Difference between revisions of "20220630 Culture 14"

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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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==英语口译 彭慧璇 Peng Huixuan 202170081623==
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==英语口译 向望 Xiang Wang 202170081628==
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<center>'''Fandom Culture in China'''</center>
  
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<center>'''Foot Binding in China'''</center>
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<center>Xiang Wang</center>
  
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<center>Peng Huixuan</center>
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===1.Introduction===
  
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===Introduction===
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A fandom is a subculture composed of fans characterized by a feeling  of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity.  Fandom culture, or the so-called "fanquan" culture, refers to online youth  communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.
  
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Foot binding, a custom of breaking and tightly binding the feet of young girls in order to change their shape and size, persisted in China for a millennium. Feet altered by foot binding were known as lotus feet, and the shoes made for these feet were known as lotus shoes. The different sizes of feet are different levels of "lotus", feet longer than four inches are called “iron lotus”, those about four inches are called “silver lotus”, and those shorter than three inches are “gold lotus”. In late imperial China, bound feet were considered a status symbol and a mark of feminine beauty.  
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===2.Fandom===
  
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There are various views on when foot binding began, including the Xia dynasty, Shang Dynasty, Spring and Autumn period, Sui dynasty, Five Dynasties and Ten Kingdoms period, and Song Dynasty. According to the scholar Gao Hongxing’s book “The History of Footbinding”, foot binding began in the late Northern Song Dynasty and entered its heyday in the Ming and Qing Dynasties. (Gao 1995, 1) Later, the popularity of foot-binding spread to women of all social ranks. After the overthrow of the Qing Dynasty, Sun Yat-sen officially banned foot-binding. During the May Fourth Movement, foot-binding became the target of the revolutionary movement, with many denouncing the destruction and oppression of women by foot-binding. After the founding of New China, foot binding was completely abolished, and Chinese women were completely liberated from that.
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'''History'''
  
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In this article, the author provides further details on the history and specific process of foot binding. At the same time, the reasons for foot binding will be further discussed in detail, including cultural and social factors. In addition, the paper will describe the impact of foot binding on Chinese women, China, and on the world in general. Finally, the views on foot-binding will be mentioned, as well as traditions similar to foot-binding in other countries, such as the Victorian corset and their impacts.
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Although early fandom was strongly perceived as a fandom culture involving a few fanatic people, it has recently brought about a shift in perception that can be accessed in a variety of ways only by the name of a star or related search terms on portal sites, which is largely due to the development of the Internet and media.
  
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===Origin and History of Foot Binding===
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Among the numerous fandoms in cyberspace, especially the nation’s “idol” fandom has steadily expanded its influence in various ways to date. In the past, idol fandom culture was called “girl culture” or “teenage culture” and was considered primarily an immature culture for teenage girls, while the third-generation idol fandom has recently expanded to men and over 40s, exerting an influence on cultural consumption aspects for all generations.
  
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====Sui Dynasty====
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'''Fan relationship'''
  
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The saying that foot-binding began in the Sui Dynasty originates from folklore. It is said that when Emperor Yang of Sui traveled east to Jiangdu to select beautiful women as his concubine, a woman named Wu Yueniang (the Moon Lady) was chosen. However, she hated Emperor Yang of Sui’s tyranny, so she asked her father, who was a blacksmith, to make a three-inches knife with a lotus petal, and wrapped the knife under her foot with a long cloth, and also wrapped her foot as small as possible. Then she carved a lotus flower on the sole of the shoe. In this regard, when she was walking, there will be beautiful lotus flowers printed on the floor. Emperor Yang of Sui was very happy to see her and asked her to come close to him, eager to play with her small feet. Wu slowly untied her foot wrapping and suddenly drew out her knife and stabbed Emperor Yang of Sui. He dodged in a hurry, but his arm was stabbed. Seeing that the assassination attempt failed, Wu plunged a suicide. To commemorate Wu Yueniang, many women started to wrap or bind their feet.
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Parasocial relationship is a one-sided relationship as a result of constant exposure to a media persona that a celebrity demonstrates. This then causes fans to develop an illusion of an intimate relationship or friendship. Idols are typically trained to have and form close connections with their fans which leads to this close-knit connection becoming a parasocial relationship. Idols do this through parasocial interaction. Parasocial interaction between fans and idol(s) is a start at explaining fandom culture. The idol(s) become a “parasocial-kin”, an object of consumption and parasocial interaction; such as a family member or a friend. This “parasocial kinship” is defined by how an individual would treat an extended family member, allowing for further understanding of the positive and negative aspects of the idol/fan parasocial relationship.  
  
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====The Five Dynasties and Ten Kingdoms Period====
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Celebrities are icons that are driven by their presence in majorly media-driven societies. As time, society, and culture progress, the idols must change and form along with it. The best way that this is represented is through social media.
  
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The general view is that the practice is likely to have originated in the time of the 10th-century Emperor Li Yu of the Southern Tang, just before the Song dynasty. Li Yu created a 1.8-meter-tall (6 ft) golden lotus decorated with precious stones and pearls, and asked his concubine, Yao Niang, to bind her feet in white silk into the shape of the crescent moon and perform a dance on the points of her feet on the lotus. (Ko 2002, 42) Yao Niang's dance was said to be so graceful that others sought to imitate her. (Taylor 2008, 203) In addition to altering the shape of the foot, the practice also produced a particular sort of gait that relied on the thigh and buttock muscles for support. From the start, foot-binding was imbued with erotic overtones. Gradually, other court ladies—with money, time, and a void to fill—took up foot-binding, making it a status symbol among the elite. And then, the practice became popular.
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'''Fansumer'''
  
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====Song Dynasty====
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“Fansumer” is a compound word of “fan” and “consumer.” This means consumers who participate in production, in other words, productive consumers. Then, the fan base, which was classified as a fandom, turned into a very active fan who focused on the interaction of planning, investing and checking while participating in the overall production and production process for products or entertainers, not just one-sided love and purchase for one-sidedly.
  
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According to Gao Hongxing’s “History of Footbinding”, numerous historical sources prove that foot-binding originated in the late Northern Song Dynasty, and became trendy in the Southern Song Dynasty. (Gao 1995, 16)
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Fansumer’s sphere of activity is very wide. As mentioned above, they invest in startup idea products, engage in corporate product development, engage in marketing activities as supporters, and support or criticize celebrities or influencers, not to mention fostering celebrities before their debut. The driving force behind these Fansumer’s activities is the pride that ‘it was made by me.’ It’s called Byme Syndrome, noting the efficacy of being created by me.
  
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There are many literary verses from the historical period of that time that confirm this point. For example, In the 13th century, scholar Che Ruoshui wrote the first known criticism of the practice: “Little girls not yet four or five years old, who have done nothing wrong, nevertheless are made to suffer unlimited pain to bind their feet small. I do not know what use this is.” Besides, in the earliest extant discourse on the practice of foot-binding, scholar Zhang Bangji wrote that a bound foot should be arch-shaped and small (Ko 2008, 111). He observed that “women’s foot-binding began in recent times; it was not mentioned in any books from previous eras.” (Ian 2011, 424)
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'''Fan behavior'''
  
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The imperial family and the upper class of the Song Dynasty were among the first to start foot-binding. The promotion of Song rulers played a great role in the creation and development of foot binding. In the Song Dynasty, it was common for princesses to have their feet wrapped. At that time, someone claimed to be Princess Roufu, the 10th daughter of Emperor Huizong of Song, but was suspected of impersonation because of her large feet. In a poem by Su Shi, a famous literary scholar of the Song Dynasty, he regarded women's small feet as “palace-like”, and another poet, Cao Yuanchong, also called small feet “official-like” in a lyric, which shows that foot-binding started from the upper class of the Song Dynasty, such as the bureaucratic aristocracy. (Gao 1995, 18) Foot binding was also very popular with the literati of the Song Dynasty, and even Su Shi and Xin Qiji, two famous poets, wrote poems admiring foot binding.
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'''Positive'''
  
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Women in the early Northern Song Dynasty had not yet begun to wrap their feet. The phenomenon of foot-binding began to appear in the middle of the Northern Song Dynasty. According to historical records, the custom of foot-binding was already in place during the Xining period (1068-1077) and Yuanfeng period (1078-1085), but there were still few who did it, so it can also be inferred that the custom of foot-binding did not last long at that time, and the custom of foot-binding roughly emerged in the eleventh century of the Song Dynasty.
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Members of idol fandoms may better themselves in the pursuit of their obsession, such as by studying to enter the same university as their idols, learning foreign languages to follow their idol’s career abroad, or learning image-processing techniques to edit photos of the idol. Fans’ role in creating their own fan content allows for idol groups to gain mainstream exposure in the west, and have tours abroad.  
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In the Xuanhe period (1119-1125) of Emperor Huizong of the Song Dynasty (late Northern Song Dynasty), the custom of foot-binding witnessed rapid development. The Fengchuang Xiaodu, which records the manners, customs, political affairs and arts of the late Northern and early Southern Song Dynasty, records that after the Xuanhe period, there were “embroidered bow shoes” everywhere at boudoirs in Bianjing, a city in east-central Henan province, and there were shoes specially designed for foot-binding at that time. Archaeological discoveries have also led to the frequent discovery of foot-binding shoes for women in the Southern Song Dynasty. For example, six pairs of women’s shoes, 13.3-14 cm long and 4.5-5 cm wide, were unearthed from a Southern Song tomb in Fuzhou, Fujian province. By the end of the Southern Song Dynasty, small feet had become a characteristic of women.
 
  
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====Yuan Dynasty====
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'''Negative'''
  
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In the Yuan Dynasty, foot-binding is not popular among the Mongolian noble class, but also they did not oppose it, instead, they held an attitude of appreciation. Thus, the style of foot-binding in the Yuan Dynasty continued to develop. At the end of the Yuan Dynasty, the concept of “not wrapping the feet was a disgrace” emerged. Then, in order to meet the aesthetic and social trends of the time, Yuan Dynasty women bound their feet smaller and smaller.
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Stalker fans are considered to have become overly obsessed with a public figure and engaged in behavior that constitutes an invasion of privacy. Stalker fans may disguise themselves as a stage hand or manager to approach the star or pretend to be reporters in order to gain entry to a press conference. Many fans use the Internet and social media to find and track the location of their idols. Some of the fans came to the group’s hostel, stole the members’ underwear, took pictures of them sleeping, and later sent the pictures to the members by text message. Many normal fans have an unpleasant feeling about such fans’ actions.
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Paparazzi also exist in China and Zhuo Wei is one of the most famous ones. They report on the private lives of celebrities in the Chinese entertainment industry and have violated privacy by exposing secrets and illicitly taken photos.
  
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====Ming Dynasty====
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===3. Fandom culture===
  
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In the Ming Dynasty, foot-binding entered a period of prevalence. During the Ming Dynasty, men were not allowed to study and women were not allowed to bind their feet in the common people of eastern Zhejiang. Foot-binding became a symbol of social status, which shows that the society at that time respected and admired foot-binding. During the Ming Dynasty, foot binding developed rapidly throughout the country, this development can be seen in the following example: At that time, Datong, Shanxi province and Xuande Residence the northwestern part of Hebei Province became the country's famous foot binding areas, which attracted numerous small-feet freaks, and Zhengde Emperor, the 11th Emperor of the Ming dynasty, often go there to choose concubines. Because foot-binding was popular at this time, Hu Shi, a Chinese literary scholar, listed it as one of the three major diseases of the Ming Dynasty, along with the eight-legged essay and opium.
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'''Overview'''
  
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====Qing Dynasty====
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Fandom culture is not new. Long before the internet, fan clubs were organizing gatherings,  publishing magazines, and writing fan fiction. But in the early 2000s, the rise of social networks fundamentally changed the face of fandom, turning it from a pleasant communal activity into something competitive, chaotic, and even abusive.
  
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Foot-binding reached its peak in the Qing Dynasty. At that time, women from all walks of life, rich or poor, had their feet wrapped. By the 19th century, it was estimated that 40–50% of Chinese women had bound feet, and, among upper-class Han Chinese women, the figure was almost 100%. Bound feet became a mark of beauty and were also a prerequisite for finding a husband. They also became an avenue for poorer women to marry up in some areas, such as Sichuan.  
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In China, the main driving force behind this evolution of fandom is Sina Weibo, the largest social media platform in the country. In addition to helping enthusiasts find their communities, Weibo also brought celebrities and their supporters closer together by breaking down the wall between them.
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At its core, the way Weibo operates in the world of fandom is no different than its global counterparts like Twitter and Instagram. But if in the West the relationship between stars and their fans can be called one-sided — fans just follow, consume content, or copy the lavish lifestyles on display — in China the relationship is more co-dependent.
  
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In the Qing Dynasty, the ruler initially strongly opposed foot-binding and repeatedly ordered to prohibit it, but at this time the culture of foot-binding is difficult to stop. By the seventh year of the Kangxi period (1668), the ban had to be removed. In the frenzy of the worship of foot-binding, some insightful people in the Qing Dynasty soberly recognized the harm of foot-binding, and they forcefully opposed the harmful effects of foot-binding from different angles. They were the pioneers of the anti-footbinding movement in the late Qing Dynasty.
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The fan circle members are believed to be mostly Generation Zers born after 1995, and their number has grown significantly in recent years. In 2020, about 8 percent of China’s 183 million underage netizens engaged in reputation-boosting activities for their idols, according to a recent report from the China Internet Network Information Center.
  
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Opposition to foot-binding had been raised by some Chinese writers in the 18th century. In the mid-19th century, many of the rebel leaders of the Taiping Rebellion were of Hakka background whose women did not bind their feet, and foot-binding was outlawed. (Shi 1968, 27) However, the rebellion failed, and Christian missionaries, who had provided education for girls and actively discouraged what they considered a barbaric practice, then played a part in changing elite opinion on foot-binding through education, pamphleteering, and lobbying of the Qing court, placing emphasis on the fact that no other culture in the world practiced the custom of foot-binding. (Gerry 1996, 999)
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'''The status quo of fandom culture in China'''
  
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The earliest-known Western anti-footbinding society was formed in Amoy (Xiamen) in 1874. Around 60-70 Christian women in Xiamen attended a meeting presided over by a missionary John MacGowan formed the Natural Foot Society (Tianzu Hui, literally Heavenly Foot Society). [11.12] (Dorothy 2007, 14) (Brent 2008, 203) Reform-minded Chinese intellectuals began to consider foot-binding to be an aspect of their culture that needed to be eliminated. In 1883, Kang Youwei, a prominent political thinker and reformer in China, founded the Anti-Footbinding Society near Canton to combat the practice, and anti-footbinding societies sprang up across the country, with membership for the movement claimed to reach 300,000. (Gail 2019, 67) Reformers such as Liang Qichao, influenced by Social Darwinism, also argued that it weakened the nation. In 1906, Zhao Zhiqian wrote in Beijing Women's News to blame women with bound feet for being a national weakness in the eyes of other nations. (Gail 2019, 67) In 1902, Empress Dowager Cixi issued an anti-footbinding edict, but it was soon rescinded.  
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For many young people in China, particularly those born after the 1990s, fandom culture—which can be traced back to the idol worship of the 1980s and 1990s—has offered a rare avenue for identity formation and community building in society. As networked and often highly organized communities of fans rallying around their beloved idols, “fandoms” have enabled close parasocial interactions in which fans feel a kind of intimacy with the object of their shared interest, as well as a sense of active participation that can be empowering and identity-forming.
  
