highest and the middle way". Ancient Chinese educational thought emphasizes the ability to be self-aware of values in one's heart, to introspect, to reflect on oneself, to be prudent, to cultivate oneself, to perfect oneself, and to seek harmony between the human order and the cosmic order. Its quest for the source of value is inward rather than outward, not listening to the call of God or waiting for the revelation of Buddha. The emphasis on inspiring inner enlightenment and trusting in the inner power of the subject is a very important feature.
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'''Research Purpose and Significance'''
  
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===Ancient Chinese Confucianism in Teaching and Learning===
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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.
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Ancient Chinese educators have accumulated and summarized a wealth of teaching experience and have put forward many valuable ideas and insights into teaching theory, teaching principles and methods, and the requirements for teachers. These ideas not only arose in ancient times thousands of years ago is rare and valuable, but also today still shine with wisdom and are rich in enlightening educational significance. It is the essence of our traditional educational thinking and a major contribution to the world's treasure house of educational thought.
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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.
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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.
  
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1. Teaching according to the material, inspiration and guidance
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===Historical Overview of Guqin Art===
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'''2.1 Artistic Characteristics'''
  
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One of the best recognized traditional teaching ideas is "teaching to the students according to their abilities". Confucius remarked, "You look at how a man acts; consider his motives; find out his tastes. What the student does, what the student experiences, and what the student's interests are. For students not only "But now, when I want to judge of a man, I have to look at what he does in his life as well as listen to what he says.", but also "But when he has retired, on examining into his life and conversation I find he has been able to profit by what I have said to him." (Analects For the Government), i.e. examining the student's words and actions in private after class to get a full picture of the student's characteristics and reality. He knows the character traits of his students well, sometimes analyzing them in terms of their strengths, sometimes in terms of their weaknesses, and sometimes making comparative analyses of different students. He is able to target the different character traits of the students and follow their advice, instead of preaching in a uniform manner. Sometimes the students asked the same question, but he gave different answers. A disciple, the intrepid Chung Yu, asked if he might at once carry out into practice any truth which he had learnt. "No." answered Confucius. "You have the wishes of your parents and of your old people at home to consult. How can you take upon yourself to carry at once into practice what you have learnt?" Another disciple on another occasion asked the same question. Afterwards another disciple ventured to enquire of Confucius why he gave two totally different answers to the same question.
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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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"That is because," answered Confucius, "the one man is too diffident, I therefore said that to encourage him; the other man, however, is too forward; Therefore I said that to pull him back. Confucius also advocated different teaching according to the level of intelligence of the student: "Confucius remarked, "You may speak of high things to those who in natural qualities of mind are above average men. You may not speak to those who in natural qualities of mind are below average men."" (Analects Yongye)
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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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Mencius inherited and exerted Confucius' idea of teaching according to students' abilities and emphasized the variation of teaching methods. In conclusion, ancient Chinese educators believed that there were differences in students' personalities and that each student's natural endowments were different, so teaching methods should also vary from person to person. They opposed the use of a model to bind students, but advocated the development of each student's personality through education. In terms of teaching methods, ancient Chinese educators paid special attention to inspiration and guidance to develop the intellectual potential of each student. Confucius then went on to say: "In my method of teaching, I always wait for my student to make an effort himself to find his way I also make him find his own illustrations before I give him one of my own. bearing of a subject in one direction and found that my student cannot himself see its bearings into other directions, I do not then repeat my lesson." " (Analects Shu Zi)
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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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2. Learn from the past, learn and think
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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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The first words of the Analects are those of Confucius: "Confucius remarked, "It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired."" (Analects Xue Er) He also said, "Confucius remarked, "If a man will constantly go over what he has acquired and keep continually adding to it new acquirements, he may become a teacher of men.""(论语-为政) Zhu Xi explained in his Four Books Collected Commentaries, "The old one, what he has heard of the old; the new one, what he has The new one, the present one. The words learn to be able to practice the old heard at times, and every time there are new gains."
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'''2.2 Qin Song and qin song'''
  
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Only by repeatedly learning and practicing can we firmly grasp what we have learned; only when we have become proficient in what we have learned and have integrated it, can we learn from the past and know the future, and explore the unknown from the known. This kind of thinking, which attaches importance to learning from the past without neglecting the exploration of new knowledge, is still inspiring today.
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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.
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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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On the issue of dealing with the relationship between learning and thinking, ancient Chinese educators mostly advocated the combination of learning and thinking and the importance of learning and thinking together. Confucius remarked, "Study without thinking is labor lost. Thinking without study is perilous." (Analects of Confucius Weizheng) He advocated that study and thinking should go hand in hand, but should be based on study. But it should be based on study: "Confucius on one occasion remarked, "I have spent a whole day without taking food and a whole night without sleep, occupied with It was of no use. I have found it better to acquire knowledge from books."" (Analects Wei Ling Gong) He also emphasized the need to think on the basis of study: "Confucius remarked, "A man who does not constantly say to himself, 'What is the right thing to do?' I can do nothing for such a man."
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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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" (Analects Wei Ling Gong). Xunzi inherited this idea from Confucius. He also said, "I have tried to think all day long, but I am not as good as what I have learned in a moment." He also asked that, on the basis of learning, one should "ponder in order to pass on" (Xunzi Persuading Learning), that is, to integrate what one has learned through thinking activities.
 
  
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3. Make Steady progress Incrementally
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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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Ancient Chinese educators generally valued the principle of gradual teaching. The students of Confucius praised him for his "good enticement in a gradual manner" (Analects of Confucius Zihan). On the one hand, he believed that teaching was a process of natural development, and that it should be self-improving, not lax or interrupted; on the other hand, it should not be impatient or prostrated. He said, "The gentleman's ambition is not to attain the Way without becoming a chapter." He compares the order of advancement in learning to flowing water, "not without a surplus of subjects", and "he who advances sharply, retires quickly" (Mencius On the Exhaustion of the Mind). Mencius also used the natural growth of seedlings as a metaphor for the process of education. On the one hand, he advocated plowing with all one's might and opposed indulgence; on the other hand, he opposed weeping seedlings to help them grow and rushing to success.
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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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The "way of learning" proposed in the Book of Learning is also against "dilly-dallying". It says: "Those who are good at asking questions are like attacking hard wood, and those who are easy first are followed by their programs, and when they have been long, they say (get off) each other to solve them. Those who are not good at asking are the opposite. He who is good at asking questions is like a bell; if he knocks on a small one, he will make a small sound; if he knocks on a large one, he will make a large sound; if he is subdued, he will make his sound. Those who do not answer questions well do the opposite. This is the way to advance in learning. "This is the principle of gradual progress in teaching.
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=== Innovation of Guqin Art===
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'''3.1 Improvement of Qin'''
  
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Zhang Zai believes that the teaching process "should not be slow, but should not be hasty. Because the difficulty of the material and the development of the student's body and mind are "gradual", which requires teaching must also adhere to the principle of "gradual", not dilly-dallying and teaching. Zhu Xi even more clearly put forward the "step by step and progressive, familiar with the reading and fine thinking" teaching ideas. He said: "gentleman teach people in order, first pass to the small near, and then teach to the large far", "such as mountain climbing, people more to the high place, do not know since the low place do not pay attention to, the end of the reason to the high place". He stressed that teaching should be insisted on from near and far, from easy to difficult, from shallow to deep, from concrete to abstract, from known to unknown. Zhu Xi also said: "the sages teach people, the lower learning up to, in an orderly manner, so engaged in the middle of it, and the important, about and not alone, no delusion over the sloppy drawbacks. Today's scholars of the word are mostly opposed to this, so its high fell into the empty illusion, the low drowned in hearing and seeing, and despairingly do not know where they will return to. He thinks that if one does not first engage in lower learning but deludes oneself to reach the top, one is prostrated, and then one is reduced to empty illusion; if one engages in lower learning but does not seek to reach the top, one is drowned in hearing and seeing. In the former case, one is impatient to advance without following a sequence, and in the latter case, one is not advancing despite following a sequence, both of which will waste energy and fail to achieve the goal. He believed that only by learning in a gradual and orderly manner and according to one's ability could one make steady progress.
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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.  
  
−
In conclusion, ancient Chinese educators have realized that the accumulation of knowledge and the growth of intelligence is a gradual process, and it is impossible to finish it all in one go. They emphasized that teaching should pay attention to stages and rhythm, and should follow the natural course of events, which is in line with objective laws.
+
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.
  
−
4. Kindness helps save mistakes
+
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
  
−
The idea of teaching for long goodness and saving mistakes was put forward in the Book of Rites Book of Learning. The Book of Learning says: "There are four failures of the scholar, which the teacher must know. When a man learns, he may lose much, or he may lose little, or he may lose easy, or he may lose stop. These four are not the same as the heart. He who knows his heart can then save it from its failures. He who teaches is also the one who grows good and saves his failures." This is to say, in the learning process, some students are greedy for more and more, too complicated and do not seek to understand; some students are too narrow in knowledge, holding on to the residue of the queue; some students are not focused on learning, shallow taste; some students are stagnant, afraid of difficulties and retreat. These four types of problems reflect the different psychological states of students towards learning, teachers only understand these psychological states, in order to help students overcome these problems in a targeted manner. Teachers must grasp the specific situation, take advantage of the situation, and be good at both promoting students' strengths and overcoming their weaknesses.
+
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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Many and few, easy and difficult are not fixed, and gains and losses can be transformed into each other. Wang Fuzhi said in the Book of Rites, Volume 18: "Although many, few, easy, and stop have their own faults, the many are convenient for the extensive, the few are easy to specialize, the easy are brave to act, and the stop is safe in its order, and each has its own good; to save its faults, it is good at carrying on." Although many, few, easy and stop have their own faults, they also contain certain positive factors. Teachers should observe their students comprehensively, understand the dialectic of teaching, and, according to the "difficulty of learning" and the "beauty and evil" of their "qualifications", explore, cultivate, and This is to make up for the shortcomings of the students, and to save them from their mistakes. This is the idea of making up for the shortcomings, and of saving the shortcomings from the good.
+
=== Contemporary Significance of Guqin Art===
 +
'''4.1 Guqin art in the Context of Contemporary Society and Culture'''
  
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The Book of Rites and Learning also explicitly puts forward the idea of teaching each other. It says: "Although there are excellent dishes, we do not know their purpose if we do not eat them. Even though there is a supreme way, we do not know its goodness without learning. It is because learning is then knowing the inadequacy, teaching is then knowing the difficulty. Knowing inadequacy, one can then reflect on oneself; knowing difficulty, one can then strengthen oneself. Therefore, it is said: teaching each other also. The "Tuijin" says: "Learn and learn half. This is what it means!" Here is a profound exposition of the contradictory relationship between "teaching" and "learning" and the interdependence and mutual promotion of each other. Teaching benefits from learning, and learning improves day by day because of teaching. Teaching can help learning, and in turn, learning can help teaching, which is called "teaching and learning". "Teaching and learning" implies not only a unified relationship between teaching and learning, but also a mutually reinforcing and complementary relationship between teachers and students on an equal footing.
+
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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5. Teach by example, respect teachers and love students
+
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.
  
−
Ancient Chinese educators, based on their experience in educational practice, put forward various requirements for teachers, and leading by example and teaching by example is one of the important ones.
+
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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Confucius said, "If one's body is right, one does not follow orders; if one's body is not right, one does not obey orders." "If you can't correct yourself, how can you correct others?" (Analects of Confucius Zilu) Here he emphasized the importance of "teaching by example", correcting oneself and others. He also said, "If you do not speak to a man who can speak to him, you will lose him; if you do not speak to him, you will lose him. Those who know do not lose people and do not lose words." (The Analects of Confucius Wei Ling Gong) He advocated the use of both "teaching with words" and "teaching without words" in teaching, using "teaching with words" if it is possible to use "teaching with words", and using "teaching with words" if it is not possible to use "teaching with words", that is, influencing and educating students through hints or one's own daily behavior. There is a certain psychological basis here. Confucius said, "I want to have no words", and he believed in the power of "teaching without words".
+
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.
  
−
Xunzi proposed: "There are four teacher techniques, and Bo Xi is not with it. A strict teacher who is scrupulous can be a teacher; a teacher who is a senior citizen who believes can be a teacher; a teacher who recites and does not offend can be a teacher; and a teacher who knows the subtleties and discusses can be a teacher." (Xunzi Zhi Shi) He believed that a teacher must have four conditions (not including extensive knowledge): first, the teacher must have dignity and be able to make people respect him; second, the teacher must have high prestige and rich teaching experience; third, the teacher must have the ability to teach in an organized and systematic way and not violate the teacher's instructions; fourth, he must know the subtle theories and be able to explain them clearly. The Book of Learning also sets strict requirements for teachers, considering high moral character and academic excellence as essential for teaching and education, as well as the mastery of correct teaching methods and principles.
+
'''4.2 Modern inheritance and significance of Guqin art'''
  
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Yuan Hong, a Jin dynasty scholar, said in "The Records of the Later Han Dynasty The Chronicle of Emperor Ling": "A teacher of scripture is easy to meet, but a teacher of men is difficult to meet." It can be seen that the standard of "human teacher" is not only to impart knowledge, but also to be a teacher of others. This is the excellent traditional educational thinking of ancient China.
+
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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Ancient Chinese educators also advocated that students respect their teachers and teachers love their students, establishing a good teacher-student relationship. Confucius loved his students and cared about their moral and academic improvement, as well as their lives and health. He was happy to see the progress of his students; he often helped them when they were poor; he visited them when they were sick; and he was very sad when they died. He established a deep friendship with his students. Confucius said; "If you love, can you not work? If you are loyal, can you not teach?" (Analects of Confucius Xianwen) He also said: "Two or three sons think that I am hidden? I have nothing to hide from you. I have no line and I do not share with the two or three sons. (Analects of Confucius Shu-i) Confucius had "no selfishness and no concealment" for his students, and he had unlimited expectations: "The future generation can be feared, how can we know that the future generation will not be the present?" (Analects of Confucius Zihan). He also believed that when a righteous cause needed to be taken up, the younger generation should be bold enough to go forward and take responsibility, even in front of their own teachers, without having to be humble, "when benevolence does not let the teacher go" (Analects Wei Ling Gong). The students of Confucius admired Confucius for his high morality, profound knowledge, and good teaching. Yan Yuan said, "If you look up to a person who is high, you will learn from him. If you look ahead, you will not be able to follow. The master was good at enticing people, and he taught me with literature and rituals, and I could not stop. Since I have exhausted my talent, as if there is a stand-alone Zhuoer. Although I want to follow him, the last thing I want to do is to do so." (Analects of Confucius Zihan) After the death of Confucius, the students built a house next to his tomb and kept mourning for three years, weeping bitterly when they parted. Tzu Kung could not bear to leave, so he stayed alone for another three years. He said, "The inaccessibility of Confucius is like the inaccessibility of heaven. (The Analects of Confucius Zihan) The student expressed his infinite nostalgia and admiration for Confucius.
+
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.
  
−
Mozi also emphasized respect for teachers and love for students in his educational practice, and Mozi's teachers and students were able to live and die together and share the hardships. Mozi and his students "took fur and brown as their clothes, took crawling as their clothing, and never rested day and night, taking self-hardship as their ultimate goal" (Zhuangzi The World). The students followed Mozi "to the fire and to the edge of the sword, not to be deterred from dying", and this teacher-student relationship was gradually built up through life and death and common suffering.
+
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.
  
−
Xunzi to whether the "valued teacher heavy Fu" to the height of the rise and fall of the country to understand, and advocate students over teachers. He said: "When a country will rise, the teacher will be valued but not the teacher; ...... when a country will fall, the teacher will be despised but not the teacher." (Xunzi Ontario) He believed that students not only have the relationship of inheritance of knowledge and learning to their teachers, but also bear the responsibility of surpassing the wisdom of their predecessors and advancing the academic level. He said in figurative language: "Learning cannot be done. Green, taken from the blue and green in the blue; ice, water for which and cold in the water." This shows that there is no end to learning, and that it is the law of academic development that "the blue is better than the blue".
+
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.
  