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====After 1912====
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Examples of fandom culture include the hit show “Idol Producer,” which launched in January 2018 on the online video platform iQiyi and empowered fans to select and promote their favored contestants from among 100 aspiring performers. The ultimate goal of the program was to select nine performers to form a brand-new male idol group. As fans organized to promote their favored idols through social media platforms, their interactions were fueled by Gen Z-focused services like live-streaming and live commerce.
  
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In 1912, the new Republic of China government banned foot-binding, though the ban was not actively implemented, and leading intellectuals of the May Fourth Movement saw foot-binding as a major symbol of China's backwardness. Many provinces engaged in their own sustained campaign against foot-binding or enforced the ban against foot-binding. The campaign against foot-binding was successful in some regions; in one province, a 1929 survey showed that, whereas only 2.3% of girls born before 1910 had unbound feet, 95% of those born after were not bound. (Stewart 2014, 423) In most parts of China, however, the foot-binding practice had virtually disappeared by 1949. (Stewart 2014, 423) The practice was also stigmatized in Communist China, and the last vestiges of foot-binding were stamped out, with the last new case of foot-binding reported in 1957. By the 21st century, only a few elderly women in China still had bound feet. In 1999, the last shoe factory making lotus shoes, the Zhiqiang Shoe Factory in Harbin, closed. (Dorothy 2008,9)
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Fandoms have become big business in China. A report published by iResearch Consulting Group put the market value of the fan economy in China at close to $620 billion in 2019 and estimated that the fan economy would grow a further 50 percent by 2023.
  
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===Practice of Foot Binding===
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It would be easy to dismiss fandoms as shallow and celebrity-obsessed, but the highly organized online communities forming around China’s fandoms have already demonstrated their potential for both social activism and political organization. Perhaps the most prominent example of online fandom communities’ potential for political expression came in 2016, when the so-called “Diba expedition” saw thousands of highly organized cyber-nationalists, mostly “fan girls,” mob the Facebook account of Taiwan’s newly elected leader, Tsai Ing-wen.
  
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==== Binding Method and Process====
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Fandoms and their capacity for collective action were also one of the largely untold stories of China’s fight against the COVID-19 epidemic in its early stage. In January 2020, as it became clear that an epidemic had emerged in Wuhan and surrounding areas, the government response was far too slow in many key areas, including the provision of protective equipment. By contrast, the networks already formed within fandom culture—the same that allowed mobilization in support of chosen idols—enabled the rapid marshalling of resources. On Jan. 21, 2020, one day after China confirmed human transmission of COVID-19, the fan network of Zhu Yilong, a young actor originally from the city of Wuhan, mobilized funds to purchase more than 200,000 protective masks. These and other supplies were delivered to Wuhan within 24 hours, offering much-needed support for medical personnel and others on the front lines. The aid offered by the Zhu Yilong network is just one of many examples of how online groups provided a crucial means of support amid a rapidly unfolding crisis.
  
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[[File:PHX-1.png]]      [[File:PHX-3.jpg]]
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===4. Fandom culture in the wave of social media===
  
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The process was started before the arch of the foot had a chance to develop fully, usually between the ages of four and nine. Binding usually started during the winter months since the feet were more likely to be numb, and therefore the pain would not be as extreme.
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Fandom culture has been around for centuries. However, it is the emergence of social media in recent decades that has led to the remarkable transformation and development of fandom culture. Most obviously, fans play a more active role. They are not like completely passive receivers in the past but participate in the production process of cultural products on their own initiative. All these phenomena show that fandom culture profoundly impacts the economy, culture, society, and other fields.
  
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Items to be prepared before foot binding:
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'''The impacts of digital networks'''
  
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1. Six blue cotton bandages. It should be about eight to ten feet or more.
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Many processes, such as forming fan groups and creating fandom culture, require communication and interaction. However, due to the limited means of communication, in the pre-Internet era, communication between fans was always hindered in various ways, either by long distances or inconvenient schedules. Henry Jenkins argues that the emergence of digital networks has made it possible for fans who might not otherwise have met to have meaningful conversations and has created a new context that fans can share. It is reasonable to declare that those barriers mentioned above have been broken in a digital network environment where the degree of fan interaction is much higher than in the pre-Internet era, as is the degree of fandom culture development.
  
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2. Five pairs of flat-soled shoes. Shoes are shaped pointed, and have to be flexible, so that they can be sewed smaller.
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'''The interaction between social media and fan engagement'''
  
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3. Two or three pairs of sleeping shoes. Wear when one is sleeping, which can prevent the bandages from loosening.
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In the first 10 years of the new century, the world Internet gradually developed from Web1.0 to Web2.0. Compared with Web 1.0, Web 2.0 emphasizes more on interactivity. This feature has laid the foundation for the emergence of social media platforms and thus promoted the new development of fandom culture. Guo Shuojia points out that the rise of social media has greatly broadened the scale of fan groups and promoted communication within fan groups. Because the fans can communicate and discuss on social media in real-time, which all result in the prosperity of the immediacy and participation of the current fan culture (Guo Shuojia, 2018,147-162).
  
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4. Needle and thread, which will be used to sew up the bandages.
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In the second decade of the 21st century, fandom culture has seen a new boom around the world, which is related to the continuous upgrading of social media. All the efforts that social media make to increase users’ stickiness and activity objectively help fandom culture grow. Take Weibo for example, China’s largest entertainment social media platform. When a user chooses to follow a celebrity, the user is immediately notified of the celebrity’s tag, channel, and fan group. Further, through big data technology, the user will be frequently recommended content related to or similar to the celebrity, including entertainment news, commercial advertisements, and other content, when browsing information.
  
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5. Cotton. Wearing shoes with cotton so as to cushion protruding parts of foot bones.
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'''Celebrities’ active participation in social media'''
  
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6. Feet-washing basin and hot water. Wash the feet with warm water before wrapping.
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Moreover, the growth of fandom culture is not the result of the rise of social media alone. Celebrities also choose to use social media to enhance the sense of intimacy and provide greater possibilities for interaction (Guo Shuojia, 2018). In other words, it’s not just fans who are discovering the power of social media. Celebrities and the business communities behind them are also noticing the value that social media can bring. Since she joined Twitter in 2008, Lady Gaga has insisted on interacting with her fans as a publicity hot spot. Lucy Bennett has summarized this kind of phenomenon as “the emergence and widespread use of social media by celebrities are trying to reconfigure the contact level and participation depth between both fans and celebrities” (Lucy Bennett, 2014, 109-120). Since its establishment in 2009, Weibo has also attracted a large number of celebrities to come here to share their daily life and communicate with their fans, which attracts more fans and improves their business value. With the expansion of fans, fandom culture and fan economy have entered the mainstream of society.
  
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7. A small pair of scissors, which will be used to cut the toenails and corns.
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'''Brief summary'''
  
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[[File:PHX-4.png]]
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The growth of fandom culture results from a multi-faceted effort by social media, fans, and celebrities. The emergence and development of social media have narrowed the distance between celebrities and fans, creating a new environment for real-time comments and feedback from fans. At the same time, the development of fandom culture has promoted the development of the fan economy. In the context of the double prosperity of fan culture and fan economy, fans have become an indispensable group in the social scene, and their influence soared.  
  
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First, each foot would be soaked in a warm mixture of herbs and animal blood; this was intended to soften the foot and aid the binding. Then, the toenails were cut back as far as possible to prevent in-growth and subsequent infections, since the toes were to be pressed tightly into the sole of the foot. Cotton bandages were prepared by soaking them in the blood and herb mixture. To enable the size of the feet to be reduced, the toes on each foot were curled under, then pressed with great force downwards and squeezed into the sole of the foot. (Gerry 1996, 999)
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===5.The role change of fans===
  
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=====Shi Jin=====
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'''From receiver to producer'''
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This process is to continue tightening the bandage. When wrapping, people will first wrap the second and fifth toes, wrapped to curl them under the foot, and the third and fourth toes will follow to curl under the foot. This process will also last a few days to about two months. During this time, the bandages will become stiff and the wrinkles of the bandage are punched out by a small hammer so that the foot can get used to the stiffness and tightness of those bandages, and then the bandages can be tightened to a new level.
 
  
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=====Guo Jian=====
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Firstly, the exchange of traditional media to emerging social media promotes the development of the participatory culture of fandom, which makes their role change from the receiver to the producer. According to Henry Jenkins, participatory culture is a notion to describe how media fandom operates, and it is known as spectator culture (Henry Jenkins, 1992). And we consider participatory culture important to fandom culture because fandom was participatory in so far as fans formed alternative interpretations that were often expressed through unauthorized cultural productions. Before the 2010s, the mainstream media was still traditional media, making the fans only receive information from official sites, and there is not enough space or suitable platform for fandom to expand. However, John Fiske pointed out that fans are the producers and consumers of popular culture capital, and fandom culture has two cores, chatting and derivative creation (John Fiske, 1992, 30-49). Under the control of traditional media, although fans at that time do not have enough space to communicate with each other, there are still platforms like Tieba (in 2009, the Tieba of Li Yuchun already had over a billion) for them to exchange commands and show their derivative creative productions. Therefore, after 10 years, we media emerged, newly developed platforms like Weibo, Bilibili, and the developed technology promote the progress of the social media revolution, producing more alternative spaces for fandom and participatory culture to grow. According to Cai Qi, fans are always the first user and promoter of new media techniques, and the most direct driver of a true communication revolution is, as always, technology (Cai Qi, 2009, 86-90). In the generation of we media, fans have taken the best advantage of social media platforms to promote their fandom. A place like Chaohua (community of Weibo) is now a community for fans to exchange the dynamics of the idol, communicate feelings, and produce artworks. Along with the revolution of social media these years, the role of fans is not only receiver and consumer of information, but also producer and participants of derivative creations.
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In this process, the bandages are wrapped as tightly as possible, until the little toe is pressed under the feet and the second toe is pressed under the big toe joint. During the Guo Jian, it is often necessary to twist the toe to the bottom of the foot until it can no longer be bent, and then tighten the bandages. During this process, several sprained joints will suffer a lot of damage, which is very painful. After wrapping, the bandages are sewn up tightly with a needle and thread, and then the foot is squeezed hard into a small and pointed shoe, and the girl is asked to walk around in the small shoe. When walking, the weight of the person will be pressed on the eight toes bent inward, spraining the joints even more.
 
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The next morning, the young girl woke up and had to unwind the bandages again and wrap her feet even tighter. Finally, the third, fourth and fifth toe joints had to be severely sprained or even dislocated. When the feet and toes are dislocated, the foot will be very swollen, and the skin turns purple, and it is extremely painful. However, the bandages are tighter and tighter day by day, until the swelling subsides, the all the toes are wrapped to the bottom of the feet, which is considered to have completed the work of Guo Jian, and then one can proceed to Guo Shou.
 
  
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=====Guo Shou=====
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'''From passive to active'''
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After the Guo Jian, the four toes have been rolled under the palm of the foot, but may not be neatly attached to the bottom of the foot. Until the tips of the third, fourth and fifth toes can touch the inner edge of the palm of the foot, the work of Guo Shou is complete.
 
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During this process, the little toe bone should be pushed downward, and the four toes should be pushed along to the inner edge of the palm of the foot. After a few days, when the bandages are unwrapped, there are often many places on the foot where the ulcerated part and the bandages are tightly stuck, which is like a bloody mess. This process will take almost six months, and the young girl will have to endure the pain until the toes are rolled to the inside edge of the foot, and the toes can be touched by the inside edge of the foot, so that the process is complete.
 
  
−
=====Guo Wan=====
+
The revolution of social media also changes the mindset of fans from passive to active. As mentioned above, the essence of fandom culture is participatory culture. Fans need to have communication in the fandom. The change of mindset can be considered a willingness to communicate with other people and enlarge their fandom. According to Cai Qi and Huang Yaoying, based on the technology development, from traditional media to emerging we media, information spreading is also changed from node to surface to multiple nodes exchange (Cai Qi, Huang Yaoyin, 2011, 28-33). In the age of traditional media, the role of fans on the internet is more like the audience. They receive information from media and form concepts but lack the platform for expression and comments. People can only communicate their ideas with their surroundings which is very limited under the condition of traditional media, and it is also hard for them to form a circle to share a common hobby. While under the condition of we media, people can send out their fragment information through the Internet to everyone and receive the information they are interested in immediately. Fans in this generation can make use of these conditions and form their fandom quickly. Like in Douban, you can choose to join different groups and find a few people with common interests, which stimulates the willingness of expression quite a lot. Therefore, it can be concluded that the social media revolution encourages expression and different voices, which makes fans braver to share their ideas, and the mindset change from passive to active.
−
Guo Wan is to wrap the foot until the palm is folded into two sections, so that the front section of the foot is tightly pressed against the heel, the second half of the foot. Besides, the foot should be wrapped until the sole of the foot palm has a deep gap, which sometimes reaches four or five centimeters.
 
−
Generally speaking, the pain is slightly less during the Guo Wan. However, if the foot is not wrapped hard during the process of Guo Shou, the Guo Wan start in the teenage years, and the length of the foot is required to be particularly short after this process, then it will be very painful at this time. After the Guo Wan, the length of the foot will be significantly shortened.
 
  
−
====Regional Differences====
+
===6.The impact of fandom culture===
−
The method, age, requirements, and order of foot binding vary from place to place, thus creating different shapes of the feet.
 
  
−
=====Northern China=====
+
Thanks to social media, fans have gained so much power compared to the past. As an integral part of society, being such a powerful group allows them to have a strong influence that cannot be neglected on our society. The influence is multi-dimensional and impressive.
  
−
Generally speaking, northerners are taller and their feet are longer than those of southerners, so their feet will still be longer than southerners' after foot-binding. However, because of the cold weather in the north, feet that are wrapped for a long time are not easy to ulcerate and do not require frequent washing, so it is easier to wrap harder and tighter. Because the bandages are more tightly wrapped, so the northern feet are more pointed, thinner, and softer.
+
'''Economic influence: fan economy'''
  
−
=====Southern China=====
+
Among the most followed celebrities on Weibo, Xie Na, who ranked first, has 129 million followers. The figure shows how enormous the fan base is in China, which is also targeted by companies as their potential market. In his 1992 book Textual Poachers, Jenkins described fandom as a base for consumer activism among five core dimensions (Henry Jenkins, 1992). Indeed, many product producers seek the endorsement of famous actors or singers to boost sales. Combining a celebrity’s advertising post on his or her social media and other forms of advertisement is now considered a reliable marketing strategy by big companies. Fans’ purchase power is also demonstrated when their object of admiration makes a new production, whether it is music, a film or other forms of achievement. For example, when a singer or a band releases a new album, fan bases will immediately devote themselves to negotiation with the publisher to get the lowest price possible and design special merchandises like slogans, canvas bags, bottles, etc. These merchandises, with beautiful pictures of the singer or band on them, must be purchased with the album, which serves to attract as many fans as possible to purchase the album. Baidu Jeon Jungkook Bar, a fan base for the K-pop sensation BTS’ member Jungkook, purchased a total of 166,200 Map of the Soul: Persona albums after its release. As Li put it, when fans’ need is met and they are excited about what will come next, they will be willing to spend more money; when the consumption is interactive, it lasts longer (L. Li, 2012, 25-26).
  
−
In Southern China, the weather is hot, due to the wrapping and thick shoes, the feet will feel unbearably hot. Foot-binding in Southern China mainly focuses on the process of Guo Wan. In Taiwan or Shunde and Dongguan, Guangdong province, there are often feet that are wrapped to about two inches, which is far from what the northerners can reach. In order to seek smaller feet, some people even bend the back of the foot into a ball shape, which is generally known as the goose head-shaped feet.
+
The fan economy in China is driven mostly by minors. An average online fan club has millions of young (mostly female) followers ready to support their idols by contributing money or actively buying the idol’s advertised products. Often, they go beyond spending money. For example, fans can raise an idol’s commercial rating and help him or her get even more endorsement deals if they took a screenshot of the purchase, tagged it with both their own username and the brand’s social account, and uploaded it to social media.
  
−
====Variation of Foot Binding====
+
Cooperation with Chinese idols is a proven method for brands to grow their reputation. In 2019, Estee Lauder announced Xiao Zhan, a popular Chinese singer and actor, as its brand ambassador just before Singles’ Day, the world’s largest online shopping festival, held on November 11 every year. As a result, sales exceeded 40 million yuan ($6.2 million) in one hour. U.S. cosmetic brand Origins reported similar results. Its collection, made in collaboration with Wang Yibo, surpassed 30 million yuan ($4.6 million) in one hour. Last year, Chinese actor, singer, and dancer Jackson Yee became a global makeup and skin care ambassador for Armani Beauty and an Emporio Armani global ambassador.
  
−
Manchu women, as well as Mongol and Chinese women in the Eight Banners, did not bind their feet. The most a Manchu woman might do was to wrap the feet tightly to give them a slender appearance. (Mark 2001, 246) The Manchus, wanting to emulate the particular gait that bound feet necessitated, adapted their own form of platform shoes to cause them to walk in a similar swaying manner. These Manchu platform shoes were known as “flower bowl” shoes or “horse-hoof” shoes; they have a platform generally made of wood 5–20 cm (2–6 in) in height and fitted to the middle of the sole, or they have a small central tapered pedestal. Many Han Chinese in the Inner City of Beijing also did not bind their feet, and it was reported in the mid-1800s that around 50–60% of non-banner women had unbound feet. Bound feet nevertheless became a significant differentiating marker between Han women and Manchu or other banner women. (Mark 2001, 246)
+
Some studies show that of the estimated 500 million “idol chasers” (defined as anyone ready to spend money on an idol) in China, 36% are willing to spend 100 to 500 RMB ($15 to $75) per month. What do they get in return? Emotional satisfaction, an academic analysis of the fan economy says, is like having a good conversation with a friend. This feeling is the key element of the so-called “emotional capital” of the star. The more people feel that a celebrity can understand and satisfy their emotional needs, the more emotional capital they get.
  
−
===Reasons of Foot Binding===
+
'''Cultural influence: creation boom and values shift'''
  
−
There are many interpretations of the practice of foot-binding, mainly divided into the following major aspects:
+
Recent years have witnessed a boom of fan productions: fan fiction, fan videos, fan arts, fan edits, etc. Jenkins believed that the reason why more and more people are participating in this creation is that the network provides them with a safe place where they can experiment with new passions or activities (Henry Jenkins, 2018, 11-26). The massive online community offers fans the audience no matter whether their creation is good or bad. Many fans with specialties in a particular area even give instructions to rookies by using social media or making instruction videos. Through social media, each fan could find a way to participate in content creation and feel a sense of belonging and achievement. The advent of social media has also enabled people to voice their opinions in an unimpeded way. Information and knowledge could no longer be cut off from the public; public opinion is free from control and manipulation. Thus, independent of the traditional media, fans have come together to break the mould of society. Their strong voice, in turn, exerts influence on traditional media (Cai Qi, 2009, 86-90). Fans question the values held by most people, for example, the definition of beauty. Wang Ju, a participant in one of the most popular variety shows in China, Produce 101, has dark skin and a strong body contrary to the typical appearance of female idols who are usually slim with light skin color. At the beginning of the show, netizens criticized her harshly, making fun of her skin and exaggerated expressions. However, as the show went on, Wang Ju expressed her respect for the independence of females and demonstrated her candid and ambitious personality, which gained her a lot of fans, many of whom were against her before. Her fans did their utmost to promote her and vote for her, contributing to her rising popularity. People began to recognize this different definition of beauty. Global Times wrote: “The personality Wang displays coincides with the shifting attitudes of China’s younger generations (Zhang Yiqian, 2018).”
  
−
====Aesthetic and Erotic Factors====
+
'''Social Influence: Public Welfare'''
  
−
In the ancient Chinese aesthetic concept, the so-called female beauty is to reflect their “feminine” side, that is, small, soft, quiet, and curvy. Before foot-binding was practiced in China, admiration for small feet already existed.
+
As mentioned before, China has a large fan base, which can play an important role in donation and relief. Fans can deliver what they appeal for online (Cai Qi, 2009, 86-90). Many fan bases continue to make donations to international and domestic organizations such as Whale and Dolphin Conservation, WWF and participate in various projects to help advance the cause of animal, environmental protection, and human welfare. After the coronavirus outbreak in Wuhan at the end of 2019, many fan bases and organizations in China rallied to raise funds for the epicenter of the epidemic. By February 2020, there were more than 300 fan groups in the joint force that has obtained face masks, protective gowns, and other crucial supplies to donate to medical practitioners fighting in Wuhan. Among the deeply concerned fan groups, Lun Deng’s fan club stood out. More than 3000 members of Deng, a famous actor with more than 39 million followers on Weibo, contributed to the donation effort by raising more than 230,000 yuan ($32,752) in 12 hours (Chen Nan, 2020). By doing their utmost to support Wuhan, fans show care and compassion for their compatriots and a sense of social responsibility.
  
−
Speaking of “small”, cherry-like small mouths, small and heart-shaped faces, and willow-like slender waist are the qualities of female beauty, and foot is no exception. Before the Song Dynasty, although the custom of foot binding did not appear and there was no frenzy for small feet, there was a concept of beauty in the form of small feet. In the Han Dynasty, there is a line in “The Peacock Flies Southeast” that reads, “The fine step is the fine step, and the exquisite world is no two” which praises the slenderness of the female foot. (Gao 1995, 86)
+
===7.The “Clear and Bright ” campaign===
  
−
For more than a thousand years, bound feet were associated with exquisite beauty, therefore enhancing women’s attraction. For women, a pair of perfectly bound feet were considered to be a mark of gentility and refinement. For men, the tiny and fragile appearance of the bound feet had a profound erotic appeal. Numerous studies have given proof of the male attraction to women with bound feet. It is obvious that bound feet aroused in the male a feeling of lust and sexual desire.
+
The campaign, called “Clear and Bright,” started in June, with the Cyberspace Administration of China (CAC) saying in a statement that it would put an end to cyberbullying and rumor-spreading. Some of the behaviors being targeted include inducing minors to raise funds, vote rigging, and agitating fans to flaunt their wealth and extravagant lives.
  
−
The theory that foot-binding was inherently erotic or aesthetic comes from the fact that up until recently, much of the historical information we can glean about the practice of foot-binding comes from texts written by men. Images and accounts of foot-binding are captured in the art and writings of mostly male elites over the centuries and portray women with bound feet as beautiful and sexually appealing.
+
The celebrity-ranking ban follows the CAC’s removal of 150,000 pieces of “harmful online content” and punishment of more than 4,000 accounts related to fan clubs, according to a recent Xinhua report.
  
−
Even while not much was written on the subject of foot-binding prior to the latter half of the 19th century, the writings which were done on this topic, particularly by educated men, frequently alluded to the erotic nature and appeal of bound feet in their poetry. (Gail 2019, 45)
+
The campaign was originally launched after an incident in May that came to be known as the “milk waste” scandal. The popular talent show Youth With You 3 encouraged viewers to buy milk and scan the QR code inside the bottle caps to support their favorite stars on the show. Videos of people opening bottles of dairy products and dumping the contents into drains went viral. Some calculated that 270,000 bottles of dairy products were poured directly into the sewage. Intense online backlash caused the show to be suspended by the Beijing Municipal Radio and Television Bureau.
  
−
====Economic Factors====
+
===8.Conclusion===
  
−
Foot-binding persisted for so long because it had a clear economic rationale: It was a way to make sure young girls sat still and helped make goods like yarn, cloth, mats, shoes and fishing nets that families depended upon for income – even if the girls themselves were told it would make them more marriageable.
+
Fandom culture emerges as a subculture; it is a cultural phenomenon formed by the interplay between the network and social media. Its emergence and development are an important transformation of niche culture in the era of new media and big data. In the network society, the development of network technology makes interaction possible, and the media is no longer compulsory. Fandom culture is created by fan groups and its characteristics of the organization and circle-based groups, and full participation exert a significant impact on the mainstream culture, the spread of media information, people's behavior and the progress of society. Fandom culture is a double-edged sword and its future development needs to be properly guided by the government.
  
−
Some research found that foot-binding endured longest in areas where it still made economic sense to produce goods like cloth at home and began to decline only when cheaper factory-made alternatives became available in these regions. Girls began hand spinning yarn as young as 6 or 7 – roughly the same ages as when their feet were bound.
+
===References===
−
 
 
−
Foot binding was an instrumental means to reserve women to handwork, and can be seen as a way by mothers to tie their daughters down, train them in handwork, and keep them close at hand.
 
  
−
Foot-binding was common when women could do light industry, but where women were required to do heavy farm work they often did not bind their feet because it hindered physical work. These scholars argued that the coming of the mechanized industry at the end of the 19th century and the beginning of the 20th century, such as the introduction of industrial textile processes, resulted in a loss of light handwork for women, removing a reason to maintain the practice. Mechanization resulted in women who worked at home facing a crisis. (Laurel 2011, 347) Coupled with changes in politics and people's consciousness, the practice of foot binding disappeared in China forever after two generations. (Hill 2001, 130)
+
Henry Jenkins, Fandom, negotiation, and participatory culture, in: P. Booth (Eds.), A companion to media fandom and fan studies, John Wiley & Sons, Inc., Oxford, 2018, pp. 11-26. DOI: https://doi.org/10.1002/9781119237211
  
−
====Social Factors====
+
Guo Shuojia, Charging Fandom in the Digital Age: The Rise of Social Media, in: C. Wang (Eds.), Exploring the Rise of Fandom in Contemporary Consumer Culture, IGI Global, Hershey, 2018, pp. 147-162. DOI: https://doi.org/10.4018/978-1-5225-3220-0
  
−
Those high and mighty princes and generals were not only afraid of outsiders taking away their power, but also afraid of the people around them seizing power. Therefore, most of the princesses and concubines of the Southern Song Dynasty have wrapped their feet. This is a constant suppression of women, it is the men to let women know that they are born below men and to prevent the idea of seizing power and usurping the throne.
+
Lucy Bennett, Fan/celebrity interactions and social media: Connectivity and engagement in Lady Gaga fandom, in: L. Duits, K. Zwaan, S. Reijnders (Eds.), The Ashgate Research Companion to Fan Cultures, Ashgate Publishing, Ltd., London, 2014, pp. 109-120. DOI: https://doi.org/10.4324/9781315612959
  
−
People have taken the foot binding of women in their families as something to show off. The women in the brothels had their feet wrapped and that was a “job requirement”, while the women in the royal palaces and noble families had their feet wrapped purely to satisfy men’s desire for a sense of control. This is a way to suppress the female mind and a manifestation of men’s pathological desire to control. For upholding this tradition for so long, the motive was for men to be able to dominate women.
+
Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture, Routledge, New York, 1992. DOI: https://doi.org/10.4324/9780203361917
  
−
===Impacts of Foot Binding===
+
John Fiske, The Cultural Economy of Fandom, in: L.A. Lewis (Eds.), The Adoring Audience: Fan Culture and Popular Media, Routledge, London, 1992, pp. 30-49. DOI: https://doi.org/10.4324/9780203181539
  
−
====Harms on Women====
+
Cai Qi, The Internet and the Development of Fan Culture, in: X. Liu, J. Chen, Y. Wang (Eds.), Chinese Journal of Journalism & Communication, Renmin University of China, Beijing, 2009 (7), pp. 86-90.
  
−
The most direct danger to women from foot-binding is the physical damage it causes. The most common problem with bound feet was infection. Despite the amount of care taken in regularly trimming the toenails, they would often in-grow, becoming infected and causing injuries to the toes. Sometimes, for this reason, the girl's toenails would be peeled back and removed altogether. The tightness of the binding meant that the circulation in the feet was faulty, and the circulation to the toes was almost cut off, so any injuries to the toes were unlikely to heal and were likely to gradually worsen and lead to infected toes and rotting flesh. The necrosis of the flesh would also initially give off a foul odor, and, later, the smell may have come from various microorganisms that colonized the folds. (Fraser 2005, 1) Most of the women receiving treatment did not go out often and were disabled. (Gerry 1996, 999)
+
Cai Qi, Huang Yaoyin, New Media Communication and the Development of Audiences' Participatory Culture, in: P. Liu, Q. Wang (Eds.), Shanghai Journalism Review, Shanghai United Media Group, Shanghai, 2011 (8), pp. 28-33. DOI: https://doi.org/10.16057/j.cnki.31-1171/g2.2011.08.009
  
−
At the beginning of the binding, many of the foot bones would remain broken, often for years. However, as the girl grew older, the bones would begin to heal. Even after the foot bones had healed, they were prone to rebreaking repeatedly, especially when the girl was in her teenage years and her feet were still soft. Bones in the girls' feet would often be deliberately broken again in order to further change the size or shape of the feet. This was especially the case with the toes, as small toes were especially desirable. (Cummings 1997, 1677) Older women were more likely to break hips and other bones in falls, since they could not balance securely on their feet, and were less able to rise to their feet from a sitting position. (Cummings 1997, 1678) Other issues that may have arisen from foot binding included paralysis and muscular atrophy. (DeMello 2007, 116)
+
L. Li, Fan culture under consumerism, in: C. Jing (Eds), Youth Journalist, Dazhong Press Group, Jinan, 2012 (14), pp. 25-26. DOI: https://doi.org/10.15997/j.cnki.qnjz.2012.14.009
  
−
Foot binding is often seen by feminists as an oppressive practice against women who were victims of a sexist culture. It is also widely seen as a form of violence against women. Foot binding causes women to suffer torture and pain for no reason. It prevents women from participating in social work and interferes with their social activities.
+
Zhang Yiqian, 2018, Woman not slim and fair shoots to phenomenal stardom with LGBT, feminist fan base, [Online] Retrieved May, 25, 2021, from https://www.globaltimes.cn/page/201806/1105683.shtml
  
−
====Social Impact====
+
Chen Nan, 2020, Pop fans rally to raise funds for Wuhan, [Online] Retrieved May, 20, 2021, from http://www.chinadaily.com.cn/a/202002/05/WS5e3a1ecca310128217274fd2_6.html
−
 
 
−
Foot binding not only seriously affects the normal development of women's feet and makes people form a deformed aesthetic mentality. Foot binding also reinforced the concept of male superiority and inferiority of women, which contributed to the stability of the patriarchal feudal system and increased the confinement and bondage of women.
 