−
Some educators of the Song Dynasty were also models of respect for teachers and love for students. Hu Aigong, on the one hand, advocated "strict teacher-disciple manners"; on the other hand, he also advocated deep affection and cordial relationship between teachers and students. He treated all students as his sons and brothers, and they respected him as their father and brother. Roy Cheng was so kind and friendly that students often felt "like sitting in the spring breeze and harmony" when they got along with him. Cheng Yi, on the other hand, is stern and rigid, some students see him sitting in meditation and dare not be alarmed, waiting in the door until the snow is more than a foot deep, leaving a "Cheng door standing snow" of the good story. Zhu Xi once criticized the shortcomings of the indifferent relationship between teachers and students in government schools, "teachers and students see each other, indifferent as people walking on the road". He carried forward the spirit of Confucius "teach people tirelessly", follow the good advice, tireless, have deep feelings for students. His pupil Huang You said in his "Acts of Zhu Zi": "Zhu Zi's lectures on the classics, through the ancient and modern world, were often given until midnight. Although the disease is detached, to the students asked to discern, it is removed from the body of the disease, a day without lectures, is tense often thought worried." Reflects the sentiments of a great teacher. Zhu Xi's requirements for students is strict, but not passive precautions, but positive guidance, do not focus on the form of the provisions of the provisions, but rather to inspire students to consciously comply. Enthusiastic teaching, the method proper, in order to deepen the teacher-student friendship, close teacher-student relationship. These experiences of Zhu Xi, which contain universal laws, reflect the fine tradition of respecting teachers and loving students in the history of ancient Chinese education, and are often praised and drawn upon by later generations.
+
=== 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===
 
===Conclusion===
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Compared with foreign education, ancient Chinese education has these characteristics: it is not mechanical and dull, but flexible and varies from person to person and from time to time; it is not subdivided and detailed, but comprehensive and integrated; it is not merely teaching knowledge and technology, but the unity of morality and wisdom; it is not detached from teachers and students and disconnected from education and life practice, but teaching and learning together and integrating education into life practice; it is not pivoted on the system of knowledge, but on It is not a pivot on the system of knowledge, but on life, and aims at the building and cultivation of the human style from generation to generation.
+
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===
 
===References===
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*Mao Lirui(1985-1988), Shen Gouqun, eds. General History of Chinese Education. Shandong; Shandong Education Press
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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].
 +
 
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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].
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 +
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.
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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.
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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.
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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.
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===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.
  
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*Sun Peiqing(1992), ed. History of Chinese Education, Shanghai: East China Normal University Press
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3. Geographical isolation in China resulted in the development of many distinct qin schools known as qin pai (琴派) over the centuries.
  
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*Wang Bingzhao, Guo Qijia, Liu Huahua, He Xiaoxia, Gao Qi(1994). A Concise History of Education in China (Revised). Beijing; Beijing Normal University Press
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4.Xi Kang 嵇康: Sage of the Bamboo Grove, musician and poet, writer of Qin Fu 【琴賦】.
  
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*Guo Qijia(1998). Ancient Chinese Schools. Beijing: The Commercial Press
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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).
  
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==
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==英语笔译 龙翰良 Long Hanliang 202170081589==
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<center>'''Eco-awareness in Traditional Chinese Culture'''</center>
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<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>
  
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<center>Zhu Lijuan</center>
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<center>Long Hanliang</center>
  
 
===Abstract===
 
===Abstract===
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The traditional culture of the Chinese nation is brilliant,which contains many profound ideas of ecological civilization and ecological development. These thoughts not only provided the moral foundation for the continuous development of Chinese civilization for five thousand years, but also provided the theoretical premise for the sustainable development of modern ecology and ecological civilization construction. Confucianism, Taoism and Buddhism occupy a very prominent position in Chinese traditional culture and have the greatest influence on later generations. This paper mainly discusses the ecological thoughts of Confucianism, Taoism and Buddhism, so as to provide value guidance for properly handling the relationship between man and nature.
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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)
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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)
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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===
 
===Key words===
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Ecological thoughts;Confucianism;Taoism;Buddhism
 
  
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===Subtitle 1===
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Chinese culture; Teaching Chinese as a second language; Cultural Exchange
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1. Harmony between man and nature.
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===Introduction===
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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)
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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)
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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)
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===Overall Design===
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
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Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)
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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)
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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)
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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)
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===Test Assessment===
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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.
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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)
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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)
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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)
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===Means and methods===
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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===Textbook Compilation===
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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)
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(1) Practicality
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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)
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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)
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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)
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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)
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(2) Knowledge
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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)
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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)
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(3)Scientificity
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1. To teach standardized and common Chinese characters
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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)
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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)
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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)
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2. The organization of teaching content should conform to the law of language teaching
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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)
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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)
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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)
  
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The core of ecological thought in Chinese traditional culture：Integration of nature and human. The ecological thoughts in ancient China gestate in the traditional culture. Confronted with the ecological problems which bothers the whole mankind, people surprisingly discover that the Chinese ancient philosophy has provided enormous enlightening accomplishments for the problem, or it contains the creative principles to cope with such contradictions and conflicts when we are pondering and searching for the solutions to the crisis, which is the wisdom of "Correspondence between Heaven and Human." "Correspondence between Man and Nature" is an elementary proposition of Chinese traditional philosophy. It is not only a basic spirit of China's traditional culture, but also is the optimal plane pursued by Chinese culture.On the one hand, the word "heaven" refers to "the vast nature," and it also refers to "the highest principle" and "the highest power." On the other hand, the word "unity" attaches importance to the process of a harmonious and unified status, which refers to the state of harmony between man and nature.
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(4)Interest
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The ideology of "Integration between man and nature" lasted for more than 2,000 years, which was publicized, explained and developed by most ancient philosophers and became the basic style of Chinese culture and even Oriental culture. According to Ji Xianlin, a master of oriental culture, "harmony of heaven and mankind" is an elementary form of China's culture and this ideology is concentrated expression for the philosophy in oriental culture. This thought has established the foundation of ancient China philosophy, and it has exerted far-reaching influence on development of traditional culture. It is not only worth carrying forward, but also related to the future of mankind. "Harmony between man and nature" is regarded as a consistent ideological tradition in Confucianism. Confucius as "Yi Zhuan," once said,"Anciently, when the sages made the Yi, it was with the design that (its figures) should be in conformity with the principles underlying the natures (of men and things), and the ordinances (for them) appointed (by Heaven). With this view they exhibited (in them) the way of heaven, calling (the lines) yin and yang; the way of earth, calling (them) the weak (or soft) and the strong (or hard); and the way of men, under the names of benevolence and righteousness. (According to the book Yi Zhuan, there is a contribution made by Confucius: He regarded heaven, earth and man as three resources and regarded them as natural laws, which were finally used to establish an orderly world system. )  
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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)
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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)
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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)
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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)
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===Classroom Teaching===
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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)
  
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In addition, the contribution made by Mencius lies in his mode of mind and nature, completely showing your mind so that you know your nature and heaven. For Meng Zi, people do not need to know their mind or heart, but only show or appear completely in your spirit so that they can recognize human nature and the heaven. Dong Zhongshu believes that There is a natural order to things. Only by following such guidelines in order to achieve the integration between man and nature. Zhang Zai accepted the idea of the universal nature of heaven, and for the first time combined these two parts. As mentioned tree types of knowledge from Zhang Zai: the knowledge from seeing and hearing;the knowledge based on virtue;the knowledge from sincerity. Xunzi believes that Heaven has its seasons; Earth its resources; and Man his government. This, of course, is why it is said that they "can form a Triad." When man abandons what he should use to form the Triad yet longs for the benefits that result from the Triad, he suffers from delusion! The concept of "harmony between man and nature" is also expressed in Xunzi's viewpoint, which expresses the ecological concept of harmony between man and nature.
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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)
  
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Similarly, Taoism advocates "Harmony between heaven and man." Laozi first expressed the ideology of "Correspondence between man and nature". He proposed that Man law the law of the heavens, France Road, Imitation of Nature. Zhuangzi also believes that not to receive (as evils) the inflictions of Heaven is easy; not to receive (as benefits) the favours of men is difficult. There is no beginning which was not an end. The Human and the Heavenly may be one and the same. Based on Taoist view, harmony between man and nature is the key for all things in nature to maintain its differences, but also to realize a comprehensive and coordinating relationship between humna and nature. Any destruction of nature will lead to the destruction of the relationship between man and nature, which is opposed by Taoism.
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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)
  
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To sum up, the thought of "harmony between man and nature" is the main line of thought running through the main schools in ancient China. "Harmony between man and nature" contains different levels of content, and different philosophical schools and philosophers have different views on it. For example, Taoism pays more attention to "nature" and Confucianism pays more attention to "humanity". However, the basic meaning of this thought is the internal unity of man and nature. The concept of "harmony between man and nature" has undergone a long process of development and it  complex in its content. however, it embodies the profound understanding of the relationship between man and nature in traditional China culture. Therefore, the concept of "harmony between man and nature" is the core of ecological thought in traditional Chinese culture.
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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)
  
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===Subtitle 2===
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Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)
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2.Taoism thought of the nature law.
 
  
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Taoism is one of the main schools in the history of ancient Chinese philosophy, which contains rich ecological thoughts. F. Capra, a contemporary humanistic physicist, once said, "As far as I am concerned, among the traditional schools of philosophy that contend with a hundred schools of thought, Taoism provides the deepest and most perfect ecological wisdom. It emphasizes that in the process of natural circulation, all phenomena and potential of individual and society are basically the same." With Laozi and Zhuangzi as the representatives, Taoist philosophy systematically discusses the relationship between heaven and man. The believes in nature is the quintessence of Taoism, and this concept has established the strong foundation for a rich ecological thought.
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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)
  
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In Taoism, "Tao" is the beginning and nature for the whole world. The basic, eternal principle of the universe that transcends reality and is the source of being, non-being, and change. Laozi proposed that Tao gives birth to one, and one gives birth to two, and two gives birth to three and three gives birth to all things. What's more, he also pointed out the myriad things under the heavens are born of being, being is born of non being. That is to say, the Too of Tao-ism is the unitary "that" from which springs the production and change of all things in the universe.In other words, people and everything in the universe, everything and on everything, the reason things are unified into the same to my heart.The relationship between "one" and "ten thousand" is not only the relationship between mother and son, but also the relationship between unity and diversity. As the foundation of the existence of all things, "one" represents "nature", where "nature" represents the whole nature. In other words, all things are an integral part of nature, and man is also a thing in all things, that is, a part of nature.
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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)
  
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It was the first time that Laozi explicitly put forward the "nature" in the history of philosophy in China, where he discussed the relationship between man and nature. "Man laws the land, the land laws the sky, the sky laws the Tao, and the Tao laws the nature. There were three means of the nature in Taoism: one was the natural in nature, the second was spontaneousness and own so, the third was nature in the life meaning.That is to say, human beings should take "Tao" as the law, because it is the basis of the existence of all things in the world. According to Lao Tzu, everything in nature, including human life, is the result of creation of nature, which is naturally generated and has no master, which is the basic meaning of "Tao follows nature. In Taoism, man is a part of nature.The movement and change of all things in nature are regular.Tao, heaven, earth and man all exist naturally. They exist and move according to the nature of nature, and are constantly changing. Laozi believes that human behavior should conform to nature and follow the operation law of all things in nature. "Knowing often means knowing, not knowing often, making mistakes and being fierce". That is to say, it is wise to act according to the laws of all natural things. If you don't act rashly according to the laws of all natural things, you will inevitably lead to danger. Taoism believes that since man was born in the process of "Tao" giving birth to all things, man should follow the example of heaven and earth, adopt an attitude of conforming to nature to all natural things, and "dare to do things to assist the nature of all things", that is, "inaction". "Natural inaction" is the direct embodiment of "Tao follows nature". Taoist "inaction" does not mean inaction, but does not deliberately act recklessly or force arbitrarily. Therefore, Laozi emphasized that we should do things in an inaction manner, so as to achieve the effects of "doing nothing" and "doing nothing" in nature and human life.
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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)
  
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In a word, "Tao follows nature", as Taoist thought and Taoist doctrine, contains rich ecological thoughts, which has important ecological significance in today's deteriorating ecological environment.
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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)
  
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===Subtitle 3===
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At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：
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3. Anthropocentrism.
 
  
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Confucian culture represents the mainstream of Chinese traditional culture, in which the ecological thought about the relationship between man and nature is a very important aspect. Confucianism has always valued man's position in all natural things, but it does not have rich and clear ecological thoughts similar to Taoism. Confucian ecological thoughts are often combined with their theory of caring for heaven, earth and man, thus forming a unique mixture of ecological thoughts with both anthropocentrism and natural centrism. Some outstanding thinkers of ancient Chinese Confucian school put forward many precious ecological thoughts from the study of interpersonal relationship, and formed a relatively complete ecological ideological system. They advocate that man is a part of nature, and man is similar to all things in nature, so man should adopt a obedient and friendly attitude towards nature, and seek harmony between man and nature as the ultimate goal.
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1. Respect each other among different cultures and adhere to the principle of cultural equality.
  
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Man is a part of nature and a product of nature, which occupies a very special position in nature. It can be said that the most important role of man in nature is "counselor's education". The Doctrine of the Mean expounded the unity of man and nature earlier: "Only the sincerity of the world is to do its best; If you can do your best, you can do your best; If you can do your best, you can do your best; If you can do your best, you can cultivate the towering land; If you can cultivate the towering land, you can participate with heaven and earth. "(Chapter 22) That is to say, only by adhering to the principle of sincerity can we give full play to our good nature; Only by giving full play to one's good nature can one influence others and give full play to their good nature; Only by giving full play to the good nature of all people can we give full play to the good nature of all things; Give full play to the good nature of all things, and you can participate in the cultivation of all things in heaven and earth. People are in contact with everything in nature anytime and anywhere, and treat things with honesty, which is the fundamental attitude to deal with the relationship between people and things. To treat things with sincerity means to respect, sympathize with, love and understand all things, and promote the growth and development of all things by the way of cultivating heaven and earth, instead of using, controlling and destroying all things as external things unrelated to life.
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2. Disseminate the essence of culture and avoid clamoring for attention.
  
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Mencius expounded the relationship between man and nature with the moral category of "sincerity". He pointed out: "Honest body has a good way, don't know about good, don't be honest with its body. It is a sincere person, and the way of heaven is also; He who thinks honestly is the way of man. ". ("Mencius Li Lou") That is to say, he has taken "sincerity" as the theoretical goal of the unity of man and nature. How can people achieve sincerity to achieve the realm of sincerity? Mencius pointed out: "Those who do their best know their nature. If you know its nature, you will know the sky. Save your heart and raise your sex, so things are also ". (Mencius devotes himself to it) is a process of "devoting himself to it", "intellectuality" and "knowing heaven". Mencius' theory of devotion, understanding and knowing heaven advocates achieving the goal of sincerity and realizing the harmony and unity between man and heaven through moral cultivation. Therefore, Mencius put forward that "everything is prepared for me", that is to say, the fundamental principles of everything in the world exist in people's nature, and they only need to be brought into full play. The Doctrine of the Mean also emphasizes the importance of human cultivation, and holds that as long as human efforts are made, the highest point of human nature can be reached and the work of cultural education can be realized. Therefore, the Doctrine of the Mean points out: "Secondly, music can be sincere, sincerity is shape, shape is writing, writing is clear, Ming is moving, movement is changing, change is changing, and only sincerity in the world can be changed. "(Chapter 23) The process from" music "to" energy "is not only a process of self-improvement of human nature, but also a process of dealing with the relationship between man and all things; It is not only a process of achieving" energy ", but also a process of" counselor's education ". Xunzi also proposed: "When the day comes, the land has its wealth, people have their governance, and husbands are called able to participate. "(Xunzi's Theory of Heaven) That is to say, people in heaven and earth have their own functions. Only by understanding the differences between people in heaven and earth can we achieve the realm of" participating with heaven and earth ".
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3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)
  
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When people reach the realm of "sincerity", they will naturally be able to cultivate all things, which is called "counselor". The Doctrine of the Mean says: "So sincere interest-free. Endless is long, long is micro, micro is far away, far is thick, and thick is clever. Beat thick, so the load is also; Clever, so the cover is also; Far away, so things are also. Strive for thick land, smart sky, long and boundless. In this way, you can't see the chapter, change without moving, and do nothing. "(Chapter 26) That is to say, only when heaven and earth are thick and long-standing can they cover all things; Only when the way of heaven and earth is sincere and interest-free can everything be produced. When people reach the realm of "sincerity", they can achieve everything like heaven and earth, and help to cultivate heaven and earth, which is the greatness of human nature.
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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)
  
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===Subtitle 4===
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===Training of TCSL Teachers===
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4.Buddhist:equality of all beings.
 