−
 
 
−
In addition, foot-binding has reduced women's motivation to engage in dance and sports. For example, Korea and Japan have continued to develop their dances after the introduction of the art of dance in China. In contrast, the development of dance in China has become more and more stagnant with the development of foot binding.
 
−
 
 
−
===Similar Practice in Other Countries===
 
−
 
 
−
====Brass Coils in Kayan People (Myanmar)====
 
−
 
 
−
[[File:PHX-5.jpg]]                     [[File:PHX-6.jpg]]
 
−
 
 
−
Women of the Kayan tribes identify themselves by their forms of dress. Women of the Kayan Lahwi tribe are well known for wearing neck rings, brass coils that are placed around the neck, appearing to lengthen it. These women who wear the coils have only three chances to take it off in their lifetime: marriage, childbirth, and death.
 
−
Girls first start to wear rings when they are around 5 years old. Over the years, the coil is replaced by a longer one and more turns are added. The weight of the brass pushes the collar bone down and compresses the rib cage. The neck itself is not lengthened; the appearance of a stretched neck is created by the deformation of the clavicle. (Keshishian 1979, 798)
 
−
Many ideas regarding why the coils are worn have been suggested. Anthropologists have hypothesized that the rings protected women from becoming slaves, making them less attractive to other tribes. It has also been theorized that the coils originate from the desire to look more attractive by exaggerating sexual dimorphism, as women have more slender necks than men.
 
−
The coil, once on, is seldom removed, as the coiling and uncoiling is a lengthy procedure. It is usually only removed to be replaced by a new or longer coil. The muscles covered by the coil become weakened. Many women have removed the rings for medical examinations. Most women prefer to wear the rings once their clavicle has been lowered, as the area of the neck and collarbone often becomes bruised and discolored. Additionally, the collar feels like an integral part of the body after ten or more years of continuous wear.
 
−
 
 
−
===Conclusion===
 
−
 
 
−
In general, foot binding is a custom that has been passed down in China for many years. Although it may seem far away from us, such a small custom can give us contemporary people an insight into the history of previous times. Although the history of foot-binding is a thing of the past, today it is even more important to learn a lesson from such important history, such as the need to protect women’s rights and maintain a healthy social climate. History brings us experience and lessons, and we need to learn from it, face up to it, reflect on our lives today and make efforts for a better society, or even a better world.
 
  
 
===Terms and expressions===
 
===Terms and expressions===
  
−
Iron lotus铁莲
+
Fandom/Fan circle 饭圈
  
−
Silver lotus银莲
+
Fansumer 粉丝消费
  
−
Gold lotus金莲
+
Stalker fans 私生饭
  
−
Emperor Yang of Sui 隋炀帝
+
Paparazzi 狗仔
  
−
Wu Yueniang (the Moon Lady) 吴月娘
+
China Internet Network Information Center 中国互联网络信息中心
  
−
The Five Dynasties and Ten Kingdoms period 五代十国
+
Idol Producer 偶像练习生
  
−
Yao Niang 窅娘
+
live-streaming 直播
  
−
Emperor Li Yu of the Southern Tang 南唐后主李煜
+
iResearch Consulting Group 艾瑞咨询集团
  
−
Che Ruoshui 车若水
+
fan economy 粉丝经济
  
−
Zhang Bangji 张邦基
+
Diba expedition 帝吧出征 
  
−
Princess Roufu 柔福帝姬（柔福公主）
+
fan girls 饭圈女孩 
  
−
Emperor Huizong of Song 宋徽宗
+
participatory culture 参与文化
  
−
Cao Yuanchong 曹元宠
+
we media 自媒体
  
−
Xining period (1068-1077) 熙宁年间
+
Produce 101 创造101
  
−
Yuanfeng period (1078-1085) 元丰年间
+
Whale and Dolphin Conservation 鲸豚保育协会
 +
 
 +
WWF 世界自然基金会
  
−
Xuanhe period (1119-1125) 宣和年间
+
emotional capital 情感资本
  
−
Fengchuang Xiaodu 《枫窗小牍》
+
===Questions===
−
 
+
1. What has led to the remarkable transformation and development of fandom culture?
−
Xuande Residence 宣德府
 
−
 
 
−
Zhengde Emperor 明武宗
 
−
 
 
−
Eight-legged essay八股文
 
−
 
 
−
Kangxi period 康熙年间
 
−
 
 
−
The anti-footbinding movement 天足运动
 
−
 
 
−
Natural Foot Society (Tianzu Hui, literally Heavenly Foot Society) 天足会
 
−
 
 
−
Empress Dowager Cixi 慈禧太后
 
  
−
Zhiqiang Shoe Factory 志强鞋厂
+
A.Fans
  
−
Lotus shoes 缠足鞋
+
B.Network
  
−
Shi Jin 试紧
+
C.Social media
  
−
Shi Chan 试缠
+
D.Idol
  
−
Guo Jian 裹尖
+
2. What are the fan circle members mostly believed to be?
  
−
Guo Shou 裹瘦
+
A.Boomers
  
−
Guo Wan 裹弯
+
B.Generation X
  
−
“Flower bowl” shoes 花盆鞋
+
C.Generation Y
  
−
“Horse-hoof” shoes 马蹄鞋
+
D.Generation Z
  
−
Non-banner women 非八旗女子
+
3. What does “Diba expedition” show?
  
−
cherry-like small mouths 樱桃小嘴
+
A.online fandom communities’ potential for political expression
  
−
small and heart-shaped face 瓜子脸
+
B.a large group of fandom members
  
−
willow-like slender waist 杨柳细腰
+
C.a journey to a remote area
  
−
The Peacock Flies Southeast 孔雀东南飞
+
D.an online platform that focuses on an expedition
−
 
 
−
Kayan people巴东族
 
−
 
 
−
Brass Coils 铜圈
 
−
 
 
−
===Questions===
 
−
 
 
−
(1)According to the size of the foot, how many types of foot binding can be classified?
 
−
 
 
−
(2)When was the heyday of foot binding?
 
−
 
 
−
(3)How many major steps are there in foot wrapping?
 
−
 
 
−
(4)What are the effects of foot binding?
 
−
 
 
−
(5)What is the similar practice as foot-binding in other countries?
 
  
 
===Answers===
 
===Answers===
  
−
(1)Three. The different sizes of feet are different levels of “lotus”. There are iron lotus (longer than four inches), silver lotus (about four inches), and silver lotus (shorter than three inches).  
+
1. Social media
  
−
(2)In the Qing Dynasty.
+
2. Generation Z
  
−
(3)Five. They are Shi Chan, Shi Jin, Guo Jian, Guo Shou, and Guo Wan.
+
3. online fandom communities’ potential for political expression
  
−
(4)Foot-binding brings great physical and social harm to women, and also gives rise to aberrant aesthetics in society.
+
==英语口译 徐舞 Xu Wu 202170081629==
 +
<center>'''The Analysis Of "Chi+O"'''</center>
  
−
(5)Brass Coils in Kayan people (Myanmar)
+
<center>Xu Wu</center>
  
−
===References===
+
===Abstract===
 +
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
 +
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
 +
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
 +
typical significance to choose the verb "Chi" with object as the research object. Based
 +
on the research results, this paper attempts to make a comprehensive and multi angle
 +
investigation and research on the phenomenon of "eat" with object through corpus data
 +
statistics. This paper mainly discusses the phonetic distribution, semantic types and
 +
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
 +
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
 +
the perspective of word meaning, food objects are the first; From the perspective of
 +
deep semantic structure, patient object is still the most typical type of object. Secondly,
 +
by summarizing the diachronic changes of "Chi" with object, we find that the types of
 +
object increase after "Chi". The reasons include the change of word meanings, cultural
 +
influence, network development and so on.
  
−
[1] 高洪兴．缠足史：上海文艺出版社，1995:1-2
+
===Key words===
−
 
+
Chi; Object
−
[2] Dorothy Ko (2002). Every Step a Lotus: Shoes for Bound Feet. University of California Press. p. 42. ISBN 978-0-520-23284-6.
 
−
 
 
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[3] Victoria Pitts-Taylor, ed. (2008). Cultural Encyclopedia of the Body. Greenwood. p. 203. ISBN 978-0-313-34145-8.
 
−
 
 
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[4] 高洪兴．缠足史：上海文艺出版社，1995:16
 
−
 
 
−
[5] Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. pp. 111–115. ISBN 978-0-520-25390-2.
 
−
 
 
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[6] Morris, Ian (2011). Why the West Rules - For Now: The Patterns of History, and What They Reveal About the Future. McClelland & Stewart. p. 424. ISBN 978-1-55199-581-6.
 
−
 
 
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[7] 高洪兴．缠足史：上海文艺出版社，1995:18
 
−
 
 
−
[8] Vincent Yu-Chung Shih; Yu-chung Shi (1968). The Taiping Ideology: Its Sources, Interpretations, and Influences. University of Washington Press. pp. 27–29.
 
−
 
 
−
[9] Mackie, Gerry (1996). “Ending Footbinding and Infibulation: A Convention Account”. American Sociological Review. 61 (6): 999–1017.
 
−
 
 
−
[10] Ko, Dorothy (2007). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. pp. 14–17.
 
−
 
 
−
[11] Whitefield, Brent (2008). “The Tian Zu Hui (Natural Foot Society): Christian Women in China and the Fight against Footbinding”. Southeast Review of Asian Studies. 30: 203–12.
 
−
 
 
−
[12] Hershatter, Gail (2019). Women and China's Revolutions. Lanham: Rowman & Littlefield. p. 67.
 
−
 
 
−
[13] Hershatter, Gail (2019). Women and China's Revolution. Lanham, MD: Rowman & Littlefield. pp. 67–68. ISBN 978-1-4422-1570-2.
 
−
 
 
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[14] Mary White Stewart (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide. Praeger. pp. 4237–428. ISBN 978-1-4408-2937-6.
 
−
 
 
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[15] Mary White Stewart (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide. Praeger. pp. 4237–428. ISBN 978-1-4408-2937-6.
 
−
 
 
−
[16] Ko, Dorothy (2008). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. p. 9. ISBN 978-0-520-25390-2.
 
−
 
 
−
[17] Mackie, Gerry (1996). “Ending Footbinding and Infibulation: A Convention Account”. American Sociological Review. 61 (6): 999–1017.
 
−
 
 
−
[18] Elliott, Mark C. (2001). The Manchu Way: the Eight Banners and Ethnic Identity in Late Imperial China. Stanford, California: Stanford University Press. pp. 246–249.
 
−
 
 
−
[19] Elliott, Mark C. (2001). The Manchu Way: the Eight Banners and Ethnic Identity in Late Imperial China. Stanford, California: Stanford University Press. pp. 246–249.
 
−
 
 
−
[20] 高洪兴．缠足史：上海文艺出版社，1995：86-89
 
−
 
 
−
[21] Hershatter, Gail (2019). Women and China's Revolutions. Rowman & Littlefield. p. 45.
 
−
 
 
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[22] Bossen, Laurel; Xurui, Wang; Brown, Melissa J.; Gates, Hill (2011). “Feet and Fabrication: Footbinding and Early Twentieth-Century Rural Women's Labor in Shaanxi”. Modern China. 37 (4): 347–383
 
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[23] Gates, Hill (2001). “Footloose in Fujian: Economic Correlates of Footbinding”. Comparative Studies in Society and History. 43 (1): 130–148.
 
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[24] Newham, Fraser (21 March 2005). "The ties that bind". The Guardian.
 
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[25] Mackie, Gerry (1996). “Ending Footbinding and Infibulation: A Convention Account”. American Sociological Review. 61 (6): 999–1017.
 
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[26] Cummings, S. R.; Ling, X.; Stone, K. (1997). "Consequences of foot binding among older women in Beijing, China". American Journal of Public Health. 87 (10): 1677–1679.
 
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[27] Cummings, S. & Stone, K. (1997) "Consequences of Foot Binding Among Older Women in Beijing China", in: American Journal of Public Health EBSCO Host. October 1997
 
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[28] Margo DeMello (2007). Encyclopedia of Body Adornment. Greenwood Press. pp. 116–117.
 
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[29] Keshishian, J.M. (1979), Anatomy of a Burmese Beauty Secret (155.6 ed.), Washington: National Geographic, pp. 798–801
 
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[30] 高彦颐, 苗延威. 缠足:“金莲崇拜”盛极而衰的演变[M]. 江苏人民出版社, 2009.
 
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[31] 李凤飞, 暴鸿昌. 中国妇女缠足与反缠足的历史考察[J]. 学习与探索, 1997(3):8.
 
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[32] 徐海燕. 悠悠千载一金莲:中国的缠足文化[M]. 辽宁人民出版社, 2000.
 
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[33] 谢凤华,张学武. 中国妇女缠足放足探析[J]. 社会科学论坛(12):46-48.
 
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==英语口译 时友洁 Shi Youjie 202170081624==
 
−
<center>'''Makeup Revolution in Ancient China'''</center>
 
−
 
 
−
<center>Shi Youjie</center>
 
  
 
===Introduction===
 
===Introduction===
−
Makeup involves dressing and grooming in terms of its broad sense, while in a narrow sense, it  refers to the makeup on one's face. By applying cosmetics, a particular feature of the face will be highlighted to be more charming. In ancient China, makeup is generally called “粉黛（fen dai）”，“打扮（da ban）”，“容妆（rong zhuang）”, and in most circumstances, females tend to makeup more than males. Ancient China has witnessed a clear process of evolution about makeup, in which women's makeup in different dynasties will be mainly displayed and analyzed in this paper.
+
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.
  