  
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Buddhism, as one of the world famous religions, has a long history, is extensive and profound, and has abundant documents, including many valuable ecological thoughts. After Indian Buddhism was introduced into China, Chinese Buddhists combined the essence of Indian Buddhism theory with the theory of Chinese traditional philosophy and re-elucidated and innovated philosophical thoughts. Chinese Buddhism contains a large number of ideological portrayal of natural ecology and spiritual ecology, and contains rich ecological theories, which is an important link and resource between Chinese traditional culture and ecology.
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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)
  
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Equality of all beings is a basic concept of Buddhism. As an important concept of Buddhism, "sentient beings" expresses the core idea of Buddhism about the symbiotic relationship between human beings and other living bodies, human beings and nature. Buddhism divides everything in nature into two categories: Things with emotion and life, such as people and animals, were originally called "sentient beings" and later called "sentient beings"; Things without emotion, such as vegetation, tiles, mountains and rivers, etc., are called "ruthless beings". With the advancement of history and the influence of Chinese traditional culture, the content of "sentient beings" has continuously expanded its extension, and has been promoted from the initial "sentient beings" to cover both sentient and ruthless universe. Buddhist "equality" can be divided into four levels: Equality between all beings and Buddha, equality between people, equality between people and animals, equality between affection and ruthlessness. That is to say, all things in the universe, namely Buddha, man, animals, plants and inorganic matter, are equal.
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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)
  
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In Chinese Buddhism, Tiantai Sect, Huayan Sect and Zen Sect all believe that all sentient beings have Buddha nature. Zen believes that not only sentient beings have Buddha nature, but also low-level life such as ruthless vegetation has Buddha nature. Ji Zang pointed out in Volume 3 of Mahayana Metaphysics: "According to the right, according to the right, all living beings have Buddha nature, then vegetation has Buddha nature. Therefore, not only all living beings have Buddha nature, but also vegetation has Buddha nature...... Therefore, if all living beings become Buddhas, all vegetation will become Buddhas. "That is to say, all phenomena in nature are in the causal relationship of interdependence and mutual restriction, and all life is an organic part of nature. Without nature, life cannot exist. The so-called "green bamboo is full of Dharma body; Gloomy yellow flowers are nothing more than Prajna", that is to say, flowers, trees, birds and animals all have Buddha nature, so we must care for every grass and tree in nature and build an interdependent, harmonious and free environment.
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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)
  
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Buddhism believes that life is very precious to human beings and all animals and plants that can't talk. Human beings become masters of nature because of their superb thinking ability, but they can't harm other things. As small as dust, as large as the universe, and all living beings are in the same life flow, and "all living beings have Buddha nature", all things may reach the highest level and comprehend Buddha nature. Buddhism's concern for life is most concentrated in the compassion of all living beings. Compassion is the foundation of Buddhism and Taoism. "Compassion is the greatest in all Buddhism" (Great Wisdom Theory). In Buddhism's view, "harmony with happiness" is called "kindness", and "pulling out bitterness" is called "sadness". It teaches people to be merciful to all life. "Great kindness is happy with all sentient beings, and great compassion pulls out all sentient beings' sufferings" (Great Wisdom Theory). The former means giving happiness to all people and creatures, while the latter means pulling out the pain of all life.
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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)
  
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===Conclusion===
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1. modern Chinese knowledge
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Therefore, we can sum up the traditional culture of the ecological thinking inherent in the characteristics possessed.
 
  
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First of all, traditional Chinese philosophy is a philosophy of "life." To Confucius, Heaven is the source of all living things. He regards the"creation of life" as the "Heavenly Way" and the "Heavenly Destination." The Book of Changes (Yijing), following Confucius’viewpoint, explains. "The continuous creation of life ischange." and "The great virtue of Heaven and Earth is creating life." Mencius (c. 372-289 BC), a great Confucian scholar who lived just over 100 years after Confucius, said, "(One should) love one's family, love the people, and love allliving things in the world." Confucian thinkers of later generations carried onthe idea of "Heaven and Earth giving birth to all life," and thus emphasized love for and kindness toward all living things. For example, many prominent Confucian scholars of the Song Dynasty (960-1279) echoed their master's view on life. Zhou Dunyi (1017-1073) said, "Heaven creates life through yang and nurtures life through yin." ChengYi ( 1033-1107) said, "The nature oflife is love." Zhang Zai (1020-1077)said, "All people in the world are my brothers and all beings in the world are my companions." Cheng Hao (1032-1085) said, "Those with love regard themselves as the same as other living things in the world." We can see from their thoughts that Confucian love starts from loving one's family and other people, to loving all living things in the world. Humans and other living things are of the same kind and are equal with each other.
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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)
  
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In a letter to his family, Zheng Banqiao( 1693-1765), a great painter of the Qing Dynasty ( 1616-1911 ), wrote that he loved all living things in the world, be it an ant or an insect. This, he said, was the "will of Heaven," and that human beings should understand Heaven's will. He was strongly opposed to "keeping birds in a cage, saying, "It is unreasonable to keep them in a cage just to please myself, to oppress their nature to suit my nature!"  Even ferocious animals like wolves and tigers should only be driven away so they cannot harm people. People have no right to kill them at will. He went on to say that, if people really love birds, they should plant more trees as their home. When people rise in the morning and hear the birds singing, both would be happy. He described such a happy scene as, "(All living things) each live by their respective nature." Only in this way could human beings share real happiness with their fellow beings.
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2. linguistic knowledge
  
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Secondly,related to eco-ethics and eco-philosophy is the eco-aesthetics of traditional Chinese culture. Ancient Chinese thinkers regarded nature, with human beings included in it, as the world of life. All living things in the world have their own life and state of being. "Life and its state of being is most worthy of appreciation," said Cheng Hao. From such appreciation, people could draw the greatest spiritual delight, according to such philosophers. Confucian scholars in the Song and Ming dynasties all enjoyed observing "the state of being of living things." ZhouDunyi, for example, allowed the grass to grow in front of his window without cutting it. When asked why, he explained that the natural growth of grass was in line with his idea of living things. He "observed the creation of life and the state of being of living things in the world" through the grass. The state of being of the grass was similar to the state of being of people, and the experience of this resemblance gave him great pleasure. Cheng Hao "felt great joy from observing living things." He would often appreciate the fish he kept, and enjoyed watching newly hatched chicks. To him, the lively and lovely chicks best represented the "state of being."
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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)
  
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Finally, Love for all living things in the world and appreciation for their state of beingcan often be found in ancient works of art and literature. Dong Qichang (1555-1636), a famous painter of the late Ming Dynasty, explained that, most artists enjoyed a long life because everything they observed was full of life. Dong You (birth and death dates unknown), collector and connoisseur of the Song Dynasty, emphasized that artists should depict the state of life, which exists in nature. Therefore, artists should observe and learn from nature. Wang Gai (1654-1710) of the Qing Dynasty summarized the secret of painting fish as: depicting their liveliness as they swim in water. He compared the happiness of fish in their natural world to the happiness of humans in their natural world. Chinese artists never paint dead animals. The birds, fish, insects, and flowers are all full of vitality under their brush.
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3. cultural knowledge
  
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The same is true China ancient Chinese literature.The poems of Tang and Song Dynasties show the beauty of flowers, birds, trees and people.Such as "swallows fly in the mud, mandarin ducks sleep in the warm sand.""I'm a friend of the mountain birds and flowers. "(Du Fu)"Men and birds are not in disorder, and animals are mutually close."(Wang Wei)"A pine and a bamboo are true friends, and a mountain bird and a mountain flower are good brothers."(xin qiji) some poems filled with gratitude to the nature, such as du fu "peach":"Gao Qiu always gives the poor people real life, and his eyes are still full of flowers when he is old."That is to say, the nature (here is the peach tree) not only for people to life necessary food items, and give a person with aesthetic enjoyment.This is a very profound thought.In the qing dynasty great writer pu songling's novel "liao zhai zhi yi" also runs through the consciousness of the people and the universe.The beauty of "liao zhai zhi yi," is the beauty of man and all things.The poetry of "liao zhai zhi yi," is one of the people and all things of poetry.In this literary work, flowers and trees, birds and animals insect fish can translate into a beautiful girl, and love with people.For example, the two girls in "Xiangyu" are the peony and winter resistance of the Qing Palace at the foot of Laoshan Mountain, one is Xiangyu and the other is crimson snow."The winter is two feet long, the peony is more than ten feet tall, and the flowers are bright like brocade."The breeze and the qing dynasty palace reading Huang Sheng love each other, crimson snow and Huang Sheng for friends.Only to infamy, there is a tourist saw white peony, love, just dig it move home.White peony so dead.Huang Sheng is very sad, as "crying flower poem" 50, every day to the peony growth chanting.Then Jiang Xue almost died. The Taoist priest of Xiagong Palace wanted to cut down the tree to build a new house. Fortunately, Huang Sheng stopped him. Later, the peony grew again. Huang Sheng dreamed of Xiangyu. Xiangyu asked Huang Sheng to water her with a glass of water every day. From then on, Huang Sheng added more and more irrigation. The flower bud grew fatter and fatter. The next year, a flower bloomed. The flower was as big as a plate. There was a little beauty sitting in the pistil. "In a flash, it floated down, and the Xiangyu also." From then on, the three of them lived a happy life. Later, Huang Sheng became seriously ill. He said to the old monk: "In the future, there will be red buds growing under the peony, and I will be the one who puts out five leaves." In the second year after Huang's death, there will be fat buds protruding from the fruit. The old Taoist priest irrigated it diligently. For three years, it was several feet tall, but it did not bloom. After the old Taoist priest died, his disciples did not care for it and cut it off when they saw it did not bloom. As a result, the white peony soon withered and died. Then, Nai Dong also died. These image worlds created by Pu Songling are full of love for the life between heaven and earth. It shows that man and all things belong to a big life world, that man and all things-one, life and death together, solidarity. This is what people now call "ecological beauty,""ecological beauty" is "man and all things one" beauty.
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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)
  
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This kind of ecological consciousness in China traditional culture embodies the universal values of all mankind today, which is full of modern implication. To sum up, Chinese traditional culture contains rich and profound ecological thoughts. These thoughts have always been respected by scholars at all times and in all countries, so it is of great practical significance to explore and carry forward Chinese traditional ecological thoughts for the construction of ecological civilization in China.
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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)
  
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===References===
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4. foreign language knowledge
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*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
 
  
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==英语口译 段小蝶 Duan Xiaodie 202170081615==
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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)
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<center>'''Chinese Dietetic Culture'''</center>
 
  
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<center>Duan Xiaodie</center>
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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)
  
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===Abstract===
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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)
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Dietetic culture refers to the selection and utilization of raw materials before making food, the skills and science used in the process of food production and food consumption, as well as the respective traditional customs and philosophies formed on the basis of diet.It is the sum of all human food activities.China food culture is described as a wonderful flower, because it can combine color, fragrance, taste, shape and utensil together, which can make people enjoy food to get infinite satisfaction of taste, vision and feeling, thus forming the Chinese food culture characteristic with delicious food as the core and spiritual pleasure as the purpose.This paper first discusses the uniqueness of China food culture from taste, vision and feeling, and then shows the profound and profound Chinese food culture by combining the inextricable links between A Bite of China and food culture.
 
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This paper aims to reveal the important influence of food culture on people's lives, thoughts and ideas by analyzing the carrier, special media and characteristics of the content of A Bite of China.The documentary regards food as the "medium" of communication, and finds something related to this "medium" through such a universal and common "medium" and can make the audience focus on discussing. The ordinary and simple home-cooked ingredients described in A Bite of China not only stir up the taste buds of the tongue, but also stir up the emotional identity of the Chinese people. The peace, warmth, diligence and simplicity it conveys make people feel deeply grateful to their mothers, Deep longing and attachment to the hometown. This documentary first captured people's stomachs with delicious food, and then moved the hearts of thousands of viewers with strong feelings and cultural identity. It applied aesthetics to cultural communication, allowing the broad audience to re-understand China food culture, conveying the Chinese people's ideology about food, home, nature and society, and spreading Chinese traditional culture through "soft channels." It is of great practical significance to the shaping of China's national image.
 
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===Key words===
 
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Dietetic Culture; A Bite of China; Transmission
 
  
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===The Definition of Chinese Dietetic Culture===
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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)
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China is one of the four ancient civilizations, with the accolade of being an ancient civilization of 5,000 years, and its food culture is profound and profound, with a long history. In the long history of thousands of years, Chinese food culture has complemented and harmonized with the development of the whole Chinese history, it is both a culture and an art, and it has become an important part of China's valuable traditional culture.
 
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Food occupies a very important place in people's material life, because it can satisfy the most basic needs of human survival, and it is under the condition that this need is satisfied that all human activities are carried out. It is the basis for human activity. Diet is also the prerequisite and foundation on which spiritual civilization is based, and it is an important part of what constitutes the unique Chinese food culture. The basic nature and importance of food and drink determines the importance of food culture in the entire material culture of mankind. Food culture refers to the selection, utilization and processing of raw materials in the process of making food, the skills and sciences used in the process of consumption, and the respective traditional customs, thoughts and philosophies formed on the basis of food. It is the sum of all human food activities. In a broad sense, Chinese food culture refers to the sum of all the material and spiritual behaviors produced by the Chinese people in the process of food production and consumption. In layman's terms, what people eat, how to eat, the purpose (meaning) of eating, concepts, interests, etiquette, etc., are all included in the scope of food culture.
 
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Social development has progressed to today, food for people is no longer simply to fill their stomachs and meet the needs of survival activities, but has become an important aspect of people to enjoy life and seek pleasure. People have evolved from the primitive filling of the stomach to the pursuit of taste and visual enjoyment of life, putting forward higher requirements for food. Under such a driving force, food production has developed continuously, resulting in a wide variety of dishes and unique cooking techniques; at the same time, corresponding food habits, food concepts and ritual systems have also been formed. These have become a vivid portrayal of the richness of Chinese food culture.
 
  
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===Three salient features of Chinese food culture===
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Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
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As the saying goes, "People are food-oriented." Food sources, food customs and food rituals have made the taste of food and created the classics of Chinese food culture. There is a proverb in the United States that goes like this, "Heaven is: American wages, Russian wives, British houses, Chinese food." And in the writing of the New York Times, Chinese food culture is described as a wonder because it can integrate color, aroma, taste, shape and utensils well, so that people can get the comprehensive enjoyment of taste, sight and feeling, which constitutes the characteristics of Chinese food culture with deliciousness as the core and spiritual pleasure as the purpose. Chinese food culture has blossomed in the world's food history because of its own unique charm.
 
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1.Taste Satisfaction
 
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At the beginning of its development, the Chinese culinary culture has particularly promoted the "original taste", from the selection of materials to the production of food, focusing on the natural taste, the pursuit of food is the taste of beauty. However, on the other hand, Chinese people are constantly researching and innovating in food preparation methods, which is very flexible, and this is not contradictory to the pursuit of "original flavor". In this collision of original taste and flexibility, sour, sweet, bitter, spicy and salty are blended to create more different flavors. The key to the charm of Chinese food lies in the exquisite taste of this harmony. This is also the reason why there are This is the key to the charm of Chinese food, which is the exquisite taste of this harmony. This This has brought great satisfaction to the palate of the Chinese people, who believe that "food is the essence of the people". This harmonious This harmonious taste satisfaction is mainly due to the wide range of food ingredients and the diversity of preparation methods.
 
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(1) Wide range of food selections
 
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China's unique latitude and longitude have created a unique geographical landscape, with plains, plateaus and basins, as well as mountains, hills and wetlands, and a coastline that stretches for tens of thousands of miles. Few countries in the world are as vast as China, spanning tropical, subtropical, warm temperate, mid-temperate and cold temperate zones. The natural geography of multiple terrains and climates provides innately superior conditions for the growth of plants and animals. As early as the Ming Dynasty, the famous Italian missionary Matteo Ricci once described China in this way: Because this country has a vast territory from south to north and from east to west, no other country or place in the world can find such a rich variety of plants and animals in the domain of one country alone. And our ancestors cultivated more food resources after a long life practice, making the sources of food even more extensive, which provided a solid material basis for our dietary activities. In China, the five grains have always been a concept in flux. About 2,000 years ago, the five grains were ranked as rice, millet, cereals, wheat and beans. Today, the top three grains produced in China are rice, wheat and corn. In China, people in different regions enjoy a rich variety of staple foods because of the diverse natural geographical variations. Here is an example of our daily staple food. In addition to wheat and rice as staple foods, many parts of the country are accompanied by sorghum, corn, buckwheat, millet, sweet potatoes, and potatoes. Corresponding to this noodle dishes, such as noodles, steamed buns, dough sticks and a variety of ingredients boiled porridge, cakes, etc. is also colorful and varied, the world is only China has such a wealth of food.
 