−
Throughout history, only a few words about makeup has remained owing to the traditional preference of ancient Chinese. On the one hand, the history book prefers to narrate a male  with his story of nobility, virtue or great success, or record events of historic importance, leading to a shortage of details about public daily lives, not to mention the makeup. On the other hand, the ancient Chinese artists root for preserving the essence and aroma rather than the details and forms of a painting. This is why modern archaeologists have found it difficult to investigate ancient Chinese makeup. As hard as it may be, some types of makeup in different dynasties can be accessed by a small number of records.
+
===Literature Review===
 +
Through extensive reading and material analysis, the following research directions can be summarized.
  
−
Despite a few historical sources, to learn the evolution of make is still significant, for it is not only the aesthetics but also the national context of ancient China that is behind the makeup. Analysis of ancient Chinese in a visual aspect is only scratching the surface, while the economic, political and cultural background that makeup mirrors is worth studying further.
+
1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification
  
−
Many of the unearthed artifacts about makeup can be traced back to prehistoric times at the earliest, which allow us to study makeup customs such as body painting, tattooing, ear piercing, etc at that period. But it was not until the Western Han and Eastern Han Dynasties that the makeup culture was formed with a standard aesthetic appreciation. Subsequently, distinctive  aesthetic preferences were bred in Wei, Jin, Northern and Southern Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties respectively.
+
Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.
  
−
This paper will focus on makeup preferences in four major times: the Western Han and Eastern Han Dynasties,the Wei, Jin, Northern and Southern Dynasties，the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties, with an aim to provide insights about the integration between makeup and historical background.
+
2.Analysis from the perspective of cultural linguistics
−
===Han Dynasty===
 
−
The Han Dynasty was the longest dynasty in China after the Qin dynasty, lasting 405 years. While the Qin Dynasty completed the political unification of China with its power, the Han Dynasty completed the cultural unification of China with its ideas and wisdom. It was during this period that the Han nation was formed and the essence of Han culture was established. In the early Han dynasty, the recuperation policy was followed by the outstanding reign of Emperor Wu of Han, who not only made the Han dynasty socially stable and peaceful, but also rich in all kinds of products; and in military trade, expanding the territory, pacifying the Xiongnu in the north and the Southern Yue in the south, opening up the land Silk Road; and moreover, opening up the door to maritime trade in the south, greatly expanding the Han dynasty's foreign trade. This created the objective conditions for the abundance of raw materials for facial make-up, and make-up products such as lead powder, rouge and synthetic fragrances became widespread in this era. It was during this period that the aesthetic view of Chinese make-up took shape. The aesthetics of "simplicity and simplicity", "great beauty" and "modesty and gentleness"were pursued during this period. Besides, "dismissing the hundred schools and respecting only Confucianism", "meekness and softness" and "respectful and submissive" and other ideologies of this time all contributed to the preference of make-up.
 
  
−
There was also another reason for the Han Dynasty's preference for simple make-up. In the early Han Dynasty, women paid much attention to their inner maintenance in order to reveal their true beauty. Out of this ideology, coupled with the economic depression of the early Han Dynasty, most of the Western Han makeup was light and elegant, demonstrating the pursuit of nature, which also laid the foundation for the makeup of the mid and late Han Dynasty.
+
Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.
  
−
Eyebrow make-up:
+
3. Analysis from the perspective of English and Chinese
−
The Han dynasty is a woman's feminine and weak beauty, so although the Western Han dynasty was strong in the middle of the country, expanding its borders, the emergence of heroic "distant mountain eyebrows", but the long, thin eyebrows, and over time, the eyebrows are getting longer and longer, long eyebrows prevailed for a while. The slender moth eyebrow remained the mainstay of ancient Chinese women's eyebrow make-up.
 
  
−
Face makeup：
+
Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.
−
"白妆" (White make-up) and "红妆"(Red make-up): Han Dynasty society advocates women's complexion to white for beauty, and especially in the Western Han Dynasty, the standard of beauty is slender and white skin. Thus this era, white make-up and red make-up should be distinguished from each other, as one is plain make-up, the other is graceful and luxurious make-up. This paper later will have more detailed introduction to prevalence of these two types of make-up.
 
−
During the Han Dynasty, "病弱妆"(sickly make-up) was popular, with women dressing themselves in a soft and slender manner to show their morbid beauty. One type of make-up represented is the "愁眉啼妆"(sad eyebrows and crying make-up): the eyebrows are painted downwards with  powder, and under the eyes with white dye to show the tear marks.
 
  
−
"面靥"(dimple make-up): it refers to a type of make-up generally applied to the dimples on both sides of a woman's face in ancient times. It was originally used by concubines in the palace as a marker, similar to the function of an alarm. A red dot on the cheek meant that the woman was pregnant or menstruating and could not perform conjugal acts. Originally it was only a type of make-up in the palace, while later people found that the make-up made one look charming, which increased the popularity of this make-up among the people.
+
4. From the perspective of teaching Chinese as a foreign language
  
−
The face is also decorated with"花钿"(flower inlay) and "额黄"(yellow forehead make-up). Flower inlay is a general term for thin pieces of ornamentation that can be attached to the face. With the change of dynasties and the continuous development of social economy, many new styles have emerged since the Han Dynasty. The yellow forehead make-up refers to the color yellow painted on the forehead. This type of make-up may seem strange to modern people, but it was very popular for a long time in ancient times, as is related to the ancient Chinese folk belief in Buddhism.
+
Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.
  
−
Lip make-up:
+
5. From the perspective of metaphor and metonymy
−
The Han Dynasty lip make-up preference was based on a small mouth. In Confucianism's "four virtues" of women, "women's words" ranked second in terms of importance. During the Han Dynasty, people believed that women's mouths should be small, pleasing to the eye. This is why from the relative record, the lips of Han women were red and small. It was not common for women to be born with small mouths, so brightly colored, malleable lipstick was often available. A little bit of lipstick could instantly turn a large mouth into a small one, so in ancient times the use of lipstick to beautify the lips was known as "点唇"(lip-dotting). There are two main steps in the lip make-up in Han Dynasty: firstly, when applying makeup powder, the lips are applied together with white color, making it better in being dyeing. Then the lips were re-dyed with lip gloss.
 
  
−
===Wei, Jin, Southern and Northern Dynasties===
+
Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".
−
In the history of ancient Chinese make-up, the Wei, Jin, Southern and Northern Dynasties is a beginning era for make-up variety. The make-up trend in the Tang Dynasty actually carries forward  the rich make-up styles of the Wei, Jin, Southern and Northern Dynasties. Some of the abundant relics and manuscripts in the tombs of The Tang Dynasty were well preserved, providing us with rich visual materials for the study of ancient make-up. In fact, without the large number of make-up styles in the Wei, Jin, Southern and Northern Dynasties, the cultural exchange of different ethnic groups like "胡" and "汉"（Hu people and Han people） and the eastward spread of Buddhism in this period, the flourishing make-up of the Tang Dynasty would not have been possible. However, since the time was chaotic and turbulent, and the nobles were not able to well bury the dead, the preserved make-up records are mostly documentary materials, and the image materials are relatively scarce, but if compared with Han Dynasties and previous era, the records remained are incomparable.  
 
  
−
During the Wei, Jin, Southern and Northern Dynasties, due to the division of the regime and the constant change of dynasties, accompanied by large-scale wars, the social economy suffered considerable damage. The centralized and unified empire was gone, and the exchanges and integration between various ethnic groups were more frequent than before, which speed up the ethnic integration and people's emancipation spiritually. The prevailing Confucian belief based on "benevolence" in Han dynasty faced with crisis in this period, and social turmoil brought people a sense of precarious crisis, both pushing the public to rethink the meaning of life, thus leading Wei and Jin thought to metaphysics. Metaphysics made the nobles pay attention to education and demeanor, respect and study people's talent, thinking, appearance, wisdom, etc., which brought "people's awakening". Therefore, in the Wei and Jin Dynasties, people appreciated good nature, and pursued inner wisdom, superb spirit, refined words and deeds, and beautiful appearance. The beautiful appearance exactly reflects the inner wisdom and character of people with inner beauty. The dominant thoughts not only impact female but male, and both sex are in the pursuit of making up. But, no matter how time changes, females are the making-up majority. According to the history book, women at this time show a kind of fairy detachment and beauty with various and limitless make-up.
+
===Research Significance and Corpus Sources===
  
−
the mainstream make-up are as following:
+
"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
−
"白妆" (White make-up)：apply face with white powder just as the name indicates, with two cheeks not applying any rouge, and it is often for maids in the palace. This kind of make-up type pursues the beauty of simplicity and elegance, similar to the plain make-up of pre-Qin period.
+
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.
  
−
"晕红妆" (flush make-up): apply cheek with rouge or red powder, and the color is tend to be dark.
+
===The syllable distribution of "Chi" with object in modern Chinese===
  
−
"紫妆" (purple make-up)：put on purple powder with brush on face. With the experience of modern make-up, if one' face is yellow, she can cover her face with purple foundation, which is the basic common sense of modern dresser.  
+
1.Syllables
 +
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.
  
−
"徐妃半面妆"(Xu Fei half face make-up): as the name implies, that is, one only has her half of the face decorated, the left and right cheeks of different colors. This method is said to have come from the hands of Xu, the consort of Emperor Yuan of Liang.
+
2.Statistics
 +
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:
  
−
"仙蛾妆"(Immortal moth make-up): a kind of eyebrow make-up that two eyebrows are connected. When it comes to the eyebrow make-up, the most popular style in the Wei, Jin and North-South Dynasties is still the Han Dynasty eyebrow make-up, but it has developed on the basis of the Han Dynasty. The type of make-up indicated optimistic, free ad easy style just as the period itself.
+
Syllable Type Total Percentage
 +
Monosyllable 7128 54.43%
 +
Two-syllable 4736 36.16%
 +
Three-syllable 1006 7.68%
 +
Four-syllable 144 1.24%
 +
Four or more syllables 58 0.49%<math>Insert formula here</math>
  
−
"额黄"(yellow forehead make-up): it is named after the yellow pigment used to paint the forehead. Its popularity is directly related to the widespread spread of Buddhism in China during the Wei, Jin and Northern Dynasties.
+
3.Conclusion
 +
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically,  The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.
  
−
"斜红"(crescent make-up): It is a kind of make-up for both sides of the cheeks and between the eyebrows, mostly shaped like a crescent moon, with a bright red colour, some of which are also deliberately painted in a tattered shape, as if two knife scars, and some with a curling pattern. The custom began in the Three Kingdoms(the kingdom Wei, the Kingdom Shu, the kingdom Wu).
+
===The word meaning distribution of "Chi" with object in modern Chinese===
  
−
"梅花妆"(The plum blossom make-up): it is a kind of flower inlay and refers to a kind of frontal decoration. A woman with this make-up will wear a plum-shaped flower on her forehead. There is a well-known story behind the make-up. In the South Dynasty, the plum tree in front of the palace was blown by the breeze and a plum blossom fell, which happened to stick to the forehead of the princess and could not be uncovered. So the Empress kept the Princess by her side for a long time and observed it. Three days later, the plum blossom was washed off, but the princess was left with a mark of five petals on her forehead. When the women in the palace saw that the plum blossom mark on the princess's forehead was very beautiful, they all wanted to follow suit, so they cut plum blossoms and put them on their foreheads, and a new beauty art was born,  called "plum blossom make-up".  
+
1.Word meaning
  
−
"碎妆"( scattered make-up)：The make-up is a kind of make-up that will be painted all over the face. Various patterns and textures are available.  
+
"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.
  
−
===Tang Dynasty===
+
2.Statistics
−
After the exchange of cultures and the emancipated ideas during the Wei, Jin and North and South Dynasties, ancient Chinese make-up reached its heyday in the Tang Dynasty. The Sui and Tang dynasties saw the end of more than 300 years of division and warfare between various ethnic groups, and the establishment of a unified multi-ethnic state with an unprecedentedly vast territory, with many northern nomads entering the Chinese family. The Hu people began to learn Han culture and were integrated to Han to a certain extent. The Tang dynasty was the climax of feudal civilization in China, not only was the north and south unified and the territory vast, but also politically stable, economically developed and culturally flourishing. As a result, the rulers had great confidence and adopted a policy of opening the country's doors to the world. Chang'an, the capital of the Tang dynasty, was not only a national capital but also the economic and cultural centre of Asia at the time. The Tang Dynasty had close relations with many countries around the world. This contributed to the Tang dynasty's cultural diversity and the boldness of the times. In the field of thought, Confucianism, Taoism and Buddhism were all compatible in the Tang Dynasty, Confucianism and Confucian ritual did not become the ruling ideology and absolute authority. Thus the concept of ritual was relatively indifferent, and women were more relaxed in all aspects. all contributed to the development of a new make-up culture that reached the peak of splendour and grace in the history of ancient Chinese make-up.  
 
  
−
The most distinctive feature of the Tang dynasty's make-up was the strong Hu style, which was very different from the traditional Han culture's aesthetic of simplicity. The Tang women not only preferred colorful make-up but also wore a variety of face ornaments, which was a far cry from the 'simple and plain' aesthetic norm of restrained make-up established during the Han dynasty. This phenomenon is closely related to the Hu people of the Li Tang dynasty. The nomads lived in a monochromatic environment of grasslands, snow-capped mountains and deserts, and therefore favoured colourful clothing, both to satisfy their psychological and physical need for colour and to facilitate identification from a distance in the wilderness. In addition, nomadic herdsmen had to live on water and grass and were constantly on the move, accumulating wealth not only in the form of sheep and cattle, but also in the form of jewellery, which was easy to carry around and of high value. This is why nomadic people have a natural tendency to dress in a high profile manner, and the demands of life have led them to be more outward looking and more flamboyant in their aesthetics.
+
According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:
  
−
Here are the characteristics of the make-up in different periods of the Tang Dynasty.
+
Word Meaning type Total Percentage
 +
Tool 440 3.37%
 +
Food 10736 81.99%
 +
Place 24 0.19%
 +
Abstract noun 1680 12.84%
 +
Colloquialism 210 1.61%<math>Insert formula here</math>
  
−
Early Tang Dynasty:
+
3.Conclusion
−
In the early Tang Dynasty, the make-up was quite simple. The style was not that exaggerated and elaborate as women mostly painted willow eyebrows, lightly applied powder, red lips and wore little jewellery. However, make-up was also evolving during this period and became more and more elaborate as the the opening-up deepened. At this time, it was increasingly common to see a false dimple on both sides of the lips, a flower inlay painted on the eyebrows and a crescent-shaped slanting red on both sides of the cheeks, making it the most representative make-up of the Tang Dynasty. The eyebrows became thicker and
 
−
broader, and the make-up became heavier and more colourful.  
 
  
−
During the Empress Wu Zetian(the only empress of ancient China in the history) taking power, women's make-up became more flamboyant. The eyebrows were sweepingly thick, the blushes expanded from under the eyebrows to the side of the face, and the flower inlay on the forehead was not only shaped in a simple fan shape, but also in a complex pattern of flowers, curly grasses or curly clouds.
+
There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.
  
−
Glorious age of Tang Dynasty:
+
===The semantic structure of "Chi" with object in modern Chinese===
−
At the outset, Emperor Xuanzong of Tang, who had just become emperor, wished to change the old practice of pursuing extravagant circumstance, so after his accession to the throne, he issued several edicts severely prohibiting the pursuit of extravagant jewellery and embroidery. From the tomb paintings, it can be seen that at this time there was no strong and complex make-up, but a relatively fresh and elegant style, with no red make-up or flowers and slender eyebrows.
 
−
However, due to the rich and comfortable economic base and strong national power of the peaceful era, society at the time began to admire opulence and extravagance, and the noblewomen became more and more voluptuous and their preference were towards complexity. In addition, under the influence of Yang Yuhuai, the concubine of Emperor Xuanzong, one of the most beautiful women in Chinese history, the make-up was even more elaborate. There are some bold changes to the make-up. The most striking of these was the shift in 'red make-up', which was applied to the cheeks in such a way that it spread from under the eyebrows to the ear sockets and corners of the face, leaving only the forehead, the bridge of the nose and the chin white, quite exaggerated. There are many depictions of women wearing red make-up in the Tang dynasty, and we can see some of the record from the poems from the famous poet Li Bai.
 
  
−
Although eye make-up was not a priority in the Tang dynasty, upper eyeliner, which makes the eyes thin and long, can bee seen at that time, and in some cases eyeline even extended to the hair.
+
1.Semantic structure
  
−
Middle Tang Dynasty:
+
According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".
−
During this period the make-up became bizarre. The brow was replaced by the curved eyebrows, which had been "long and thin". The eyebrows were shaved off and re-drawn as "八-character"（八 in English means eight）; instead of applying red powder and white make-up, the face was painted with ochre red; and the lips were painted black like mud. This can also be investigated in Bai Juyi's poems. 
 
−
During this period, influenced by the Hu people, the ochre face gained popularity with the forehead, nose, chin, cheeks and other parts of the human face painted in various stripes, dots and blocks of ochre.
 
  
−
Later on, this kind of make-up was upgraded to "血晕妆"(bloodstained make-up). Women would paint herself with several horizontal lines above and below her eyes, in addition to her 八-character eyebrows, as if they were bloodstained. This is a reflection of the Tang women's preoccupation with scarred and morbid beauty.
+
2.Statistics
  
−
Late Tang Dynasty:
+
As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:
−
After the An-Shi Rebellion, the Tang Empire was in a state of turmoil and was plunged into the hardships, and no longer had the strong national power of the past. As the economy waned and society unstable, women's make-up gradually lost the opulence. In paintings of women of the late Tang, such as "Court Ladies Adorning Their Hair With Flowers" and "Han Xizai's Night Feast", the women's make-up was more and more pure and elegant, with a tendency to return to simplicity.
 
  
−
Although the make-up has become plain, the tradition decorating the face with motifs has continued. In the early time of the dynasty, the face decoration was prevalent, but mostly only in the dimples, forehead and cheeks. During the Middle and Late Tang dynasties, the style of decorating the face with flowers intensified, and in the relative records of the Late Tang dynasty, people even put various patterns and colors of flower inlays and flower dimples all over their faces. In addition to the simplest dots, there were also shapes like phoenixes and birds, flowers and plants, bees and butterflies.
+
Object type Total Percentage
−
In terms of lip make-up, the Tang dynasty not only had a wide range of lip colors, including vermilion lips, light lips, dark lips, black lips and colourless lipstick for men. The shape of the lips was even more bizarre.  
+
Recipient object 10792 82.41%
 +
Object of place 212 1.62%
 +
Result object 1472 11.24%
 +
Instrumental object 836 4.73%<math>Insert formula here</math>
  
−
===the Song, Yuan, Ming and Qing dynasties===
+
(3)Conclusion
−
After the Tang Dynasty, the society once again fell into chaos, and when the country was divided, the Han people established the Northern Song Dynasty. During the Northern Song Dynasty, the Song and Ming philosophies (Neo-Confucianism) gradually took their place in the realm of social thought. The idea of "preserving the Divine Principle and eliminating human desires" put forward by the Rationalists originally advocated the use of the universal moral law, the Divine Principle, to overcome those "human desires" that were contrary to moral principles and in excessive pursuit of profit. "In the course of its development, women were forced to wear heavy moral shackles due to a narrow and paranoid understanding of science, especially ethics. The people of the time interpreted gentleman's moral integrity narrowly as a woman's chastity and forced women to observe an extremely harsh chastity. This made the distinction between men and women not only a spiritual one, but also a physical one, limiting women to satisfy desire, especially the sensual pleasure. This was followed by the Yuan, Ming and Qing dynasties, which built on the Song dynasty's philosophy and further constrained women's desires.
 
  
−
Song Dynasty:
+
According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.
−
Although the Northern Song consolidated its internal rule, it was always passive in the face of the powerful Liao, Jin and the western xia regimes. After the Northern Song dynasty, the Southern Song was settled in the south of the Yangtze River and did not think about recovering the Central Plains. The dynasty was shrouded in an atmosphere of depression and grief. Therefore, make-up aesthetic in Song Dynasties returned to the simple style of that of Han Dynasty, but the make-up at this time no longer have the magnificence of Western Han Dynasty, instead presenting a feminine and weak beauty.
 
−
Make-up began to be simplified and refined, with excessive and exaggerated smears no longer being seen. In the face makeup, the Song dynasty is a reversal of the Tang dynasty, and replaced by light, elegant makeup. In terms of eyebrow makeup, the mainstream preference is slender and beautiful moth eyebrows; lip makeup is unlike the Tang dynasty as a variety of shapes, but prefers mouth with a spotted red for the beauty. In the Southern Song Dynasty, the overall style of make-up became more restrained compared to the Northern Song Dynasty. White was the predominant colour in make-up, and rouge was used with increasing restraint. Curved eyebrows, light rouge and cherry lips were basically the typical make-up style of Song women.
 
  
−
The overall style of Song dynasty eyebrow was slender, elegant and dignified, very different from the exaggerated broad eyebrows of the Tang Dynasty. The long moth eyebrows of the Song dynasty were basically a vintage style. In the mid- to late-Song period, there was a type of lip make-up that was painted only on the lower lip.
+
===Reasons===
 +
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".
  
−
Plum blossom-shaped inlay remains popular. In the Song dynasty, there were many poems and lyrics about plum make-up, the most famous of which is the poem by the great genius Ouyang Xiu', who writes:in the morning the curtain rolls with light frost, wiping the plum make-up with my hands'.
+
===Conclusion===
  
−
Yuan Dynasty:
+
The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.
−
The restraint on women intensified in the Yuan dynasty. Han women in the Yuan dynasty did not make many breakthroughs in their make-up grooming, basically inheriting the Southern Song style of plain make-up and advocating simplicity and elegance.
 
−
However, the women from the northern grasslands, mostly lived a nomadic life with horses. The harsh and dangerous living environment and the mobile lifestyle created a robust and brave, rugged and bold character, very different from the slender, thin and shy Han women of the south. The aesthetics of these ethnic minorities also brought about some distinctive make-up looks. For example, there is a type of make-up called "佛妆"(Buddha make-up), which comes from the Khitan(nomadic minority of ancient China). With this type of make-up, one's face is painted in yellow, as it looks like the face of a golden Buddha. Besides, the red eyebrows and black lips were the complementary of the Buddha-like face.
 
  
−
Ming Dynasty:
+
First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.
−
The Ming Dynasty was the beginning of the extreme monarchical centralization of power in China's feudal dynasties. In the field of thought and culture, the Ming dynasty set a precedent for  clamping down on people's thoughts and speech with harsh laws that lasted for nearly six hundred years in the Ming and Qing empires. It had an extremely negative impact on society. During the Ming dynasty, women's survival became increasingly difficult and their make-up was naturally became more and more plain, with low brows becoming the first choice for decent women as they were in pursuit of modesty and frugality.
 
  
−
The overall style of the Ming dynasty makeup continued the tradition of the Song dynasty, regarded simplicity and elegance as the beauty, giving up strong and exotic make-up. This was particularly appreciated by the concubines of the emperors and the middle-aged and elderly women. Make-up in this time even approached a style that pursued plain face without make-up. In the Ming dynasty royal portraits, one can see the consorts in their dresses and regular clothes, by and large with white powder on their foreheads, noses and chins, and light rouge from under the eyebrows to the cheeks. The lip color was still applied to make the mouth look smaller, either only being applied to the lower lip or one spot of the lip. Although the flower inlay still exist in institutional records, the portraits show that these decorations common in the Song dynasty were basically no longer used by the imperial concubines of the Ming dynasty. Compared to the Song dynasty, the faces of the upper-class women of the Ming dynasty were more plain and their expressions more modest.  
+
Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.
  
−
In terms of eyebrow make-up, Ming women catered to the aesthetic preferences of men, so they sought to extreme feminine charm and beauty. Most of the eyebrows painted by Ming women were slender and curved, with only variations in length and depth, which could particularly bring out the softness and femininity of women.
+
Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
 +
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.
  
−
The Qing Dynasty:
+
From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".
−
The Qing Dynasty was a feudal dynasty established by the Manchus, a minority group in the north-east of China, and the last great unified feudal dynasty in Chinese history. The make-up of Han Chinese women in the Qing dynasty continued the tradition of the Ming dynasty, maintaining a dignified image with low brows. Under the influence of this social climate, the make-up of Qing women became more and more simplified, and even the face ornaments that had been popular for thousands of years became less and less common. Of course, as the Manchurians and Han people lived together for a long time, dress and make-up were bound to influence or integrate with each other. By the end of the Qing Dynasty, the aesthetics of the Western world had been introduced to the Qing Dynasty, and tradition and innovation complemented each other, so that the make-up of women in the late Qing Dynasty even showed a slight Western style. Traditional Chinese make-up methods were gradually phased out and Western make-up techniques became popular.
 
−
 
 
−
The Qing Dynasty had a policy of non-intermarriage between Manchurians and Han people, and the selection of emperor' concubines was only available to eight Banners(the noble family of Manchu). Therefore, the make-up of women in the forbidden city basically represented the whole preference of Manchu women. In the early Qing Dynasty, most of the concubines were plain-faced, and the nobility of their status was mainly reflected in their gorgeous clothes and crowns. On the other hand, The Han women, restricted by the morals, also followed the same plain-faced make-up since the Ming Dynasty.
 
−
 
 
−
It is worth noting that in the late Qing Dynasty, with the transmission of Western culture, Western-style lip make-up style that represented by full and red lip began to be popular, and became widely accepted in the the Republic of China. By this time, the small lip make-up was gradually declining.
 
−
 
 
−
===Conclusion===
 
  
 
===References===
 
===References===
 +
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.
  
−
===Terms and expressions===
+
[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.
−
病弱妆(sickly make-up): women dress themselves in a soft and slender manner to show their morbid beauty.
 
  
−
愁眉啼妆(sad eyebrows and crying make-up): the eyebrows are painted downwards with  powder, and under the eyes with white dye to show the tear marks.
+
[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.
  
−
面靥(dimple make-up): it refers to a type of make-up generally applied to the dimples on both sides of a woman's face in ancient times.
+
===Terms ans Expressions===
 +
Chi+O 吃+宾语  phonetic distribution 音节分布  semantic types 词语义类型  deep semantic structure 深层语义结构  recipient object 受事宾语   metaphor 隐喻
  
−
花钿(flower inlay): Flower inlay is a general term for thin pieces of ornamentation that can be attached to the face.
+
metonymy 转喻  Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库  conceptual meaning 概念义  color meaning 色彩义
  
−
点唇(lip-dotting): applying lipsticks in a spotted way on the lip.
+
===Questions===
 +
Where does the word "Chi" rank in the top 8000 words that are used most frequently?
  
−
白妆(White make-up)：apply face with white powder with two cheeks not applying any rouge.
+
How many types can word meaning be divided into and what are they?
  
−
晕红妆 (flush make-up): apply cheek with rouge or red powder, and the color is tend to be dark.
+
What’s the main reasons why the number of object types after “Chi” increased?
−
 
 
−
紫妆(purple make-up)：put on purple powder with brush on face.
 
−
 
 
−
徐妃半面妆(Xu Fei half face make-up): as the name implies, that is, one only has her half of the face decorated, the left and right cheeks of different colors.
 
−
 
 
−
仙蛾妆(Immortal moth make-up): a kind of eyebrow make-up that two eyebrows are connected.
 
−
 
 
−
额黄(yellow forehead make-up): it is named after the yellow pigment used to paint the forehead.
 
−
 
 
−
斜红(crescent make-up): It is a kind of make-up for both sides of the cheeks and between the eyebrows, mostly shaped like a crescent moon, with a bright red colour, some of which are also deliberately painted in a tattered shape, as if two knife scars, and some with a curling pattern.
 
−
 
 
−
梅花妆(The plum blossom make-up): it is a kind of flower inlay and refers to a kind of frontal decoration.
 
−
 
 
−
碎妆( scattered make-up)：The make-up is a kind of make-up that will be painted all over the face. Various patterns and textures are available. 
 
−
 
 
−
胡人（Hu people）
 
−
 
 
−
 
 
−
===Questions===
 
  
 
===Answers===
 
===Answers===
 +
It ranks 77th.
  
−
==英语口译 伍佳惠 Wu Jiahui 202170081625==
+
Two types. They are conceptual meaning and color meaning.
  
−
<center>'''Chinese Dragon Culture'''</center>
+
They are cultural influence, network development and changes in word meaning.
  
−
<center>Wu Jiahui</center>
+
==英语口译 张静芝 Zhang Jingzhi 202170081630==
−
 
+
                                                           
−
===Introduction===
+
<center>''' The Chinese Cheongsam Culture'''</center>
 +
<center>Zhang Jingzhi</center>
 +
===Abstract===
 +
This paper will show the beauty of cheongsam from its shape, color, pattern and material, and explain the influence of social ideology on cheongsam, one of the traditional Chinese clothes by connecting the evolution of cheongsam with the development of Chinese society in recent hundreds of years.
  