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(2) Variety of preparation methods
 
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For the Chinese, who are rich in species and ingredients, food preparation methods can be described as flexible and varied, with traditional cooking methods alone including steaming, boiling, stewing, stir-frying, frying, braising, exploding, as well as stewing, stir-frying, marinating, etc. There are more than ten kinds of cooking methods. Due to the differences in production and customs, as well as differences in tastes and eating habits, colorful and varied local cuisines have been formed, such as the eight major cuisines represented by Sichuan, Cantonese, Hunan, Zhejiang, Lu, Min, Hui and Su. The various cuisines also have their own characteristics in terms of production methods: Sichuan cuisine is known for its varied flavors, spicy, thick and wide flavors, and is known for its "hundred dishes and hundred flavors"; Cantonese cuisine attaches importance to "five nourishing" and "six flavors ", and the dishes are made according to seasonal changes, with summer The dishes are light in autumn and rich in winter. Because of its origin in China's fish and rice country, the ingredients are mostly fish, shrimp and vegetables, with fresh and tender ingredients and delicate dishes. The ingredients are tender and exquisite, often using a unique method of burning and boiling, preserving the original flavor of the food; Lu cuisine, on the other hand, focuses on set fire Quick stir-fry, commonly used cooking methods are explosion, stir-fry, simmering, burning, steak, etc., most of the food made by these methods Min cuisine is mainly composed of local dishes from Fujian, Quanzhou and Xiamen, so the ingredients are mostly seafood. Fujian cuisine is mainly composed of local dishes from Fujian, Quanzhou and Xiamen, so the ingredients are mostly seafood, and it is characterized by dishes with more soup, and the most prominent production methods are simmering and drenched; Hui cuisine is famous for cooking mountain and wild Hui cuisine is famous for cooking mountain and wild food, mostly using the method of roasting, stewing and smoking, of which smoked dishes are the most characteristic; Su cuisine is a collection of the longest, including Huaiyang cuisine, Nanjing cuisine, Su Xi cuisine and Xuzhou cuisine, only products also pay attention to freshness, with stewing, stewing, braising as the main The main feature is stewing, stewing and braising, and the original flavor is emphasized. In addition, there are many other famous Chinese cuisines, such as Beijing cuisine and Henan cuisine, which are not on the list of the eight major cuisines, and they are also flexible in their preparation methods and have outstanding flavors. Together with the eight major cuisines and their various preparation methods, they have become another highlight of Chinese food culture. In terms of the difference between Chinese and Western food, Western Western food culture is mostly about eating for eating, and the preparation methods are naturally simple and convenient; while Chinese food is more Chinese food is more "taste" in eating, so dishes are finely prepared and need to be savored to appreciate the taste. With their hard work and wisdom, the Chinese have made the best use of various ingredients and created their own cuisine to meet the needs of different regions and cultures. and cultures, creating their own flavors.
 
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2.Visual Enjoyment
 
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China's food is evolving with the progress of history and society, not only is the cooking technology exquisite, but also pays special attention to the aesthetics of the dishes. This beauty is not only the pursuit of food color, aroma and taste, but also the harmony of shape, utensils and dishes. This visual satisfaction is a perfect unity of form and content in the unique Chinese culinary activity, which brings people taste satisfaction, aesthetic pleasure and spiritual enjoyment.
 
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(1)Beauty in color
 
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Color, in food production, refers to both the natural color of ingredients and the harmony presented by various ingredients in combination with each other and in combination. In Chinese cuisine, it is important to match the ingredients with color, that is, to use the natural color of meat, vegetables, aquatic products and even some fruits to mix colors. Vegetables are particularly colorful, for example, green leeks, spinach, celery; red peppers, carrots, tomatoes; yellow cauliflower, asparagus, ginger; black fungus; white radish, wild rice, silver fungus and so on. Color matching is very important, the presence or absence of this procedure, although it does not directly affect the taste and texture of dishes, but to some extent may affect people's appetite, eating psychology and aesthetic feelings, especially in the banquet side dishes, there must be red, yellow, green, white the four colors of the dish, so as to show the rich and colorful. From the color of the dishes, we can not only see the beauty of the ingredients, but also see the chefs who process and produce these ingredients with the right control of the fire and excellent cooking skills, and finally see the beauty of the color harmony presented in front of people The beauty of the color palette that is presented to people.
 
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(2)Beauty in form
 
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Form is a requirement for the food shape to reflect the effect of food based on the beauty of raw materials, color and taste. Chinese people in the evaluation of food, in addition to color, aroma, taste, there is a very important indicator, that is, "shape", chic food can not only meet the taste enjoyment, but also can bring visual beauty. The beauty of the shape of the dish is often expressed in the fine knife work, the chef will be based on the needs of food production, the ingredients will be cut into shreds, blocks, slices, segments, dice, mushrooms, etc., they are the same thickness, similar size, uniform thickness, equal length, not dragging each other, clean and crisp. The technical mastery of knife-working has contributed to the unique aesthetic shape of Chinese dishes, along with the original intention of taste and beauty, making Chinese cuisine a veritable "kung fu cuisine".
 
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(3)Beauty in food ware
 
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Ware, mainly refers to food utensils, especially dishes container-based tableware. The ancients used to say that food is better than beautiful utensils, the Chinese people are very careful about the selection and use of dishes tableware. Since ancient times, the Chinese have been using the fine production, beautiful, with reasonable tableware as a kind of beauty. If the container of the dish is ornamental, it will increase the aesthetics of the dish in shape. The taste of the tableware has a great role in setting off the taste of the dish. A graceful, exquisite ingredients of the dish with beautiful and elegant containers, will look more noble, exquisite; conversely, the same ingredients, the same shape of the dish, placed in the production of rough, or plastic, white iron material containers, naturally, taste is not as good as before. Chinese food in the choice of tableware pay special attention to the ornamental container, according to the ingredients, the shape of the choice of appropriate containers. The utensils of Chinese cuisine are not only common round plates and long plates, but also other utensils of different shapes and forms. Chinese dishes in the selection and use of tableware, mainly follow the following principles: First, the size of tableware and the amount of dishes to adapt, a Generally, the plate is not more than the loading line, the bowl is not more than seven minutes full; Second, the shape of tableware and the shape of the ingredients to adapt to, soup dishes, fish and meat should be plate. bowl, fish and meat should be plate, especially the fish more oval long plate; Third, the tableware color and color of the dishes to adapt to the Generally the simplest tableware color with follow the "shallow with shallow" standard, but also some light-colored ingredients need dark color tableware supplement, dark ingredients need light-colored tableware set off, shades of matching make light-colored dishes color not As for too thin, dark dishes are not too dull tone. For example, the jade shrimp, people usually choose a glossy clean white porcelain plate to set off the bright colors of jade green and shrimp red; chicken oil winter melon, people will tend to choose the color For example, for the jade shrimp, people usually choose a polished white porcelain plate to offset the bright color of jade green and shrimp red; for the chicken oil and winter melon, people tend to choose a dark colored ceramic pot to consider the brightness of the chicken soup and make up for the light white of the winter melon. Tableware and dishes, the two The harmony of the two makes Chinese food glow in a fascinating way.
 
−
3.Emotional Attachment
 
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As early as the Western Zhou Dynasty, the idea of "eating old virtues" emerged in China, meaning that future generations could inherit the ideas of their predecessors and enjoy the virtues left by them. Later, during the Warring States period, the idea of "so or not to say and drink people to and" emerged, arguing that diet should not only meet people's physiological needs, but also play a psychological coordination role, to be able to "drink and" is to achieve the highest level of diet. In modern times, Sun Yat-sen, the forerunner of the Chinese nation, praised Xuanwei ham with the phrase "drink and eat virtues" when he gave it an inscription. Later generations interpreted "drinking and eating virtue" to mean that after giving a person something to eat (or drink), the person should feel comfortable, enjoyable, and happy, enjoying the The latter interpreted "drinking and eating virtue " to mean that after giving food to people, the eater should feel comfortable, enjoyable, and happy, and enjoy the virtue of the ancestors. In short, it means that drinking should be harmonious and eating should be moral. This is the ancient interpretation of eating This is the ancient interpretation of eating.
 
−
In modern society, people often say, "The seven things that open the door, rice, oil, salt, soy sauce, vinegar and tea, which This shows the importance of "food" in people's daily life. The Chinese people have always attached importance to emotional communication, especially through food. Especially the custom of achieving emotional communication through food has been inherited for thousands of years, which has made Chinese food This has led to an important function of Chinese food - the transmission of emotions. For example, during traditional festivals such as New Year, Mid-Autumn Festival, Chongyang, and other major festivals such as marriage, people will eat and drink food. On the other hand, the death of a loved one is also celebrated at the dinner table. On the other hand, after the funeral of a loved one, there will be "relief wine" and a banquet for friends and relatives to express their gratitude. It is through "eating" that the Chinese to regulate interpersonal relationships, to achieve joy and harmony, and to continue the purpose of morality and ethics. In this regard In this respect, the social function of Chinese food activities is unparalleled by other countries and nations. Of course, in this process Of course, what is indispensable in this process is the complete Chinese food etiquette. As the ancient saying goes, "Where rituals are concerned, they begin with food and drink. Since ancient times, there have been rituals of eating, feasting, and hospitality in China. Those positive, sensual, programmed formalized and detailed rituals have been used throughout Chinese food activities and are constantly improving themselves, and are an integral part of Chinese They are also an integral part of Chinese food culture. Nowadays, the act of "eating" has become more than just a way to satisfy daily physical needs; in fact, it has has become a special way for people to express and communicate their emotions, a daily social activity. People Through eating activities, people express their emotions, exchange information with each other, and regulate their psychology. The function of emotional satisfaction is given. The three different perspectives of taste, vision and sensation form the organic whole of Chinese food culture and make it vivid. Chinese food culture has become vivid and full. Taste is the basis of food, vision is the complement of food, and sensation is the basis of taste and vision. The senses are the synthesis of taste and vision. They do not exist in isolation, but complement and depend on each other. They are not isolated, but complementary and interdependent. The satisfaction of taste and vision leads to emotional attachment and satisfaction, and the Chinese food culture is Chinese food culture has been inherited and developed through the satisfaction of taste, vision and emotion.
 
  
−
===Differences between Chinese and Western Food Cultures===
+
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)
−
Chinese and western countries have different geographical environment, national character, combined with the different philosophy of people's belief, the different degree of historical development has created their own unique cultural background and cultural content, thus further produced in the diet culture distinct difference.
 
−
(1)Differences in food preparation
 
−
For most people, no matter where they come from, the most basic purpose of diet is to sustain life, but the way to achieve this goal is different.Chinese and western food culture in the production of the differences are mainly reflected in: Randomness and standardization, delicious and nutritional, respectively and integration.
 
−
Chinese people emphasize randomness in cooking techniques and cooking processes. They don't mechanically pursue the accuracy of weight of ingredients, addition of seasonings and proportion collocation, but rely on the experience of producers to grasp the results.This kind of randomness can be seen everywhere. The same dish in the same cuisine will appear different with the change of place, time and people, which is why we will order the same dish in different restaurants and restaurants to taste different reasons.In addition, the same dish from the same chef will also have different matching of side dishes and seasonings due to different seasons, environments and diners 'identities.This randomness in the preparation of China food makes cooking interesting, and at the same time, it also creates a variety of styles and tastes in Chinese dishes.And westerners due to scientific rigorous character influence, in the process of food production, excessive pursuit of standardization.They strictly follow the requirements of the amount of ingredients, the amount of seasoning added, and the cooking time during the operation. The result is that the same dish has a surprisingly similar effect from the inside out every time it is formed.Even in many western homes, are ready to have a kitchen dedicated timer, scales, scale cup, etc.These make western countries relatively conservative and stable in terms of dish varieties, tastes and tastes.Although Chinese people pay attention to visual art and emotional sustenance in the process of eating, people regard the pursuit of "delicious" as the highest essence of diet.This pursuit can be seen from the daily life of people.For example, when people entertain guests at home, often say a word is: I don't know if it's good for you
 
−
The taste. So far little or no heard someone say something like this: Today's food nutritional value is not high, the heat supply is not enough. The Westerners will be nutrition and energy in an important position, they respect the food nutrition science. Their food requirements first nutrition, nutrition and energy supply, is the taste of food, and most of the time, because to achieve food nutrition retention and take the so-called scientific cooking method has made the food taste greatly reduced.
 
−
One of the most remarkable characteristics of Chinese cooking is the harmony of five flavors. From ingredients to seasonings, all of them reach the highest state of "harmony." I am afraid that only Chinese people have such a eating style and habit as the big pot stewed dishes commonly seen by people. All kinds of ingredients are matched with each other, all kinds of nutrients complement each other, and the auxiliary effect of seasonings. Westerners, on the other hand, focus on the natural properties and nutritional value of the ingredients and pursue the original taste of the food, which can be seen from the naming of Western dishes. For example, the beef with potatoes, which means literally, is a completely different thing from the China beef with potatoes.
 
−
(2)Differences in Eating Habits
 
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The differences in eating habits between Chinese and Western food cultures cannot be ignored, that is, the obvious difference between "cooked food" and "raw food."Chinese people enjoy food and pursue delicacy, which to a certain extent determines that Chinese cuisine is mainly "cooked food."There are dozens of cooking techniques in China, and these rich and varied cooking techniques make the "cooked food" of Chinese food culture give full play and continue.In the West, due to the influence of standardization and nutrition, the "raw food" is advocated to avoid the loss of nutrition and calories in the food.They believe that cooking will destroy the nutritional structure of food to a certain extent, while natural and original food can preserve the nutrition and calories of ingredients.Westerners first look at nutrition, then look at calories, and finally consider the taste and shape of food.
 
−
(3)Differences in Eating Styles
 
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Differences in food preparation methods and eating habits will inevitably lead to differences in eating patterns.In this regard, the most obvious food culture in China and the West is the "shared meal system" and "separate meal system."The most popular way of eating in China is to sit around a table and share food.This kind of "group sharing" is a common way in China, whether at banquets or at home. People exchange feelings, communicate family ties and coordinate interpersonal relationships through this kind of "meal sharing system" of sharing food. Even today, the buffet spread from western countries to China has gradually evolved into another form of "dinner gathering" by Chinese people. The eating style of westerners is the "separate meal system" known as "exclusive" style, which is different from the living habits of westerners. Cultural heritage is inseparable. Buffet is the way of eating born of such food culture. This way of eating is to meet the relaxed, free and independent dining style of Westerners. People do not need to fix a certain dining position or a certain dining object, and can choose according to their own preferences. This is a world of difference from the "shared dining system" of group enjoyment China.
 
  
−
===Philosophical Thoughts Contained in China Food Culture===
+
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)
−
(1)The Nature View of the Unity of Heaven and Man
 
−
Confucius, the founder of the pre-Qin Confucian school, once said: "Gentlemen are harmonious but different." "Harmony" is unity and concord. It is abstract and intrinsic. The "difference" is concrete, external. Only by allowing "difference" can we achieve the realm of "harmony". The ultimate goal of harmony and difference is to live in harmony. Dialectical materialism believes that harmony is the dialectical unity of opposing things under certain conditions, and it is the relationship between different things that complement each other and develop together. In the vast expanse of China, nature has given people different choices, creating different eating habits and lifestyles. Simple Chinese are grateful for the gifts of nature and pass on this gratitude in their own ways. The gifts of nature and people's gratitude have created a situation in which people and nature coexist in harmony.
 
−
(2)Advocating the Concept of Family Reunion
 
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China literary creation from ancient times to the present, whether tragedy or comedy, mostly ends with a happy ending. Even if it is not realized when he is alive, the author will convey this beautiful wish in other ways.In the China traditional folk culture, the most characteristic and charming characterization is advocating reunion.Reunion is people's best wishes for ordinary life. To some extent, it has become the spiritual pillar of the Chinese people.In ancient China, many poets expressed their hope for family reunion through poems and songs, saying,"There is no wine in the wine bottle for the New Year, and the tears of homesickness are full of towels.""I know that it is hard to be a guest, but it is not as good as being poor at home,""The sound of firecrackers makes the spring breeze send warmth to Tu Su,""I wish people will last long, and we will share the cicada's joy for thousands of miles,""I am a stranger in a foreign land alone, and I miss my relatives every time during the festival," etc. These verses have been passed down to this day along with the festival emotion, and they constantly show the Chinese people's admiration and desire for their hometown and family reunion.This kind of psychology of looking forward to reunion, not only reflected in the literary works, but also reflected in people's real life.Chinese people always cannot do without food when dealing with the issue of family reunion, so the word "reunion dinner" appears in the festival of family reunion.No matter what the purpose of the Chinese dining activities, no matter how many people eat, basically there is only one form, that is to sit at the table.This form of gathering dinner directly conveys a kind of national psychology of the Chinese nation, that is,"happy reunion." Reunion dinner is not just a regular eating form, but exists as a secular ceremony full of deeper emotional connotation. For most traditional and conservative Chinese people, this collective activity of sitting around the table for dinner is a harmonious way for family members to enhance their feelings and talk to each other.
 
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Nowadays, China is marching on the road of globalization, informatization and marketization, and the fragmented family existence mode is popular. The family unit is getting smaller and smaller, and the special family (dink, divorce, single, etc.) are also increasing. The traditional Chinese image of several generations living under the same roof and sharing a family relationship has become an emotional luxury. People are becoming more and more free and independent. One of the few emotional expectations is that there will be a few days of family reunion in a year. Reunion is the eternal theme of the Spring Festival. People experience the warmth brought by family reunion during such a festival. It is also this spiritual emotion that maintains the unique emotional genes of the nation. From generation to generation, this is also one of the reasons why the Chinese nation is endless.
 
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(3)A Harmonious Outlook on Life
 
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China food culture, while blending into the aesthetic taste and artistic ideal of Chinese people, also places a lot of philosophical thoughts.The concept of "food is the most important thing for the people, taste is the first, five flavors are harmonious, and taste is the king" is very consistent with the traditional China philosophy.In addition to the taste of the tongue and the smell of the nose, in China culture, the perception and definition of "taste" both originate from diet and transcend diet.That is to say, it is not only our tongue and nose but also the Chinese heart that can truly feel the "taste."Chinese people talk about five flavors, which are not only related to diet, but also to life and life. The "five flavors harmony" of sour, sweet, bitter, spicy and salty is not only about the beauty of harmony in diet, but also about the life conditions of ordinary people in their ordinary lives. In Chinese words, there are many idioms that use five flavors to describe life, such as: Bitter to do sweet, share the joys and sorrows; painstaking, attack Ruacid, alone, hardships; People use "sweet" to express their happiness and joy. Use "sour,""bitter" to describe the frustrations and hardships of life;"Hot" to convey their enthusiasm and vitality, and so on.
 
  
 
===Conclusion===
 
===Conclusion===
−
China food culture contains elements such as family feelings and cultural confidence, and the exchange of food culture is also an inevitable and important activity in the process of cross-cultural communication. Therefore, we should stick to, develop and inherit the traditional China food culture, and carry out cross-cultural communication. In order to achieve effective cross-cultural communication, to achieve cultural exchange blend, the Chinese people have the responsibility and obligation to actively spread China food culture, enhance the national cultural soft power, build a socialist country's new image.
+
 
 +
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===
 
===References===
  
−
*Zhang Zuqun.张祖群.试论中国饮食文化的三个表达维度[On the Three Dimensions of Chinese Food Culture].地方文化研究辑刊 Local Culture Studies,2021(01): 226-236.,2021(01):226-236.
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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.
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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.
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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.
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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)
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 +
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
 +
 
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overall design 整体设计
 +
 
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CCTV TV programs 中央电视台电视节目
 +
 
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Voice of China 中国好声音
 +
 
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belt and road initiative一带一路
 +
 
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supply side structural reform 供给侧结构性改革
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Alipay 支付宝
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street stall economy 地摊经济
 +
 
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Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区
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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?
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 +
2.When was HSK officially implemented?
  
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*Zhu Xiaoli.朱晓丽.中国饮食文化的跨文化传播——评《用英语介绍中国美食》[Cross-cultural Communication of China Food Culture-A Review of Introduction to Chinese Food in English].新闻爱好者News Enthusiasts,2021(05):113-114.DOI:10.16017/j.cnki.xwahz.2021.05.034.
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3.What is the most important link of teaching activities among the four links of teaching activities?
  
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*Li Mingchen, Dai Tao.李明晨,戴涛.中国饮食文化的三重境界[The Triple Realm of Chinese Food Culture].学习与实践Learning and Practice,2019(03):130 133.DOI:10.19624/j.cnki.cn42-1005/c.2019.03.015.
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4.What are the principles of spreading Chinese culture in Chinese education abroad?
  
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*Yao Weijun.姚伟钧.中国饮食文化传播与“走出去”的路径[Chinese Food Culture Communication and the Path of "Going Out"].文化发展论丛Cultural Development Essays,2016(01):49-65.
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5.What types of HSK exams are there?
  
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*Hu Mengnan.胡梦楠.论中国饮食文化的传播与认同[On the Spread and Recognition of Chinese Food Culture].郑州大学Zhengzhou University,2014.
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6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?
  
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==英语口译 方楚晗 Fang Chuhan 202170081616==
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===Answers===
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<center>'''Bullet Screen (Danmu) in Chinese Online Video Sites'''</center>
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1.Overall design, textbook compilation and selection, classroom teaching and achievement test.
  
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<center>Fang Chuhan</center>
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2.The Chinese Proficiency Test (HSK) was officially implemented in 1990
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3.Classroom teaching
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4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.
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Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.
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Ⅲ. Handle sensitive issues properly and maintain national dignity.
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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)).
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6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.
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==英语笔译 罗姚林 Luo Yaolin 202170081590==
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<center>'''On Chinese Dialects and Translation from Functional Equivalence Theory-- Southwest Dialect Translation'''</center>
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<center>罗姚林 Luo Yaolin</center>
  
 
===Abstract===
 
===Abstract===
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“Bullet screen”, or “Danmu” in Chinese, is an emerging new feature on online video sites in China and Japan, which allows real-time comments from viewers to fly across the screen like bullets. Mostly used for virtual nods and zingers, this “social viewing” feature is phenomenally popular with the younger crowd. As a new form of video commentary in the new media era, Danmu has set off a trend in China and Japan. The process of Danmu culture from birth to popularity is very rapid, and now it has become one of the most popular online comment media. Danmu obtains popularity among young audiences, in that it establishes social media co-viewing, creates a sense of belonging, allows self-expression and facilitates social connectedness. Additionally, Danmu gives creators a way to show a sense of existence, particularly through helpful, cautionary, and spoiler remarks. The widespread and clear use of literacy is credited with Danmu's appeal in China. It is more significantly attributed to linguistic and cultural preconditions: the written Chinese language is characterized by a high information density and robust parafoveal preview effects; the Chinese culture is characterized by a high level of polychronicity and collectivism, as well as obvious social and peer pressure.
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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.
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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.
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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.
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===Key Words===
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Dialect translation; Functional Equivalence Theory; Sichuan Dialect;
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===An Introduction of Chinese Dialects===
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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===Previous Studies on dialect translation===
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Since the 1990s, dialect translation has been included in the research of translation, which has gradually gone from strength both at home and abroad.
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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.
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After analyzing the early translations of Finnish writer Kalle Paatalo, Ritvaeppihalne (2000, P. 247-269) found that domestication was the main translation
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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.
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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.
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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.
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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)
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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)
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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.
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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.
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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.
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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).
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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).
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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).
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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.
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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.
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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.
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===Functional Equivalence Theory===
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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.
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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).
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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.
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===Case Study===
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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.
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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.
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e.g：瓜娃子。
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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.
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Example 1：我的小瓜娃子，几天不见，好想你。
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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.
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Example 2：你看那个人在垃圾堆里捡东西吃，怕是个瓜娃子哦。
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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.
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Example 3：那么简单的事都做不好，真的是个瓜娃子。
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Analysis：In this sentence, “瓜娃子”means that someone is not clever enough and not able to do things wisely.
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e.g: 抻展
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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.
  
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===Key words===
 
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Bullet screen, Chinese online videos, information density, parafoveal preview effects, polychronicity, collectivism
 
  
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===Introduction===
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example 1: 小明你把这道题搞抻展没得?
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In China, Bilibili (https://www.bilibili.com), known as ‘B Zhan,’ (‘B site’) was established in 2009 and is one of the most prestigious and rapidly expanding online video-sharing entertainment platforms(Li, 2019). Generation Z (abbreviated as ‘Gen Z’ or iGen), the second generation of Millennials who were born in the 1990s and 2000s, have become attracted by Bilibili on the domestic market (Walker, 2020). Data reveals that Gen Z users make up over 80% of Bilibili's user base (Parklu 2019), and their indulgence in Bilibili can be summed up by their daily average time spent there of 81 minutes (China Internet Watch 2019), which vastly outpaces that of TikTok and other rivals. On the latter, the typical user only spends about 45 minutes per day (Holmes 2019). Their preoccupation with the Japanese ACG (anime, comics, and games) subculture is a notable characteristic of the Gen Z (Wang, 2014). ACG-based website Bilibili, which is run by self-described anime lover and serial entrepreneur Chen Rui, 42, has carved out a competitive niche to take on Internet behemoths like Baidu, Alibaba, and Tencent, which control China's massive online video industry (Perez, 2020; Zhang, 2020). Even though it is ACG-based, Bilibili bills itself as ‘a full-spectrum online entertainment world,’ offering everything from mobile games to video clips and live broadcasting. It has also gone beyond its well-known user-generated short-format content to include professionally produced content as well as full-length movies and documentaries (Bilibili, 2021). The most popular feature of Bilibili is its ability to allow users to post scrolling Danmu superimposed directly onto footage. These can be either timed to playback times or left by previous viewers and tagged with specific time points of video clips (Cao, 2019). There are options to filter or disable Danmu, which is essential in situations when viewers find Danmu swooping across the screen irritating or when they are inundated with numerous Danmu. Both senders and viewers can customize the text size, color, transparency, and movement speed of Danmu.  
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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".
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example 2: 她今天穿的还算抻展。
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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.
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example 3: 他长得好抻展啊，不愧是校草。
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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".
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example 4: 耙耳朵
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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".
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example 5: 假老练
  
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===History of Danmu===
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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".
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Even if Bilibili is generally credited with popularizing Danmu, the leading Japanese video-sharing website, Niconico (nicovideo.jp), is the innovator of such text-over-screen technology. ACG fan communities, traditions, and culture are integrally related to Niconico through media mix initiatives (Qin 2014). Niconico users can create subcultural and local networks that support cutting-edge media mix formats by altering and generating material. Furthermore, Niconico promotes ‘N-level invention’ by integrating secondary materials, also known as dynamic creativity and collaborative innovations (Li 2017). In order to enable ‘polyphonic representation’ and multitasking user engagement, Niconico launched a feature called danmaku in 2006. It projected dynamic, contextualized, and quasi-bullet-curtain comments scrolling across the screen (Li, 2017).
 
  
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Since its introduction to China in 2008, danmaku has been used to refer to both the system and specific comments and is known in Chinese as Danmu (Cao, 2019). Acfun, often known as the ‘A site,’ is a popular Chinese website that is based on Niconico and features the Danmu function. It is the founder of the "B site's" inspiration (Ye, 2018). Danmu quickly became popular after entering the Chinese video market; according to Bilibili alone, there were 1 billion and 1.4 billion pieces of Danmu in 2018 and 2019, respectively (Zu, 2018; Bilibili, 2019).
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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
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Due to the fact that the traditional, Danmu-free visualization has been losing its ability to draw in and keep users, a variety of popular online video services, including Tudou and Youku, have also incorporated this collaborative video annotation system. As a result, by 2014, almost all video-streaming platforms in China integrated the Danmu function to engage users, marking the significant evolution of Danmu from a specific subcultural entity into a predominate standard design for the online video culture in modern China (Li, 2017). These globalized platforms start to accept user-produced transnational and cross-linguistic media products in addition to user-produced Danmu, rather than website owners (Zhang & Cassany, 2019b).
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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.
  
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Gen Z in China has made watching movies enriched with Danmu into a well-established habit and subculture. Danmu is occasionally more well-liked than the videos themselves due to its association with amusement, information, and sociability. It even acts as a persuasion tool for viewers to watch particular works (Zhang, 2016).
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example 5：梭边边
  
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===Social Functions of Danmu===
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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".
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Danmu is considered as user-generated content because it was created by people and is made available to the public via web platforms. The uses and gratifications theory states that the gratifications from user-generated media include: 1) consumption of the content for information seeking and entertainment; 2) participation for social interaction and community development; and 3) creation of new content for self-expression and self-actualization (Shao, 2009). The social functions of Danmu and the motivations of its producers and consumers are in following three aspects, focusing on the latter two.
 
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First, Danmu meets the interests and informational needs of its viewers. To be more precise, Danmu meets a hedonic need for entertainment, relaxation, stimulation, and escaping from reality as well as a utilitarian demand for information (Han & Lee, 2014). Information-seeking is a common subgenre of interactive Danmu, and as this activity is constrained by time and location, Chinese Danmu users have developed a list of well-established fixed phrases that are both succinct and polite for this purpose. It is noteworthy that answers to these kinds of bullet questions are frequently given, and some viewers even provide information on their own initiative and without being asked, demonstrating their intelligence, thoroughness, and deductive reasoning, as well as their sense of humor if their texts are light-hearted. Furthermore, Danmu has created and fostered a dynamic, diversified participatory culture in China (Chen 2018), creating a social platform for free expression and potential democratic engagement.
 
  
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Second, in order to promote community development, Danmu also promotes social engagement and communication between producers and consumers. By developing social media co-viewing, Danmu satisfies users' social needs and fosters a sense of community.
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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".  
  
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Through a well-known phenomenon called "pseudo-synchronicity," which satisfies users' need for companionship and helps them deal with loneliness, Danmu creates social media co-viewing. Following the playing of videos, messages sent out throughout several viewings aggregate all audiences from all viewings into a single cohort. Despite different times and locations, the movement and synchronization of Danmu allows viewers to experience the exhilaration brought on by the synchronicity of words and screens as well as co-viewing with peers (Chen et al., 2015). Accordingly, as long as the broadcast is not live, the text-over-screen effect can maintain crowd dynamics in terms of opinions and/or sentiments without the actual presence of crowds (Johnson, 2013; Chen et al., 2015; Li, 2017; Cao, 2019). This is because online communities, as ideological figures, exist more in a mental space than in actual reality (Zwick & Bradshaw, 2016). Additionally, Danmu's synchronic feature provides unique satisfactions in terms of empathy and social connection among peers that differ from those attained from conventional post-viewing commentary videos (Chen et al., 2015, 2017). Young people's sense of community is fostered in this way via Danmu, which may be a result of peer pressure (Cheng et al., 2014).
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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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As a consequence, Danmu encourages communication between producers and consumers. Danmu posters and viewers engage in spontaneous interactions with the goals of engagement being to communicate meaning, spread communication, and build networks. The Danmu system, in particular, allows users to communicate more directly and experience real-time sharing.
 
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There is no doubting that a Danmu text should not be viewed as a message, according to Cao (2019), because it does not explicitly target a particular addressee and does not demand a response, even though it may elicit responses and resonances. A Danmu text has the characteristics of a "idiolect," or a person's unique way of expressing ideas without intending to engage in conversation with the recipient (Jakobson 1987: 104). So bullet screen involves semiotic idiolects that aren't always discursive.
 
  
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However, a sizeable amount of Danmu texts are actually written with the intention of communicating, as shown by the three types of Danmu: information-seeking, gratitude-expressing, and discussion-provoking. First, as was previously indicated, viewers who are looking for information about videos and relevant history may turn to fellow viewers for assistance, which does not address any particular person but expects a response. Second, Danmu can be used to convey gratitude to specific people, particularly uploaders and unpaid, volunteer subtitlers. Third, viewers may leave comments with the intention of igniting debates about the stories, scenes, props, and acting abilities. They may also do this by asking questions like "Am I the only one who finds the costume an eyesore?" and "Am I the only one who finds my IQ has been insulted?" in an effort to find commonalities. Most of the time, posters get answers along the lines of "The person in front of me, you're not alone."
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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.
  
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Third, Danmu facilitates self-expression and constructs a sense of existence.
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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.
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Spoilers are the most enduring paradigm for the self-expression function of Danmu. Spoilers can ruin the suspense and ruin viewers' enjoyment from the perspective of how this paratext is received and consumed, although they typically have a small and positive influence. There are two types of spoilers: non-toxic ones that are unintentional, formedative, socially acceptable, or politically correct, and toxic ones that are intentional, motivated by pleasure or retaliation. The act of spoiling, which entails both the creation and distribution of spoilers, serves as a kind of interpersonal communication based on the sharing of knowledge as well as a means of sociability and empowerment, yet it has the potential to lead to social and cultural conflicts. In contrast to standard comment sections that might limit spoiler exposure through spoiler notifications for those who desire to avoid discovering plots or endings beforehand, Danmu spoilers are embedded and superimposed on videos, making them ineluctable. Therefore, if Danmu producers are completely aware of the unfavorable nature of spoilers yet nevertheless purposefully divulge crucial story points, they may be acting out of joy or out of retaliation. Furthermore, spoiler posters are unafraid of retaliation because all Danmu comments are sent anonymously, even without the display of pseudonyms. The degree of toxicity of Danmu spoilers may not always be severe, though, because spoiler writers may be seen as needing attention and a sense of identity due to their social inadequacy in real-world settings.
 
  
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Qianfang gaoneng, which means ‘strong energy warning ahead,’ is another Danmu that is used frequently for self-expression. It was included as one of the top 10 Danmu buzzwords on Bilibili in 2018 (Zu, 2018). The purpose of qianfang gaoneng is to create a sense of companionship by warning co-viewers of impending "surprising, terrifying, or disturbing" content. I hypothesize that in addition to serving this goal, those who write alert remarks also hope to demonstrate their knowledge from prior viewings and perhaps even their sense of accomplishment as veterans. Alert Danmu serves as a kind of relieved spoiler in several ways.
+
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.  
  
−
Expression-focused Danmu comments can be used to express viewers' opinions on videos and to make jokes on the substance of videos or other relevant subjects like casting, subtitle translation, image quality, other Danmu texts, etc. Additionally, fan bases of celebrities use the Danmu as a platform or even a battleground to promote or extol their idols, and they frequently use fandom neologisms that show an upward transmission direction and the possibility to reach the common vocabulary by being used in traditional media. It is important to note that, as a subculture of cyberspace, Danmu comments frequently contain Internet buzzwords that, in addition to constructing communicative activity and subjectivity in China, also proliferate in English dictionaries as a symbol of the internationalization of the Chinese language (He, 2015). Danmu users can support the growth of online communities by using neologisms that are only used by particular fandoms and on the Internet.
+
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.
  