−
The Chinese dragon, also known as long, loong, or lung, is a legendary creature in Chinese mythology, Chinese culture, and Chinese folklore as a whole. For thousands of years, the dragon has permeated all aspects of Chinese society, becoming a cultural cohesion and accumulation. The dragon has become a symbol of China, a symbol of the Chinese nation, and a symbol of Chinese culture. To every Chinese descendant, it carries national emotions.
+
===Key words===
 +
Cheongsam,culture,social ideology
  
−
The creature can be found in the mythology of many ancient cultures, but nowhere else in the world is the creature quite so revered as in China. The Chinese dragon is a benevolent creature that delivers fertilizing rain to the earth. Strength, good luck, and awe-inspiring might are the spiritual meanings of the dragon. The oriental dragon is widely regarded as a spiritual or supernatural sign of heavenly power. As a result, it has long served as the emperor’s symbol.
+
===1.Introduction===
−
 
+
Clothing is not only the product of human material civilization, but also the crystallization of human spiritual civilization. Throughout the development history of human civilization, the clothing characteristics of any nation contain profound cultural heritages of a nation, which has been deposited for thousands of years. Since the day of the origin of clothing, human beings have  blend their living customs, aesthetic tastes, color interests, as well as various cultural attitudes and religious concepts into clothing, and built the spiritual civilization connotation of clothing culture.  
−
The Chinese dragon is easily identified by its long serpentine body which is usually wingless, and its anthropomorphic face with beards. The dragon is considered the most auspicious year sign, so the image is embroidered on the robes of emperors, portrayed in the most valuable materials, such as gold jewelry and jade sculptures. In addition, it has endless references in performing arts and literature.
+
As an exotic costume of China,Cheongsam’s material choice and the change of style and design and colour collocation not only record the productivity, science and technology level of the specific historical period, but also have close relations with the social ideology, political background, economic environment, as well as the national culture psychology.so to speak, Each  evolution of Cheongsam is an "inflection point" in the development of the whole Chinese costume and even the whole modern Chinese history, whose significance directly indicates the profound changes of ideology, social economy and superstructure in modern Chinese society.
−
 
 
−
Generally speaking, the dragon was everywhere in ancient China and looms as large nowadays in the Chinese psyche as ever.
 
  
−
===Origin of the Dragon===
 
  
−
3000 B.C. The origin of the dragon image has been variously described as being derived from snakes, crocodiles, pigs, etc. There are also theories that the earliest dragons were lightning bolts in the sky when it rained. Most experts now concur that the dragon is a totem complex with a snake as the main body, with the head of a pig, the body of a snake, the horns of a deer, the whiskers of a sheep, the ears of a cow, the scales of a fish, and the claws of an eagle.
+
===2.Cheongsam-A representative of Chinese Clothing===
−
 
 
−
In ancient clan societies, the Yellow River Basin’s Huaxia (the old name for the Han Chinese), who used the snake as their totem, defeated other clans by absorbing their totems and combining them into the Dragon Totem. For a very long time, paleontologists held the view that the horned dragon was a fictional image of ancient ancestors, existing only in myths and legends, and there was no animal in real life. In 1987, a large tomb of the early Yangshao culture was excavated in Henan province, and a dragon made of mussel shells was unearthed beside the male tomb owner, which is the earliest dragon found so far, more than 6,000 years ago.
 
  
−
===Cultural Connotations of the Dragon===
+
'''2.1 Comparison of Chinese and Western Costume'''
  
−
The dragon is a special animal in Chinese culture, often used to symbolize good fortune, and is one of the most representative traditional cultures of the Chinese and other East Asian nations. Chinese culture has a long history, and there are many cultural meanings associated with dragons. Nowadays, dragon culture has permeated into every aspect of our society and culture.
+
'''2.2.1 The Comparison of Modeling'''
  
−
3.1 Cultural Connotations of Dragon in Festivals
+
In the design of clothing structure, due to the selection of different human body posture, Chinese and Western clothing are different in clothing style. The static posture of the human body when standing is the structural design standard of Chinese clothing. The structural form of the standing posture of the human body with natural flat arms and easy legs has become the structural form of Chinese traditional clothing since the ancient clothing system. Therefore, Chinese traditional clothing has the characteristics of straight line, whole piece and plane type. People are convenient to raise a hand or lift a leg and squat or sit with such costume. Chinese dress usually has the features of simple and plain,as well as is conducive to labor.
 +
The pursuit of perfect combination with individual shape is the top priority in the structural design of Western clothing, so the structure of clothing is more complex than that of Chinese clothing. In the design and modeling of western clothing, each special feature of the human body structure is designed respectively. For example, according to the torso, upper limbs, lower limbs and other parts, the collar, garment body, sleeve, trouser tube and other major parts are designed respectively, then some other accessory parts are added to form the whole garment and pants. And each main component is irregular tubular shape or tubular formit according to the human body outline with different length, wideth, size . In terms of external surface, western classical clothing often adopts the horizontal expanding shoulder outline, expanded sleeve shape, huge skirt and overlapping lace to emphasize the horizontal style, so that the clothing produce exaggerated and radiating effect. The undulating facial contour, tall and straight body shape and passionate temperament of westerners all determine these modeling characteristics of Western clothing.
  
−
In festival culture, the “dragon” is frequently interpreted to stand for gods who control the weather, including clouds and rain, as well as blessings and misfortunes. The Dragon Boat Festival and the Lantern Festival both frequently feature dragon imagery. The events of the two festivals are vibrant, filled with ethnic flair, and have a strong local flavor.
+
'''2.1.2 The Comparison of Colour'''
  
−
At the Lantern Festival, people will have dragon dancing. The dragon’s body will be bound with bamboo into a spherical dragon shape, with each piece connected, and covered with a sizable red cloth decorated with dragon scales. Someone holds the pole every five or six feet, and it has a head-to-tail length of more than ten feet. A person in the front of the dragon is holding a pole, and a large ball is set up at the top of the pole to serve as a guide. The enormous ball swings from front to back as the dragon dances, and the dragon’s head assumes the shape of a grasping ball, causing the dragon’s body to wander and fly. Additionally, they dressed nicely in silk clothing. With the rapid development of modern society, dragon dance has gradually expanded from folk activities to the scope of school sports and competitive sports, and many colleges and universities have taken dragon dance as the opening performance of their sports meeting.
+
Color is another major factor in the composition of clothing, Chinese clothing has always paid more attention to the choice and collocation of color. In ancient China, the costume color is divided into two kinds: normal color and secondary color. The normal color is cyan, yellow, red, white and black, and the other is secondary color. In ancient times, the choice of clothing color in China was a phenomenon with social connotation: once a certain color was favored by the royal and noble, it was forbidden to use it among the folk, otherwise, it was a crime of deceiving the king. In most dynasties, the normal color was reserved for the superior society, indicating nobility. In the folk, normal color is also the color that people like and pursue when designing clothes. On the one hand, this shows that ancient China attaches great importance to dress color, on the other hand, it also shows that the use of dress color has obvious class nature.
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Like the eastern culture, the western people attach great importance to the choice of clothing color, but they pay more attention to the emotion contained in the color. Western people believe that any kind of color is endowed with profound meaning, any kind of color can represent a sublimed spirit. When people see red, which gives people a kind of passion, romance and strong feelings, they will associate with blood, sun and flame and other related things. However, westerners attach great importance to the choice and collocation of clothing colors in close coordination with the age, skin color, body shape and figure of the wearer, as well as with the purpose and environment of wearing the costume, it mainly because that the above various colors can produce different emotional changes and symbols to people. Westerners often choose clothing colors according to their own specific characteristics. Therefore,  the choice and collocation of clothing color appear to be very personalized, and there sre rarely blind imitation phenomenons, people's wearing appears featured.
  
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At the Dragon Boat Festival, one of the customs in China is “dragon boat racing”. The Dragon Boat Festival has been referred to as “the festival of dragons” by Mr. Wen Yiduo. Dragon boat racing is a form of sacrifice to the gods to pray for blessings. In ancient times, the royal dragon boats were extremely luxurious, and the scale of the dragon boat racing was also magnificent. Almost everyone was eager to attend and would arrive in time to watch it, which showed the significance of this activity.
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'''2.1.3 The Comparison of Dermatoglyphic Pattern'''
  
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3.2 Cultural Connotations of Dragon in Myths and Legends
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Chinese and Western clothes have their own preferences in the choice of patterns. Chinese style clothing preferences using pattern to express auspicious wishes. Due to China's textile industry has been leading in the world, and is able to use heavy machinery and exquisite workmanship to weave a variety of complex auspicious patterns,so through the ages, whether it is noble silk or folk prints, auspicious patterns are widely used, which reflects people's expectations and hopes for a better life. The patterns of dragon flying and dancing, the Dragon and Phoenix and the Nine Dragons playing with pearls not only symbolize totem worship, but also express the emotions of "Descendants of the Dragon".
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Western European clothing has always been known as the representative of western clothing, and the patterns on its clothing are constantly changing and updating with the vicissitudes of history, incorporating new elements and cultures from time to time. In ancient times, western European costumes were mainly flowers and patterns, especially in the Italian Renaissance, gorgeous flower patterns were more popular. In modern times, with the development of science and technology, it became popular to use geometric principles to design the Op patterns and so on. With the continuous progress of science and technology and the maturity of textile and dyeing technology, the patterns of western mainstream clothing are becoming more and more delicate, and all kinds of clear and distinctive patterns are slowly becoming a popular costume theme in the world.
  
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The dragon is a divinely transformed animal in myths and legends, a symbol of supernatural power. As a worship in primitive Chinese society, the dragon is associated with the struggle of primitive humans with nature. Dragons themselves served as the leaders of the populace in their battle with nature. In primitive society, dragons emerged as a crucial primitive religious belief, which is reflected in the colorful primitive mythology.
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'''2.1.4 The Comparison of Material'''
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From the pre-Qin period, people began to regard the dragon as an important representative of the leader. The following four statements, in general, are the most representative in the mythology. First, the theory of human-dragon merging. Many people are all depicted as dragons with human bodies or snakes with human faces, such as the creator of the universe, Fuxi, Nuwa, who “made a man out of earth”, Huangdi, who led the people in defeating their enemies and creating material culture, and Shennong, who taught the people how to farm. Second, the dragon is a divine creature of great power. For example, when Yu the Great (大禹) ruled the flood, there was a Ying Long (a kind of winged dragon) that used its tail to divide the areas and point out the route for Yu to divert the flood, and thus came the vast rivers of later times. Third, dragons are human incarnations. For example, Gun (鲧), the father of Yu (the legendary leader of the ancient tribal alliance) did not decay for three years after his death, and later transformed into a yellow dragon. Fourth, dragons are the tools of the gods and men to drive. For example, the ancient Chinese geography masterpiece The Classic of Mountains and Seas said that Yu’s son Qi (启) and the southern god Zhurong (祝融) both ride two dragons.
 
  
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As the “progenitor” of ancient mythology, the dragons appearing in The Classic of Mountains and Seas are ancient and have a wide variety. The book mentions dragons of various shapes, and even a ranking of the top ten dragons appeared. In addition to this work, dragons are also mentioned in many other ancient mythological works, such as Different Records, The Investiture of Gods, and Journey to the West, etc. In The Investiture of Gods, it is mentioned that Nezha haunted the sea, killing the young dragon king Ao Bing and pulling out the dragon tendons for his belt, and he also defeated the old dragon king Ao Guang and pulled out his dragon scales. In Journey to the West, the image of “dragon” runs through the whole work, such as Monkey King making trouble in the East China Sea, and the Dragon King Ao Guang was forced to donate their key stand—golden cudgel. It is commonly believed that there are four main dragon kings in mythology, representing each of the four seas. The East Sea (corresponding to the East China Sea), the South Sea (corresponding to the South China Sea), the West Sea (sometimes seen as the Indian Ocean and beyond), and the North Sea (sometimes seen as Lake Baikal). Because of this connection, they were considered to be in charge of water-related weather phenomena. In pre-modern times, many Chinese villages (especially those near rivers and the sea) had temples dedicated to the local Dragon King. In times of drought or flooding, local gentry and government officials used to lead the community in making offerings and performing other religious rituals to appease the dragons to bring rain or prevent the flooding.
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Due to the influence of history, culture, geography and other aspects, there are huge differences in the materials of Chinese and Western clothes. China, the once famous "Silk Kingdom", is rich in silk goods, so the traditional Chinese clothes are mainly made of silk. Silk products have the characteristics of soft and smooth, good air permeability.They are cool and comfortable in summer while light and warm in winter, so they are widely used in the clothing industry and are gradually popular in the world market. The silk pattern is delicate and exquisite, the cloth color is bright, the silk cloth is chosen to make the clothing, rich in national characteristics, and can be decorated with various crafts, after wearing, it gives a person with elegant and noble, graceful and charming feeling.
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Different from the Eastern countries whose civilization developed earlier, most western countries were nomadic people who were mainly hunting and nomadic in the early development period. Therefore, in the primitive society, they were good at making clothes with the animal fur to achieve the purpose of heating, protection and decoration. With the rapid development of woolen spinning and woolen weaving technology in western countries, especially the exquisite woolen spinning technology in Britain and Italy, after the Middle Ages, the wearing of woolen cloth became increasingly common. In western countries at that time, the men's clothing is mostly made from woolen. Because the distinctive characteristics of the cwoolen materials are solid, crisp, high plasticity, so clothes made from it can make the garment appearance with neat, modesty, full of vigor and vitality.  
  
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Dragons are further divided into two kinds: good dragons and evil dragons, reflecting the aspirations and grievances of the people. Most of the dragons in myths are good ones, which also symbolize positive meanings, but there are also five major evil dragons, which can also be seen as a counterpoint to the roles of good dragons. These evil dragons may only be killed by only Yuan Shi Tian Zun (the Celestial Venerable of the Primordial Beginning) or Nu Wa (the mother goddess of Chinese mythology). For example, in Journey to the West, the son of the Dragon King of Jinghe River occupies the Blackwater River for evil, and he wanted to eat the flesh of Tang Sanzang when the monk and pupil four were passing through this place, but he was not strong enough and was killed by the son of his first cousin, the Dragon King of the East Sea. There is also the Demon King Jiao, who is sworn in as a brother with Great Sage Equalling Heaven (齐天大圣), called the Great Sage Fuhai. Among the several sworn brothers, he ranks second, and his strength should be comparable to that of the Bull Demon King. He is also a vicious dragon in the water.
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'''2.2 The Beatuty of Cheongsam'''
  
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With the development of human society, the image and character of the dragon have become more and more complex. There are rich dragon myths in both the thousands of years-long official history and the oral literature of folklore. The evolution of such stories is revolutionary and epochal, and the changes in dragons reflect the development of human society. Such stories all have an epoch-making and revolutionary evolution, and the changes of the dragon also reflect the development process of human society.
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'''2.2.1 The Beauty of Modeling'''
  
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3.3 Cultural Connotations of Dragon in Architecture
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As we all know, Cheongsam is the representative of Traditional Chinese national dress. However, the reason why Cheongsam can be called one of the most dazzling pearl among many Chinese clothes is due to its shape.
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The silhouette can best reflect the modeling of Cheongsam. Cheongsam has rigorous structure and smooth lines. This kind of implicit curve shape fully shows the natural curvaceous beauty of the human body, which is in line with the Asian people's physique, especially suitable for the petite and exquisite Southerners in China. At the same time, it also reflects the "people-oriented" design concept and embodies the traditional cultural characteristics of "unity of heaven and man" in China. After centuries of evolution, the s-shaped contour structure and oriental style have become the most stable elements of Cheongsam, deeply influencing designers at home and abroad and making people unforgettable.
  