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When it comes to Danmu's ability to increase a person's sense of existence, it gives people who feel restricted by societal roles in daily life the opportunity to contribute, which fosters a sense of personal efficacy (Shao, 2009). The spectacle of Danmu, assimilates the wealth discrepancies and the differences in capacity to engage on the flattened surface of the screen, deflecting attention from true social gaps. In this way, social inequity is aestheticized and how individuals relate to it is anesthetized by Danmu's text-screen synchronization.
+
example: 你莫骗老子哈。
  
−
It is noteworthy that in addition to posting free bullet points on outstanding Chinese interactive streaming platforms that offer live streaming entertainment, users can also pay for and send virtual gifts to recognize excellent performances and/or foster rapport with hosts because their preferred hosts can turn the virtual gifts into actual money (Cao, 2019). Costly gifts create a power imbalance between hosts and givers that enhances their engagement. Additionally, motivated by the gift-giving model and/or financial incentives, hosts personalize their performances and establish rapport with crowds, providing contributors a sense of power that they typically lack in real-life settings (Fan & Zhang, 2018). Especially noticeable among young, low-income urban netizens, who lack a sense of superiority in social life, is this audience psychology.
+
Translation: Don't you make a fool of me?
  
−
Regarding Danmu, even though it's not money, it gives creators a way to show that they have a sense of being. Given that 75% of Bilibili's users are under 24 (Liu, 2015), it is nearly impossible for this user base to feel strongly in control of or solve social inequity at this time. As a result, many turn to Danmu for online prominence and self-expression. In conclusion, Danmu's social functions—aside from providing information and entertainment—lie in its ability to allow young Chinese netizens to communicate with peers within the same social groupings, helping to develop group identification and promote social connectivity. By developing avenues for self-expression and conversation, Danmu has produced a sense of existence and visibility in a virtual environment, creating a sense of belonging for the Gen Z through social media co-viewing.
+
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.
  
−
===Prerequisites for the Popularity of Danmu===
+
example 2: 老子耍女人的时候你娃还在吃鼻屎！
−
Chinese internet users create and incorporate a wide variety of writing scripts and semiotic resources into their nonstandard, multilingual literacy practices and discourses due to character limits that are appropriate for the screen, including standard Mandarin and various dialects, traditional characters and Romanized Chinese, foreign languages and their transliterations, emoticons and Arabic numbers, etc (Zhang, 2017). The adoption of kaomoji writing, a Japanese emoticon style that represents facial expressions and/or activities by integrating Latin letters, punctuation, and Japanese characters, is another way that Danmu users' multilingual repertoire is displayed.
 
  
−
Both language and cultural preconditions are said to have contributed to Danmu's success in modern-day China. The Chinese written language is distinguished by a high information density and parafoveal preview effects, to be more precise. Chinese culture is distinguished by its polychronicity, as well as by the overt social pressure and peer pressure brought on by a collectivistic attitude.
+
translation: I was already a womanizer when you were still shitting your pants!
  
−
First, Chinese language is distinguished by a high information density, making it easier to read. One or two characters/syllables make about 90% of Chinese words, while single-character (mono-syllabic) words are especially common in everyday speech, making up 2/3 of the total number of words. Chinese characters are the primary semantic units since the Chinese language's core structural unit is character-based rather than word-based (Xu 2001). A wide perceptual spread of one character to the left and three to four characters to the right of fixation is also demonstrated by Chinese readers, which is consistent with the fact that Chinese characters have a high information density. As a result, Chinese is more information densely packed than its equivalents in alphabetic writing systems, making Danmu conceivable and widespread in China but not in other nations that have adopted alphabetic writing systems.
+
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.
  
−
Second, in contrast to their peers reading alphabetic scripts, Chinese readers exhibit strong parafoveal preview effects. When readers move their eyes, the visual information provided to their brains is obtained not only from the currently fixated word in the fovea but also from nonfixated words in the parafovea. This effect is known as the preview benefit (Drieghe et al., 2017). Reading Chinese has a tangible benefit from parafoveal semantic information, and parafoveal processing predominates more in Chinese than in alphabetic scripts (Bai et al., 2009; 2011). Despite the fact that parafoveal processing efficiency is worse when reading aloud than when reading silently (Ashby et al., 2012), it is believed that since Danmu comments often have audio, the preview benefit is less likely to be compromised. In other words, Chinese Danmu has a unique success in China because it can be processed more quickly than alphabetic scripts.
+
Example 3: 等于是你永远不会睡着嘛？
  
−
The acceptance of Danmu is influenced by the fact that it is commonly regarded to be a typical polychronic time system in Chinese culture. Previous studies have shown that Chinese individuals have a lax attention to deadlines, punctuality, and schedules, as well as a tendency to combine activities, which is classified as polychronic time orientation. Chinese people tend to be preoccupied with other people and social experience since they are endowed with polychromic-oriented ideals.
+
Translation: Will you never fall asleep?
−
Chinese people place a greater priority on relationships and leisure activities than their monochromatic counterparts, even at the expense of disruption or distraction. The synchronicity of text and video forces viewers to "multitask," and prior research has shown that viewers who prefer Danmu-enriched videos tend to seek out more information and exhibit a higher level of polychronicity, or the preference for simultaneous involvement in two or multiple events. As a result, China's high polychronicity may be what motivates Danmu watching (Chen et al., 2015; Cao, 2019), as Danmu necessitates multitasking, facilitates interpersonal connection, and improves social rapport. The lack of popularity of Danmu with audiences from monochromatic cultures supports this theory.
 
  
−
Social and peer pressure are more pronounced features of China's collectivistic culture, which hastens the spread of Danmu. Due to their collectivistic orientation, Asians are typically more prone to social influence than their individualistic counterparts, as groups are seen as having the power to bind and obligate individuals and interpersonal communication is more common in collectivistic cultures (Du et al., 2015). Since people in cultures that emphasize a collectivistic self-concept view themselves from the perspective of relationships with others rather than from the perspective of personal characteristics or self-achievement, persons in collective societies are more entwined with groups. Significantly, collectivists rely on social media more than individualists do in relationship-focused collectivistic settings. Danmu satisfies Chinese people's desire for social contact through co-viewing on social media. The Confucian ethos of social harmony and relationship-focused collectivism also have an impact on Chinese culture, which is why Chinese people place a higher importance on appearance than those from individualistic cultural backgrounds (Fang, 1999). Chinese conceptions of the face have several facets, including layers that represent individuals, relationships, and groups (Li, 2017). Failure to employ Danmu could be seen as a loss of face and rapport with peers within the same social communities since it is viewed as an embodiment of group face or identity.
+
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.
  
−
Furthermore, young Chinese people are particularly susceptible to peer pressure, even when compared to their counterparts from other Asian nations with comparable collectivistic orientation, as the one-child policy determines that having no siblings increases the correlation between young Chinese and their peers and, consequently, their vulnerability to peer influence. In terms of Danmu use, the vast majority of Bilibili users (78%) are between the ages of 18 and 35, which corresponds to the 35-year one-child policy that was abolished in January 2016 (Bilibili, 2021). These people strive to develop both a collective identity, which is the self in relation to others, and a social identity formed from participation in a social group combined with the values and emotional meaning associated to the membership. This group of young people ensures that they can perceive themselves as members of specific groups and distinguish themselves from members of out-groups in this way. Young Chinese people are therefore more susceptible to peer influence, which explains why they are eager to adopt Danmu that has infiltrated their social circles.
+
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===
 
===Conclusion===
−
Danmu was initially regarded as a niche subculture in China, but because to its quick change, it is now unnecessary for internet video platforms, particularly those that target the Gen Z.
+
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===
 +
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.
  
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Young Chinese audiences' preference for Danmu is attributed to a number of factors, including: 1) co-viewing, which reduces loneliness through the illusion of synchronicity; 2) a sense of belonging, which may be related to peer pressure; and 3) self-expression, which may foster a sense of personal efficacy. Additionally, viewers can convey a sense of existence, typically through comments that include news, warnings, or spoilers. Another reason for Danmu's appeal is that it helps people connect with one another and communicate more easily while also defining their sense of group identity.
+
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.
−
Danmu has achieved extraordinary popularity in China's internet video culture, yet without the necessary linguistic and cultural conditions, its success would not be feasible.
 
  
−
Chinese is an efficient and succinct language, which is perfect for the brief Danmu text that appears on screens. To be more precise, Chinese is distinguished by a high information density since characters pack information more densely than alphabetic expressions do. Chinese readers also have a broad perceptual span and noticeable parafoveal preview effects, which differs from their counterparts reading alphabetic scripts and allows them to read characters more quickly.
+
Leppihalme, R. (2000). The two faces of standardization:On the translation of regionalism in literary dialogue. The Translator, 6(2), 247-269.
  
−
The spread of Danmu among young internet users is also accelerated by Chinese culture, which is a typical collectivistic culture. Chinese people exhibit a high degree of polychronicity, which indicates that they have a propensity for multitasking, obsession with people, and social experiences. The polychronic time orientation of the Chinese culture is a necessary prerequisite for Danmu's embracement since Danmu's synchronization of text and video necessitates multitasking and improves interpersonal connection and social rapport. Chinese culture also stands out for its overt use of peer pressure and social pressure. Chinese individuals emphasize face more than their colleagues from individualistic backgrounds, and they are more affected by their peers from the same social networks. This tendency is made worse by the one-child policy, which makes children more open to peer pressure because they don't have siblings. Danmu establishes accepted norms among Gen Z video viewers, driven by social and peer pressure.
+
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.
  
−
Of course, Chinese internet users' creation of an unique multilingual literacy practice that uses a variety of writing scripts and semiotic resources also contributes to Danmu's appeal.
+
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.
  
−
===Terms===
+
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.
−
Bullet screen / Danmu 弹幕
 
  
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Bilibili 哔哩哔哩，B站，中国年轻世代高度聚集的文化社区和视频平台
+
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.
  
−
TikTok 抖音，字节跳动公司旗下短视频社交平台
+
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 ].
  
−
Niconico NIWANGO公司2006年所提供的线上影片分享网站，常被简称为Niconico、N站或Nico等
+
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.
  
−
Generation Z/Gen Z/iGen  Z一代（20世纪九十年代或21世纪出生的人类）
+
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.
  
−
information density 信息密集度
+
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.
  
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polychronicity 多元性时间观
+
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.
  
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collectivism 集体主义
+
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.
  
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parafoveal preview effects 副中央凹预视效应
+
===Terms and expressions===
 +
relevance theory  关联理论
  
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peer pressure 同伴压力
+
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===
 
===Questions===
−
1.Who is the creator of text-over-screen technology? (C)
+
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
  
−
A.Bilibili
+
5. Chongqing dialect
  
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B.Tik Tok
+
==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>
  
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C.Niconico
+
<center>马艳焕</center>
  
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D.ACG fan communities
+
===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.  
  
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2.What are the social functions of Danmu? (A,B,C)
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===Key words===Differences； adaptation； folktale； The Legend of the White Snake
  
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A.It accommodates audiences’ need for information and entertainment.
+
===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.  
  
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B.It enables social interaction and communication between producers and consumers, so as to facilitate community development.
+
===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.
  
−
C.It facilitates self-expression and constructs a sense of existence.
+
===II.The Differences and Reasons of the Adapted Version. ===
  
−
D.It boost the turnover of Chinese online video sites.
+
'''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.  
  
−
3.What are the prerequisites for the popularity of Danmu? (A, C, D)
+
'''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.
  
−
A.Chinese language is distinguished by a high information density.
+
'''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.  
  
−
B.Danmu in Chinese online video sites has a long history.
+
'''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.  
  
−
C.Chinese readers exhibit strong parafoveal preview effects.
+
'''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.  
  
−
D.China’s collectivistic culture is more conspicuously featured by social and peer pressure.
+
'''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===
 
===References===
−
[1]Ashby, Jane, Jinmian Yang, Khris H. C. Evans and Keith Rayner. 2012. Eye movements and the perceptual span in silent and oral reading. Attention, Perception & Psychophysics 74: 634-640.
+
*[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)
  
−
[2]Bai, Xue-Jun, Xiao-Yu Hu and Guo-Li Yan. 2009. Parafoveal-on-foveal Effects in Chinese Reading: The Influence of Semantic Transparencies of word n on word n-1 Processing. Acta Psychologica Sinica 41(05): 377-386.
+
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)
  
−
[3]Bai, Xue-Jun, Juan Liu, Chuan-Li Zang, Man-Man Zhang, Xiao-Feng, Guo and Guo-Li Yan. 2011. The Advance of Parafoveal Preview Effects in Chinese Reading. Advances in Psychological Science 19.12: 1721-1729.
+
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)
  
−
[4]Bilibili. 2019. B zhan 2019 niandu danmu chulu! Baolu nianling de shihou daole [B site’s 2019 annual danmu is ready! It’s time to see how old you are]. Bilibili. 04 December 2019.
 
  
−
[5]Bilibili. 2021. Guanyu women [About us]. Bilibili. https://www.bilibili.com/blackboard/aboutUs. html.
+
(ii) ceremonial culture
  
−
[6]Cao, Xuenan. 2019. Bullet Screens (Danmu): Texting, Online Streaming, and the Spectacle of Social Inequality on Chinese Social Networks. Theory, Culture & Society 0(0): 1-21.
+
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)
  
−
[7]China Internet Watch. 2019. Gen-Z video platform Bilibili MAU exceeded 101 million in Q1 2019. China Internet Watch. 27 May 2019.
+
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)
  
−
[8]Chen, Yue Qin Gao and Pei-Luen Patrick Rau. 2015. Understanding Gratifications of Watching Danmaku Videos–Videoswith Overlaid Comments. Cross‐Cultural Design Methods, Practice and Impact: 153-163.
+
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)
  
−
[9]Chen, Yue Qin Gao and Pei-Luen Patrick Rau. 2017. Watching a movie alone yet together: understanding reasons for watching Danmaku videos. International Journal of Human Computer Interaction 33.9: 731-743.
+
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)
  
−
[10]Chen, Zhen Troy. 2018. Poetic prosumption of animation, comic, game and novel in a postsocialist China: A case of a popular video- sharing social media Bilibili as heterotopia. Journal of Consumer Culture 0(0): 1-21.
 
  
−
[11]Cheng, Yang, Jingwei Liang and Louis Leung. 2014. Social network service use on mobile devices: An examination of gratifications, civic attitudes and civic engagement in China. New Media & Society 17 (7): 1096-1116.
+
(iii) institutional culture
  
−
[12]Drieghe, Denis, Gemma Fitzsimmons and Simon P. Liversedge. 2017. Parafoveal preview effects in reading unspaced text. Journal of experimental psychology. Human perception and performance 43 (10):1701-1716.
+
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)
  
−
[13]Du, Hongfei, Xiaoming Li, Danhua Lin and Cheuk Chi Tam. 2015. Collectivistic Orientation, Acculturative Stress, Cultural Self-Efficacy, and Depression: A Longitudinal Study Among Chinese Internal Migrants. Community Mental Health Journal 51: 239-248.
+
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)
  
−
[14]Fan, Jun and Qing Zhang. 2018. The impact of interactivity on virtual gifts giving intent– Based on live-streaming platforms. Advances in Social Science, Education and Humanities Research 237: 759-766.
 
  
−
[15]Fang, Tony. 1999. Chinese Business Negotiating Style. Thousand Oaks: Sage Publications.
+
(ⅳ) the concept of family-and-nation
  
−
[16]Han, Eunyoung and Sang-Woo Lee. 2014. Motivations for the complementary use of text-based media during linear TV viewing: An exploratory study. Computers in Human Behavior 32: 235-243.
+
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)
  
−
[17]He, Keyao. 2015. Chinese words surge in English dictionaries. The Telegraph. 18 May 2015.
+
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)
  
−
[18]Holmes. Ryan. 2019. Is TikTok a time bomb? Fast Company. 28 August 2018.
+
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)
  
−
[19]Jakobson, Roman. 1987. Language in Literature. Cambridge, MA: The Belknap Press of Harvard University Press.
+
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)
  
−
[20]Li, Jing. 2019. Bilibili jijiang yinglai shi zhounian [Bilibili is to celebrate its 10th birthday]. Guangming Daily. 20 June 2020.
+
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)
  
−
[21]Li, Jinying. 2017. The Interface Affect of a Contact Zone: Danmaku on Video-Streaming Platforms. Asiascape: Digital Asia 4: 233-256.
+
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)
  
−
[22]Li, Qing Kinnison. 2017. Power, integrity, and mask-An attempt to disentangle the Chinese face concept. Journal of Pragmatics 114: 32-48.
+
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)
  
−
[23]Parklu. 2019. Why Brands Should Not Overlook Bilibili to Target China's Gen-Z. Luxury Society. 10 July 2019.
+
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)
  
−
[24]Perez, Bien. 2020. Sony invests US$400 million in Chinese streaming video platform Bilibili. South China Morning Post. 09 April 2020.
+
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)
  
−
[25]Qin, Amy. 2014. Theaters in China Screen Movies, and Viewers’ Text Messages. New York Times. 25 August 2014.
+
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)
  
−
[26]Shao, Guosong. 2009. Understanding the appeal of user-generated media: a uses and gratification perspective. Internet Research 19(1): 7-25.
+
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)
  
−
[27]Walker, Catherine. 2020. ‘Generation Z’ and ‘second generation’: an agenda for learning from cross-cultural negotiations of the climate crisis in the lives of second generation immigrants. Children’s Geographies. DOI: 10.1080/14733285.2020.1817334.
+
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)
  
−
[28]Wang, Meng. 2014. Discussion on Japan’s Animation Culture and Its Influence. 2014 International Conference on Economic Management and Social Science. Atlantis Press.
+
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)
  
−
[29]Xu, T. Q. 2001. Fundamental structural principles of Chinese semantic syntax in terms of Chinese Characters. Applied Linguistics 1: 3-13.
+
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)
  
−
[30]Ye, Josh. 2018. Bilibili, China’s biggest anime site, covers the screen in user comments. South China Morning Post. 18 September.
+
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
  
−
[31]Zhang, Leticia Tian and Daniel Cassany. 2020. Making sense of danmu: Coherence in massive anonymous chats on Bilibili.com. Discourse Studies: 1-20.
+
epic population migration：史诗般的人口迁徙
  
−
[32]Zhang, Wuji. 2016. Buke zudang de danmu wenhua [The invincible danmu culture]. Financial Times. 02 March 2016.
+
Confucian culture：儒家文化
  
−
[33]Zhang, Yi. 2017. Heteroglossic Chinese Online Literacy Practices On Micro‐Blogging and Video‐ Sharing Sites. PhD thesis. University of South Florida.
+
ceremonial culture：仪式文化
  
−
[34]Zu, Wei. 2018. B zhan gongbu 2018 niandu danmu, ‘zhenshi’ zui shou huanying [B site published its 2018 annual danmu, ‘real’ is the most popular one. People.cn. 29 December 2018.
+
institutional culture：制度文化
  
−
[35]Zwick, Detlev and Alan Bradshaw. 2016. Biopolitical marketing and social media brand communities. Theory, Culture & Society 33(5): 91-115.
+
farming culture：农耕文化
  
−
==英语口译 胡雯雯 Hu Wenwen 202170081617==
+
patriarchal clan system：宗法制度
  
 +
clan gathering：家族聚居
  
−
<center>'''Chinese Baijiu Culture'''</center>
+
displaced people：流民
  
−
<center>Hu Wenwen</center>
+
the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想
  
−
===Abstract===
+
affectionate elders and dutiful juniors：父慈子孝
−
Chinese Baijiu can be compared with wine in France, but it is made of rice. We have a long history of Chinese Baijiu, which develops with our own culture. And more importantly, we have cultivated a kind of special culture about Baijiu at the table.
+
 
 +
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
  
−
===Key words===
+
paying a New Year call：拜年
−
Baijiu；Baijiu Culture
 
−
===Introduction===
 
−
Baijiu is one of the main beverages in Chinese people's life. China has a long history of baijiu making, with a wide variety of famous bajiu spreading with a good reputation at home and abroad. Yellow rice wine is one of the earliest baijiu in the world. About 3000 years ago, in the Shang and Zhou dynasties, the Chinese people created the liquor koji double fermentation method and began to brew a large amount of rice wine. Chinese Baijiu has permeated the entire 5000 year history of Chinese civilization. It plays an important role of literary and artistic creation, cultural entertainment, food and cooking, health care and other aspects in Chinese people's life.
 
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Chinese Baijiu culture is an important part of Chinese food culture. Wine is one of the most ancient foods of mankind. Its history almost began with the history of human culture. Since the emergence of baijiu, as a material culture, baijiu has a variety of forms. Its development process is synchronized with the history of economic development. Baijiu is not only a kind of food, but also has spiritual and cultural value. As a kind of spiritual culture, it is embodied in many aspects, such as social and political life, literature and art, and even people's attitude towards life, aesthetic taste and so on. In this sense, drinking is not just drinking but also drinking culture.
 
−
As to drinking etiquette, Chinese people pay attention to people with whom they drink . It depends on who they drink with and what they want, to be more specific,  the atmosphere of drinking; drinking etiquette reflects the respect for drinkers. Who is the host ? Who is the guest?  What about the fixed seats and toast sequence for them respectively. When toasting, you should start from the host. If the host doesn't finish, others are not qualified to propose a toast. If you mess up the order, you will be punished. The toast must start from the most distinguished guest. Your container must be full when toasting, which also shows respect for the person you drink with. The younger generation should take the initiative to toast the elders, which is the same for the juniors and superiors, and we also regard‘ bottom-up’ as a sign of respect.
 
−
When we talk about purpose of drinking，Chinese baijiu is often used as a tool. People drink for pursuing something they hope for other than alcohol itself. Green plum baijiu is used to prove who is a hero; Beimoting is used to eliminate all the worries within you; The Seven Sages singing wildly in the bamboo forest and drink to seek refuge in spirit. In the eyes of Chinese people, baijiu is more used as a tool for communication. Therefore, there is a lack of scientific and systematic theoretical analysis and evaluation of baijiu itself in Chinese baijiu culture, and more attention is paid to the wonderful effect brought by drinking baijiu.
 
−
===Connotation of Chinese Baijiu culture===
 
−
China is one of the earliest Baijiu making countries in the world, and also one of the birthplaces of the three major Baijiu families in the world. Drinking in China has got rid of the simple edible value, but condensed human material production and spiritual creation, and already became important part of food culture. With its long history and profound implication, Chinese Baijiu culture takes the lead among world Baijiu culture. Chinese Baijiu culture is rich and self-contained with great spiritual and cultural value. Chinese Baijiu culture is not only a social culture, but also a political culture, and even an artistic culture. Baijiu culture exerts important influence and profound significance on social life, and occupies its unique position in traditional Chinese culture.
 
−
Baijiu is one of the oldest foods of mankind, and its history almost began with the history of human culture. Since the emergence of Baijiu, as a material culture, Baijiu has a variety of forms, and its development process is synchronized with the history of economic development. Baijiu is not only a kind of food, but also boasts spiritual and cultural value. As a kind of spiritual culture, it is embodied in social and political life, literature and art, as well as people's attitude towards life, aesthetic taste and many other aspects. In this sense, drinking is not just drinking, it is also part of culture.
 
−
Baijiu, in the long history of human culture, is not only an objective material existence, but also a cultural symbol, that is, the symbol of 'Dionysus spirit'.
 
−
In China, the 'Dionysian spirit' takes Taoist philosophy as its source. Zhuang Zi would rather be a free turtle swaying its head and tail in the rotten mud than a swaggering horse bound by others. Pursuing absolute freedom, forgetting the benefits of life or death, honor or disgrace is the essence of Chinese 'Dionysian spirit'.
 
−
There are striking similarities in world cultural phenomena. The Western 'Dionysian spirit' is symbolized by Dionysus, the God of grape planting and wine making. In the tragedy of ancient Greece, the Western 'Dionysian spirit' even rose to a theoretical height. The philosophy of German philosopher Nietzsche sublimated this Dionysian spirit. Nietzsche believed that the 'Dionysian spirit' symbolized the release of emotions and the survival experience of abandoning traditional constraints and returning to the original state.             
 
−
In the kingdom of literature and art, 'Dionysus spirit' goes everywhere, which has a great and far-reaching impact on literary artists and their masterpiece. Because freedom, art and beauty are three in one. Art comes from freedom and beauty comes from art. Getting drunk and getting artistic freedom is an important way for ancient Chinese artists to get rid of shackles and obtain artistic creativity.
 
  
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===The origin and development of Chinese Baijiu culture===
+
putting up spring scrolls：贴春联
−
Chinese Baijiu culture originated from the brewing of Baijiu, and there are many folk sayings about the origin of Baijiu, such as Yidi brewing. It is said that Yidi invented brewing in the Xia Yu period, which is recorded in the Warring States policy; Dukang Baijiu making is widely popular among the people; Baijiu making began in the period of the Yellow Emperor. Ancient books record that the Yellow Emperor and Qi Bo discussed Baijiu making, and Shennong materia medica contains the nature and taste of Baijiu. However, no matter what kind of statement is true, it can be said that the history of Baijiu making in China can be dated back to at least 4000 years ago, and many archaeological discoveries today have also proved this.
 
−
However, the modern view is that Baijiu is the product of natural fermentation of grains, fruit Baijiu and milk Baijiu are the first generation of beverage Baijiu, and people in the Paleolithic age lived by collecting and hunting. Fruit contains more sugar, which is easy to be naturally fermented to produce fruit Baijiu; Animal milk contains protein and lactose, and it is also easy to ferment into Baijiu. In the Shang Dynasty, there appeared the brewing technology of saccharification and re-alcoholization of grains; In the pre Qin period, the direct brewing method of active microorganisms or their enzymes appeared; In the Han Dynasty, koji making technology was developed and Baijiu production was introduced from the western regions; Tang and Song Dynasties began to brew fruit Baijiu and medicinal Baijiu; In the Yuan Dynasty, the technology of brewing liquor by distillation appeared; During the Ming and Qing Dynasties, with the further development of liquor making industry, distilled Baijiu with high alcohol content was rapidly popularized. After thousands of years of accumulation, a Baijiu culture with Chinese characteristics has been formed. Chinese Baijiu culture is broad and profound. Baijiu culture is the crystallization of Chinese traditional culture and material culture.
 
  
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===Chinese Baijiu culture and etiquette===
+
the system of urban-rural regional segregation：城乡区域隔离制度
−
Baijiu etiquette is the etiquette of Baijiu behavior, which is used to reflect the dignity, dignity, status of Baijiu behavior and even the etiquette norms of various occasions. Sometimes this etiquette is very cumbersome. But if it is not observed on some important occasions, there could be  suspicion of making trouble. And because of excessive drinking, they can't control themselves and are prone to chaos. It is very important to formulate drinking etiquette. The etiquette of drinking in ancient times had four steps: worship, sacrifice, spit and bottom-up. That is, first make the act of worship to show respect, and then pour a little Baijiu on the ground to sacrifice the virtue of the earth; Then taste the Baijiu and praise it to make the host happy; Finally, bottom up. At the banquet, the host should propose a toast to the guest, and the guest should return the toast to the host, and say a few words of toast when toasting. Guests can also toast each other. Sometimes I have to toast people in turn. When toasting, both of them should stand up. Ordinary toasts take three cups as appropriate.
 
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Among the 56 ethnic groups in the big family of the Chinese nation, all other ethnic groups drink alcohol except the Hui nationality who believe in Islam. Drinking customs are very different among all ethnic groups which have their own unique styles. For example, the custom of Zhuang nationality to toast guests is to drink cross glasses of Baijiu; The Wa Nationality in Yunnan province has the custom of treating guests with Baijiu; The interesting "welcoming Baijiu" of Buyi people all reflects the colorful Baijiu culture characteristics of different ethnic minorities in China.
 
−
There are still some other basic rituals about drinking that demand further understanding:
 
−
1. How to pour Baijiu?
 
−
If you are drink Baijiu, fill the Baijiu glass and drink it all at once when you raise your glass. If you are drinking red wine, you should first pour the wine into the soberer to sober up, and then pour it for everyone. Pour red wine to the height of one third of the glass. You can't finish drinking red wine at one time. Just take a sip.
 
−
2. When do you propose a toast?
 
−
The first person to toast must be the host or the guest of honor. Generally, it is the guest of honor, the leader and the person with the highest seniority first, and then it is OK to toast next to each other in turn. After the host or the guest has finished toasting everyone, it's time for others to toast.
 
−
3.Toasting etiquette
 
−
If you are toasting leaders, elders or unfamiliar people, your glass must be lower than that of leaders, elders or unfamiliar people, and you should hold the glass with both hands instead of holding the glass with one hand. If leaders, elders or unfamiliar people come to toast you, you should do the same. If others stand up, you should also stand up.
 
−
How much to drink when toasting depends on how much others drink. If leaders and elders drink with you, you must drink more than leaders and elders. In addition, never say to the leaders or elders: I will finish all of it, you are free. You will make the leaders and elders feel embarrassed.
 
−
4. What you can say during the toast?
 
−
As the host or the guest, We can say thank you for taking time out of your busy schedule, and for taking care of the places that are not well taken care of, etc. If you are going to toast the host or the guest, you can say thank you for your hospitality, trouble and so on.
 
−
When others toast each other, they can say something auspicious, such as wishing each other good health and getting better, or they can say a toast to friendship.
 
−
5. Appropriate Toast
 
−
Don't toast endlessly. If others make it clear that he or she cannot drink too much, then don't let others drink more. In addition, if people or girls who can't drink want to drink tea instead of Baijiu, don't say: if you don't drink, you are humiliating me. People who can't drink or drink too much should be understood, so that others will have a good impression of you.
 
  
−
===Chinese Baijiu culture and Literature===
+
the household registration system：户籍制度
−
There are countless stories about Baijiu in Chinese history. We are familiar with the "green plum Baijiu on heroes", "warm Baijiu to kill Huaxiong", when Cao Cao lost power in the battle of Chibi, he wrote a short song that has been passed down for thousands of years, "Toast song by Baijiu, how is life! like morning dew, It's long gone. Be generous, don't worry . How to relieve your worries? The answer is Du Kang/Baijiu."
 
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Compared with these, the history of Chinese literature can be said to exude a strong aroma of Baijiu page by page. If you want to write an article about Baijiu and Chinese culture, it is definitely a masterpiece. If you want to choose a poet whose works are most closely and perfectly combined with Baijiu, there is no doubt that the one is Li Bai, the "fairy of poetry". He left many masterpieces through the ages.
 
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Ancient China is the hometown of Baijiu and the country of poetry. Poetry has an indissoluble bond with Baijiu since it came into being. In Chinese classical literary works, Baijiu has become the theme that scholars often chant. For thousands of years, poetry and Baijiu have formed an indissoluble bond. Ancient emperors sacrificed mountains and rivers, ancestors and held court ceremonies, all offering wine and reciting odes; From the court to the folk, Baijiu and poetry are not only the needs of people's material life, but also the needs of people's spiritual life. Baijiu is the enzyme for the development of literature and art with a long history in China. More than 40 of the 305 poems in the Book of Songs, the earliest collection of poetry in China, are related to Baijiu. About 1000 poems have been handed down from the poet Li Bai, and 170 of them were created after drunk. Du Fu, the poet saint, has 1400 existing poems, about 300 poems is related to wine. Turning to the history of Chinese literature, the description of Baijiu can be found everywhere in the poems.
 
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Throughout the days, in the process of the formation of Chinese poetry and Baijiu culture, many stories have emerged that have been passed down to this day. Many literati and coquettes have something to do with Baijiu. In the Tang Dynasty, poetry was flourishing, and many poets became addicted to alcohol. Coincidentally, Sudongpo, a poet in the Northern Song Dynasty, drank alcohol during the Mid Autumn Festival in Mizhou, Shandong Province. When he was slightly drunk, he was very poetic and wrote the heroic and sad eternal masterpiece "Prelude To Water Melody". Baijiu can make people get rid of spiritual troubles and write poems with true feelings. Chinese poetry and Baijiu culture has gradually developed into an independent cultural system. Throughout the history of the development of poetry and Baijiu culture, poetry and Baijiu complement each other, forming a gorgeous civilized landscape.
 
  
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===Chinese Baijiu culture and table culture===
+
the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”
−
The Baijiu table culture is as old as Chinese Baijiu culture. According to the documentary records, at least in the Zhou Dynasty, the catering etiquette has formed a fairly perfect system. This traditional banquet etiquette is intact in most parts of China, such as Shandong, Hong Kong and Taiwan, and is reflected in many film and television works. Nowadays, with the development of society, the Baijiu table culture has changed from the way of hospitality at the beginning to the "Baijiu Bureau" with various special meanings.
 
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In ancient China, catering assumed a very important social function, so it was inherited for a long time. Banquets in the Tang Dynasty generally began in the morning and lasted until dusk, accounting for no less than seven or eight hours. During the Qing Dynasty, many public paid banquets even lasted three to five days, which were both social and political activities. The early drinking atmosphere in China originated from various banquets that lasted for a long time. After eating a meal for such a long time, the topic is bound to dry up and dry drinking is also boring, so he invented all kinds of alcohol persuasion skills.
 
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Strictly speaking, drinking comes from toasting, which is an old custom left over from patriarchal society. There are social hierarchies in toasting, i.e. courtiers toast monarchs, sons toast fathers, brothers toast brothers, subordinates toast superiors, and younger generations toast elders. However, the interaction among them has great coercion. The earliest toasts were mostly from top to bottom toasts. Especially in the transition from home to country, this kind of ethics has gradually become a political force. There have been countless cases of forced alcohol persuasion in the political context in Chinese history, some of which are interesting, but there are also many cases that are extremely cruel and creepy.
 
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The Chinese Baijiu table culture that modern people talk about is more the Baijiu culture in the food culture. In fact, in ancient times, for a long time, Chinese Baijiu table culture had nothing to do with food culture. Early Chinese Baijiu table culture is a part of political culture, which is closely combined with rituals such as sacrifice and celebration, and belongs to the upper culture of the royal family and those in power. The scarcity and mystery of Baijiu embellish various ceremonies, and interpret the legitimacy of political rule with solemn and ambitious scenes. Under the centralized monarchy, power is highly centralized, and the party who gets power is extremely afraid of losing power, so he compiles various rituals and holds various activities in order to maintain the orthodoxy and sanctity of his status.
 
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Generally speaking, table culture has the following characteristics:
 
−
First, persuade people to drink. There are always people at the table who are particularly keen on persuading others to drink. Seeing each other's embarrassment of being forced to drink is the best enjoyment for some people at the table. In order to achieve this goal, alcohol persuaders can be said to have done their best. Some alcohol persuaders like to package inducements as threats, "you can't be a friend if you don't drink", which means that drinking is the permit for friendship; Some alcohol persuaders like to package threats as inducements. "As long as this cup is dry, this contract is yours." the implication is that you will be out if you don't drink.
 
−
Second, be proud of drink too much. There are often "east wind blows, drums beat, who is afraid of drinking today", "if you can drink Baijiu, you can call me your friends" and other jingles at the table. After drinking one cup after another, it's time to run on you if you drink less, "you can't do it. It's interesting to see who can drink more.". The implication is that it is not enough for you not to drink more. People will not consider your body and your health. He made you drink to finish the task (he may not be very happy). Whether you feel sick or not is not within his consideration.
 
−
Third, snobbery. Toast the leaders at the table. You are supposed to look for chances to toast the leaders, and so on. Drink with the leaders as an opportunity to win their favor. Are you really thinking about the leaders?If you are a leader, I'm afraid it's time to wait for someone to toast you and get a sense of superiority from the flattering blessings of your subordinates. All these are the embodiment of the concept of hierarchy, which has not disappeared with the progress of the times, but is greatly strengthened by the Baijiu table culture.
 
−
Fourth, top-down test. Baijiu table culture is different from Baijiu culture. Baijiu culture not only has its own material characteristics, but also has the spiritual connotation formed by Baijiu tasting. It is formed in the process of Baijiu making and drinking activities. In the final analysis, Baijiu table culture is just a top-down temptation and conquest. It judges the degree of obedience to it by drinking. It knows that drinking will be uncomfortable, and the next day people will have a headache, but it just needs this kind of pain to measure the degree of "obedience".
 
−
Fifth, waste resources. Many people drink for "honor" . They often serve a table full of dishes regardless of the actual situation. I'm afraid they can't move a few chopsticks in the end. The restaurant doesn't care. Anyway, there's still a lot of swill left after paying the money. But this is actually a great waste of social resources. I'm afraid it's better to put these resources into more meaningful uses.
 
−
Sixth, the motivation is complex. Some liquor stores are set up for illegal transactions. There are a lot of things with different motives mixed in the liquor stores. The power, money and sex transactions on the table are endless, and the last chopsticks may not move. Maybe someone will say that drinking can really make things happen? If the other party loves drinking, how do you drink? It can also save you money.    If you think people are easy to relax after drinking too much, and want to take the opportunity to win, a lot of facts tell you, it's useless! The other party is not stupid. He knows your intention very well, so he will be prepared. If you really succeed when he is drunk, he will regret when he wakes up, so he will bear a grudge against you, and your future relationship will be difficult. It's better to talk when you're awake and let the other party make a rational choice.
 
−
===Cultural differences between Chinese Baijiu and Western Wine===
 
−
Baijiu type
 
−
Baijiu is the most representative liquor in China. From a certain point of view, Chinese liquor culture is Chinese Baijiu culture. In the west, it is mainly about wine.
 
  
−
Baijiu cup
+
the concept of family-and-nation：家国观念
−
Ancient Chinese Baijiu vessels are famous for porcelain, bronze and lacquer. Chinese Baijiu vessels are famous for their beautiful images and numerous decorations. Westerners pay attention to different types of wines, and their drinking utensils are also different.
 
  
−
Drinking etiquette
+
Spring and Autumn Period：《春秋繁露》
−
Chinese drinking etiquette reflects the respect for drinkers. The host and the guests have fixed seats, and a fixed toast order. When toasting, you should start from the host. If the host doesn't finish, others are not allowed to toast. If you mess up the order, you will be punished. The etiquette of Westerners drinking Baijiu reflects their respect for wine.
 
  
−
Purpose of drinking
+
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
−
In China, Baijiu is often used as a tool. In the eyes of Chinese people, Baijiu is more a tool of communication, so there is a lack of scientific and systematic theoretical analysis and evaluation of Baijiu itself in Chinese Baijiu culture, and more attention is paid to the wonderful effect after drinking. In the west, the purpose of drinking is often very simple, drinking in order to enjoy wine.
 
  
−
===Chinese Baijiu culture and medicinal Baijiu===
+
Earthbound China：《乡土中国》
−
The combination of alcohol and medicine is an important innovation in the history of Chinese medicine. Medicinal Baijiu, which is used to prevent and treat diseases, has played an important role in the history of medicine in China, has become one of the traditional dosage forms with a long history. So far, it has enjoyed a high reputation in the medical and health care industry at home and abroad. As a wonderful flower in the treasure house of Chinese medicine, the emergence of medicinal Baijiu first benefits from the discovery of Baijiu by human beings, and its development depends on the continuous progress and improvement of brewing technology. Modern medicine has proved that proper drinking can dredge collaterals and expel coldness, relax tendons and activate blood circulation, eliminate accumulation, strengthen the spleen, calm nerves and also has certain curative and health care effects.
 
−
===Practical significance of Chinese Baijiu culture===
 
−
Throughout the ages, Baijiu culture has played a positive role in politics, economy and social life. However, while giving full play to its powerful effects, Baijiu has also brought many hazards, including social problems such as trouble making after drinking, traffic accidents caused by drunk driving, and medical problems such as alcohol dependence, alcoholic liver, pancreatitis, fetal alcohol syndrome, among which alcohol dependence is the most serious one. Therefore, our attitude towards Baijiu culture should be objective. The reason why Baijiu culture can be inherited for so long in China and even the world also proves that it has become an indispensable thing in people's life; But when we face Baijiu, we should also keep a clear head. It can become a good assistant in our life, but if you can't control it appropriately, its role may also backfire.
 
−
Everything should be measured in moderation, which is the attitude we should have in accepting and inheriting the Baijiu culture. Baijiu, in the long history of human culture, is not only an objective material existence, but also a cultural symbol. Zhuang Zhou advocated the unity of things and people, the unity of heaven and man, and the unity of life and death. The term "Baijiu culture" was put forward by Professor Yu Guangyuan, a famous economist in China. Baijiu culture is a unique cultural form with Baijiu as its characteristic carrier and Baijiu behavior as its center. Chinese Baijiu culture is constantly developing. The progress of material civilization, the change of mentality and concept, and the change of social system have become the internal motivation of its change and operation; The impact of modern culture and the entry of foreign culture have become the external environment for its change and operation. Under the joint action of internal and external stress, the material connotation, spiritual concept, carrier structure and functional value of Chinese Baijiu are constantly adjusted and changed.
 
−
Some common understandings are also shared by most Chinese people, which can be concluded as follows:
 
  
−
Nothing happens without Baijiu
+
the Double Ninth Festival：重阳节
−
In the country with fragrant Baijiu, Baijiu enjoys both refined and popular tastes. Since ancient times, there has been a saying that "nothing is impossible without Baijiu, no ceremony is successful without Baijiu, no banquet can be held without Baijiu, and no respect can be shown without Baijiu". Whether in China's traditional folk customs or modern festivals that keep pace with the times, people will raise their glasses to celebrate, sing and dance. The old and young get together to drink and praise each other, which is called age division; Everyone stayed up all night, waiting for dawn, known as "ShouSui". The etiquette of celebrating and keeping the new year with Baijiu has been popular since the Han Dynasty, and it continues to be the same today. Marriage Baijiu custom is also one of the popular, warm and happy drinking customs in society. In order to make the wedding grand and warm and express people's joy, people usually celebrate with Baijiu and cheer with Baijiu. The whole wedding process is full of Baijiu.
 
−
In China's traditional folk customs, Baijiu can be seen everywhere. In addition to drinking for fun, during festivals and weddings, other drinking occasions are more diverse : There is a birthday toast on your birthday; Family reunion has reunion Baijiu; We should also drink funeral Baijiu when handling funeral affairs; Hospitality is naturally inseparable from welcoming Baijiu; When seeing off guests, there will be farewell Baijiu; Traditional farming terms are known to most people, which include spring Baijiu, threshing Baijiu, harvest Baijiu, etc. When people are happy or sad, they can't help drinking to meet friends, send Baijiu to congratulate, and use Baijiu to express their feelings. Chinese people's life is full of Baijiu, and Chinese hospitality is shown incisively and vividly at the banquet. Big things and small things, everything is inseparable from Baijiu.
 
  
−
Inspire with Baijiu
+
statutory long holidays：法定节日长假
−
"Since ancient times, literati have loved Baijiu, and poetry is always accompanied by Baijiu, which has been passed down for thousands of years" - the literary wonder of "blending poetry and Baijiu" in Chinese literature has long existed. The main reason for this phenomenon is that Chinese scholars believe that Baijiu is the source of creative inspiration.
 
−
The unique charm of Baijiu is to make people excited, enthusiastic, intoxicated, and even addicted. From its own chemical composition, the main reason why Baijiu is Baijiu is that it contains alcohol. After drinking, alcohol constantly stimulates the central nervous system of the brain, making people emotionally excited. Drinking too much and getting drunk means that the central nervous system is invaded and as a result in a state of drunkenness, which is an unprecedented sense of release and abnormal emotional excitement. Generally speaking, it is the loss of human rational thinking, and all behaviors are almost an emotional catharsis. As Freud described, this is a state in which the "self" supervision is temporarily relaxed and the "soul" is released.
 
−
China is a agricultural nation, which pays attention to patriarchal rites, emphasizes group consciousness and ethical norms, and requires using reason to control personal emotions. But these excessive suppression of human nature can only be temporary and external, while those irrational factors will be deeply hidden in the heart and cannot be eliminated. Although on weekdays, traditional writers are very quiet, gentle and polite. Once something touches the emotional part of the soul, emotions will pour out, faster and more violent than those of people of less repressed nations. In addition, most poets are sentimental in nature. They are always sensitive about the joys and sorrows of life than ordinary people , and their understanding of life is easy to grasp with intuition. Therefore, their experience of life and their pursuit of freedom are usually higher than those of ordinary people. Under the stimulation of alcohol, the poet's rational thinking bound by ethics and patriarchy in his daily life retreated temporarily, and those emotions and ideals that were excessively suppressed in his heart were released. Creative inspiration, intuitive grasp of poetry emotion, rich imagination and other emotional thinking have reached unprecedented height. In a drunken state, the poet temporarily gets rid of the reins of reason, and allows poetry to gallop in mind. Literary thoughts are like a spring, and wonderful poems are born luxuriously. " It can be seen that good Baijiu has contributed to the inspiration of Chinese literati.
 
  
−
Make friends with Baijiu
+
elderly drifters：老年漂族
−
"A thousand cups of Baijiu is not too much when we meet a bosom friend" - the Chinese tradition of meeting friends with Baijiu continues. After a drink, some people will become sworn friends, while others will become strangers.
 
−
In the process of social communication, people have various communication tools. If the Internet solves the space-time barrier of people's communication, the uniqueness of Baijiu is that it can solve the spiritual barrier of people's communication. The ancients said that drinking can exchange feelings with each other and enhance friendship. Making friends is about treating each other sincerely and  treating each other with honest.
 
−
At the dinner table, Baijiu is a communication tool to break embarrassment, create topics, express respect, form belonging and create harmony. When people get together to drink, if they are as serious as a meeting, it means that there is still a sense of distance between them. They are performing according to the rules of officialdom, unlike when they work, they are using reason to restrain themselves and dare not open the real world inside. Baijiu should be a tool to eliminate interpersonal distance. Drinking gives people an "acceptable" reason to relax the constraints, reveal their true thoughts, and create an atmosphere in which everyone is "their own friends". Therefore, at the Baijiu table, if you refuse to drink for special reasons (such as: you can't drink when you are sick), or you are hesitant in drinking, the social function of Baijiu can't be achieved.
 
−
A person can be judged by Baijiu. Although this kind of saying is too absolute, some truth are also hidden behind. A person with a bold and unrestrained personality will drink a lot, and the Baijiu in the cup has already been finished when talking and laughing. Without persuasion, he will enjoy himself; A person with a delicate personality, he or she will drink slowly, savor carefully. So drinking is not only a kind of culture, but also a kind of communication skill. The Baijiu table is a small stage for one's life, reflecting one's character. It is a smart move to test one's personality by the Baijiu.
 
−
===Conclusion===
 
−
In modern society, we need not only the stimulation of new things, but also the accumulation of history and culture. The mellow history and culture of Baijiu boasts a long history and endless significance. It is the emotional sustenance that modern people can't give up. From health care, inspiration, and social communication, the role of Baijiu is irreplaceable, which makes it a unique practical tool in our society.
 
  
−
===Terms===
+
thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
−
Baijiu culture酒文化
+
===References===
−
etiquette礼仪
+
*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.
−
propose a toast敬酒
+
*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.
−
Book of Songs《诗经》
+
*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.
−
medicinal Baijiu药酒
+
*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===
 
===Questions===
−
1. How to pour Baijiu?(A)
+
1.How long does the Spring Festival travel rush usually last?  
−
A.If you are drink Baijiu, fill the Baijiu glass and drink it all at once when you raise your glass.
+
A.30 days
−
B.If you are drink Baijiu, fill the Baijiu glass and drink it half at once when you raise your glass.
+
B.40 days
−
C.If you are drink Baijiu, never fill the Baijiu glass and drink it all at once when you raise your glass.  
+
C.50 days
−
2. When do you propose a toast?(B)
+
D.60 days
−
A.Whenever we want
+
 
−
B.The first person to toast must be the host or the guest of honor, after the host or the guest has finished toasting everyone, it's time for others to toast.
+
2.Which one of the following group is not the main reason that results to the rush?  
−
C.The first person to toast could not be the host or the guest of honor, before the host or the guest has finished toasting everyone, it's time for others to toast.
+
A.Migrant workers
−
3. What you can say during the toast?
+
B.Students
−
A.say something auspicious, such as wishing each other good health and getting better, or they can say a toast to friendship.
+
C.Those planning to visit relatives
−
B.We can say thank you for taking time out of your busy schedule.
+
D.Tourists
−
C.It depends on your identity.
+
 
−
===References===
+
3.Which one of the following cultures is the main factor that encourages family reunion?  
−
[1]鲁达.发扬中国酒文化的优秀传统[J].中国酒,2022(01):3.
+
A.Confucian culture
−
[2]杨运,杨蔚.从目的论看中国酒文化中“白酒”的英译[J].现代英语,2021(11):74-76.
+
B.Taoist culture
−
[3]赵毅飞. 中国酒文化的发展与传播及中外酒文化对比[D].厦门大学,2019.
+
C.Buddhist culture
−
[4]刘文婷.中国川酒文化“走出去”的翻译探究[J].西南科技大学学报(哲学社会科学版),2021,38(04):52-57.
+
D.Christian culture
−
[5]赵建军.生命活性：中国酒文化的逻辑本质[J].东方论坛,2021(04):115-129+2.
+
===Answers===
−
[6]王宇.论多角度下的中国传统酒文化传承与发展[J].汉字文化,2021(14):162-163.
+
1.40days
−
[7]薛富兴.酒文化：内涵、特征及反思[J].贵州大学学报(社会科学版),2021,39(04):24-30+121.
+
 
−
[8]杨运,杨蔚.从目的论看中国酒文化中“白酒”的英译[J].现代英语,2021(11):74-76.
+
2.Tourists
 +
 
 +
3.Confucian culture

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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

Chinese Guqin
Liu Zhen

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.

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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

Spreading Chinese culture in teaching Chinese as a second language
Long Hanliang

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

On Chinese Dialects and Translation from Functional Equivalence Theory-- Southwest Dialect Translation
罗姚林 Luo Yaolin

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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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.

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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

The Differences and significance of adaptation of Folktales -- A Case study of The Legend of the White Snake
马艳焕

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

Cultural Factors Behind the Spring Festival Travel Rush in China
聂薇

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

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