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In the architecture of the Chinese people, we can often find the dragon. Dragons have a magical beauty and therefore have an inseparable relationship with the classical art of architecture in China. Here, the role of the dragon is usually placed on the ridge of the large-scale buildings to avoid something evil in ancient times, guarding the peace of the family, people thus hope for abundant food and clothing, as well as prosperity. For this reason, the homeowners with high or low building grades are decorated with “dragons” on the ridges and horns to ward off evil spirits and show their power and status.
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'''2.2.2 The Beauty of Colour'''
  
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The dragon culture on the ridge can be traced back to the Han Dynasty. In 1960, the earliest surviving chronological ridge beast was discovered in the suburbs of Sha City, Hubei Province, China. The “Yuanguang First Year” (134 BC) is engraved on the inner wall of a tile-ribbed beast, which is nearly 2,100 years ago. It can be seen that kissing beasts appeared in Chinese architecture, and they were relatively complete at the latest in the Western Han Dynasty. Subsequently, various dynasties have buildings related to dragons, the famous ones are: The Nine-Dragon Wall in Datong, built in 1392, Ming dynasty, Pillar with dragon decoration from the Yingzao Fashi, Song dynasty, Dragon column remains, Jin dynasty (1115–1234), Column with dragon design at Temple of Confucius, Qufu, constructed in 1730, Qing dynasty, Dragon columns at the Temple of Confucius, Qufu, Stone relief of dragons between a flight of stairs in the Forbidden City, Dragon symbols on the eaves-tiles of the Forbidden City, etc.
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The color of clothing is regarded as the soul of beauty of clothing. The use of cheongsam in color can be said to be a classic image of Chinese clothing, which fully expressed the significance of color. Each color has different characteristics and implication, in different seasons, occasions, through the combination of color collocation, color can give people enthusiastic,elegant, warm and romantic even sedate and sad aesthetic feelings.
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Since ancient times, China has had the custom of wearing red. Chinese red is the theme color that Chinese people like to use in the Spring Festival and wedding celebrations. Red is a color with rich emotions and is a symbol of happiness. The red Cheongsam can be the best expression of warm, bold, happy emotions, but also make people appear vigorous, full of youth and vitality.
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Yellow is the traditional color of our country. In history, yellow is a symbol of dignity and power. Yellow is rich in layers and is widely used in Cheongsam, which is loved by women. The green cheongsam symbolizes nature, growth, hope, freshness and tranquility. It reminds people of plants in nature and brings people a sense of comfort, suppleness and gentleness. Blue cheongsam can well show the pure, rational, serious and honest personality of women.
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Purple is a kind of color full of mystery, it is mixed by red and blue. Purple is regarded as a symbol of nobility and luxury, and is often chosen as a dress color by princes and nobles. Purple cheongsam full of luxurious, rich, elegant feeling. Black is a dual color, symbolizing darkness and silence on the one hand, while maturity, solemnity and mystery on the other hand.
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White symbolizing purity and holiness. White Cheongsam can best reflect people's nobility, elegance. The Manchus of the Qing Dynasty believed that white was auspicious, and they often wore red or other colors of Cheongsam with white lace, or paired with a white veil.
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In conclusion,different colors show different connotations of Cheongsam, but it is these gorgeous colors that makes Cheongsam a bright visual symbol in Chinese culture.
  
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In ancient royal palaces, pavilions, jade inscriptions, as well as the caisson and ceilings of some ancient buildings, there are countless patterns and carvings using the image of the dragon. According to ancient legends, the decoration of “dragon-sniffed beasts” on the roofs of palaces and temples can avoid fire and drive away evil spirits. At first, it was not in the shape of a dragon, but was gradually formed into animal-shaped ridges from simple warped protrusions, some in the shape of birds, and more in the shape of fish and dragons. The earliest records can be traced back to the Zhou Dynasty. There are such decorations on both ends of the roof of the Zhou Wangcheng map. The shape of the bird evolved into the tail of an owl (it is said to be a divine object that can extinguish fires in the sea), and in the middle or late Tang Dynasty, there was an owl kiss that swallowed the ridge. After the Song Dynasty, the number of dragon-shaped kissing beasts increased, and it was very common in the Qing Dynasty. The surface was decorated with dragon patterns and four claws were flying into the air. The dragon’s head glared angrily and swallowed the ridge, with a sword stuck on the ridge. The artistic image was perfect, called “positive kiss”, “dragon kiss” and “big kiss”. On the vertical ridges other than the main ridge, animal heads are often used on the ridges. These animal heads look out in the direction of the ridges, so they are famous as beasts. The use of snout beasts has gradually formed a stricter customization and stricter pattern.
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'''2.2.3 The Beauty of Dermatoglyphic Pattern'''
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In addition, at the two ends of the roof of the ancient buildings in our country, there is a raised dragon head, which spit out a zigzag metal tongue and stretched out to the sky, and the back root is connected with a thin wire, which goes straight to the ground. Such a wonderful device, in the event of a lightning strike, the current will descend from the dragon tongue to the ground, acting as a lightning rod. According to textual research, buildings in my country during the Three Kingdoms and Northern and Southern Dynasties once had this kind of “dragon’s tongue”. At that time, there were many temples and ancient pagodas like forests in the land of Shenzhou. There were “four hundred and eighty temples in the Southern Dynasties, how many towers were in mist and rain”, but the records of being struck by lightning were rare. Of course, it is not the blessing of the gods, but the magical protection of the “dragon’s tongue”.
 
  
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With the changes of the times, even today, people can still see the “dragon culture” displayed on the newly built antique buildings. Today's dragon culture on the ridge is not only for “avoiding evil spirits”; it has also become a symbol of the Chinese nation (at home and abroad, any house decorated with "dragon to avoid evil" must be a Chinese house), and it is the soul of the nation. The Panlong on Tiananmen Square, the Yunlong Stone Steps behind the Palace of Preserving Harmony in the Forbidden City, the Nine Dragons Wall in Beihai, the Feilong Danbi in Beijing Confucius Temple, the Yunlong Stone Pillar in Qufu Confucius Temple, the Panlong stone carvings on the railings of Zhaozhou Bridge in Sui Dynasty, the Sima of Northern Wei Dynasty The dragon pillar foundation of the Golden Dragon Tomb, etc., are all famous historical and ancient architectural relics related to the image of the dragon. These dragon carvings are either brightly colored and vividly shaped, or round and straight, with magnificent momentum. Some are floating on the “waves”, and some are galloping between the “sea of clouds”. Up or down, lifelike. It is indeed a masterpiece of historical architectural relics of the motherland, and a wonderful work in the treasure house of architectural art. It is an artistic masterpiece created by those folk art masters who have not left their names.
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In costume decoration, pattern is an essential element in Chinese costume culture. It has a long history and is the embodiment of traditional symbols. Every pattern has a deep meaning. Cheongsam patterns are mainly animal patterns, plant patterns, landscape patterns, and geometric patterns，and different categories of patterns have different meanings.
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Animal patterns often have profound meanings, such as joy, longevity, auspice, happiness and health. Common patterns include dragon, phoenix, pheasant, crane, mandarin duck, butterfly, peacock, magpie and auspicious fish. Plant decoration is endowed with a lot of auspicious meaning, showing people's yearning for beautiful things. Cheongsams with landscape patterns are relatively rare. Landscape patterns mainly include landscape rural residence, pavilions and pastoral scenery with strong freehand brushwork. Landscape patterns mostly contain clear meaning, that is appreciating landscape. The Ten Views of the West Lake and the scenery of the four seasons are often chosen as themes. The geometric patterns on the Cheongsam give people a fresh and elegant aesthetic feeling. They look orderly, rhythmical, and have a lasting appeal.  
  
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3.4 Cultural Connotations of Dragon in Clothing
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'''2.2.4 The Beauty of Material'''
  
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Since the Han Dynasty, with the increasing sanctification of dragons, people were also keen to display dragon culture on their clothing. Here, the dragon was a symbol of power, nobility, and honor.
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Fabric is the material basis on which shape and color depend. The fabric of Cheongsam is very exquisite, and the fabric of Cheongsam is also different in different periods. The cheongsam made of different fabrics also has different styles and charm. They can be simple, elegant, luxurious, or even gorgeous.  
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Cheongsam made of dark high-grade velvet or cashmere fabrics can reflect the elegance; Woolen Cheongsam reveals maturity and the beauty of intelligence; The Cheongsam made from  high-quality silk or gauze is light and soft, showing the elegance and quietness of ladies. As a formal dress, the floral velvet Cheongsam usually are decorated by bright patterns and colors, giving people a sense of elegance and luxury. Cheongsam made of cotton, usually are decorated with plaid, stripes and other patterns, or flowers with pure color, giving people a gentle and comfortable feeling. With the development of the times, now the choices of Cheongsam fabric are also very wide, so people generally choose Cheongsam according to their own needs or the seasons. Cheongsam made of these high-quality fabrics can fully express the beauty of women's body shape.
  
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The dragon has become one of the most striking creatures, judging from the spoons decorated with images of dragons during the Xia Dynasty and the garments decorated with dragon patterns during the Zhou Dynasty. Later in the Song and Yuan dynasties, the dragon became a symbol of divine and imperial power. Later in the Song and Yuan dynasties, the dragon became a symbol of divine and imperial power. The supreme ruler, called “the True Dragon, Son of Heaven”, wore a dragon robe, sat on a dragon chair, reclined on a dragon bed, and even the throne of their place was also called the “dragon seat”, which symbolized the elevated status of the dragon. Dragons and phoenixes were traditionally reserved for the emperor and the empress in ancient times. The dragon pattern was a decoration on ancient costumes, and as the status of the dragon rose, the use of the dragon pattern was gradually restricted.
 
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The dragon robe is the emperor’s dress, and it is also named “Long Gun” because of the embroidered dragon pattern on the dress. The dragon pattern on the dragon robe has changed over the generations. During the Qing Dynasty, the emperor’s special five-clawed dragon and the king’s special four-clawed dragon were called pythons at that time. The emperor’s robes were embroidered with nine dragons. The ancient emperors were deeply influenced by I Ching or Yi Jing (, and they advocated the “nine and five respects”. "Easy Gan" also records that "Nine Five, the flying dragon is in the sky, and the benefit is seen by adults". This reflects a very high state. That’s why the emperor uses the numbers nine and five for all things, which is a manifestation of a high degree of concentration of power.
 
  
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The significance of the dragon pattern on ancient costumes is the symbol of power. The dragon and the dragon pattern will have an affinity, which also gives the dragon pattern an artistic conception and achieves a realm of “the unity of heaven and humanity”. Moreover, the smooth lines of the dragon pattern will reflect a kind of beauty of lines and a charm. The ancient emperors showed their solemn status and majesty through the dragon pattern on their clothes.
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===3. 3. The Evolution of Cheongsam and the Development of Chinese Society ===
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We are a country with many ethnic minorities and have various kinds of minority costumes. In addition to the Han Ethnic Group, other Ethnic Groups such as the Miao, Yi, Dong, and Bai all believe in the Dragon Totem. The Miao people will embroider dragon patterns on the brim of their hats and belts, as well as on their silver jewelry. In the Wa Ethnic Group, some men with noble status will also wear gold embroidered dragon clothes. There are also silver horns worn by women in noble areas on their heads as a symbol of dragon horns. There are also silver horns worn on the heads of women in noble regions as a symbol of dragon horns. The dragon patterns on these folk costumes are deformed and exaggerated dragon patterns. This creative approach does not limit the traditional shape of the dragon in terms of space and image. The folk costumes of ethnic minorities also have dragon totems, which hold a good aspiration of people, because they consider the dragon totems as the embodiment of nobility and spirituality.
 
  
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The dragon costume shows Chinese beauty, and its aesthetic value is worth exploring.
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'''3.1 The Origin of Cheongsam'''
  
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===Differences Between Chinese Dragons and Western Dragons===
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Cheongsam is a kind of robe, and its history can be traced back to the ancient Chinese robe of the Spring and Autumn period and the Warring States Period.The ancient Chinese robe is one of the most important forms of clothing in ancient China. During the Yuan and Ming dynasties, the ancestors of the Manchu, called Nuzhen, lived outside the north of Liaoning Province under the Changbai Mountain, Songhua River and Heilongjiang River. As the fishing and hunting economy occupied an important position, men, women and children were skilled in riding and shooting. Not only men are good at shooting and riding, but women are no less skilled at shooting and riding than men. When riding and shooting, men wear the "horse-hoof-shaped cuff" type of gown. The gowns cuffs are narrow and cover the back of the hand, the sides of the gown open, cloth bags tied in the waist. Women wore a long gown with narrow sleeves and corset,which is also for the convenience of riding and shooting activities on horseback. In 1601, Nurhaci unified the Nuzhen tribes and established the Eight Banners. The people who were incorporated into the banners were called Banners, and the robes worn by Banners were called Qipao.
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In 1635, Huang Taiji renamed Nuzhen as Manchu. In the process of frequent campaigns, the people of Manzhou gradually formed a kind of Qipao with wide waist and straight cylinder. At this time, not only the people who were drafted into the banners wore Qipao, but also men, women and children wore Qipao. The men's Qipao were called long gowns, and the women's gowns were called big robes. In 1644, after Emperor Shizu entered the central China and moved to Beijing, Qipao became popular in the Central China. In the late Qing Dynasty, when the colonial rule began,because the western and political influence on people's life style and concept, the manchu and Han women's clothing was integrated.
  
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In Chinese, dragon is always used in a good sense (with adjectival restrictions before it is used in a bad aspect such as evil dragon or sinful dragon, distinguishing between dragons in general and their minority), for example, dragon and phoenix refer to people with excellent talents, and spirits of dragon and horse are praised. Dragon and tiger are metaphorical for great heroes. In many idioms there is the word “dragon”, which is almost always used to praise others. In the previous content, we have also mentioned the connotations of dragon culture in various fields. Therefore, it can be seen that the status of “dragon” in the hearts of Chinese people is so noble and perfect. Now, Chinese dragon culture has also penetrated into every aspect of Chinese society. Next, we will focus on the representatives of the image of “dragon” in the Western world, so as to better compare its differences with the Chinese dragon.
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'''3.2 Cheongsam during Qing Dynasty'''
  
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In the Western world, “dragon” is a bad symbol. Dragon represents evil in Western Bible, which is different from the essence of Chinese dragon. After a variety of mythological influences, probably around the 2nd century A.D., Western dragons began to be poisonous, fire-breathing, money-hungry, and with bat-like wings, and later the dragon guarding the treasure in the European national epic Beowulf began to become the standard and concrete image of the Western dragon. And at this time, Christianity, in order to better propaganda, also gradually portrayed the dragon as an evil force, the biblical king of hell Satan turned into a big red dragon with seven heads, each with a crown kind of head, but also like to eat babies. Medieval Europe also saw a large number of stories of dragon slaying, although the story is logically simple, childish and fairy tales, it left a deep impression on people. For example, in the famous story of Saint George and the Dragon in Christianity, it is said that there was an evil dragon in Libya. He ate sheep every day. After eating the sheep, he began to eat people. In the city, it was said that if people converted to Christianity, he would kill the dragon, and people started to convert to Christianity, which is a typical threat and hardcore preaching, and since then, the notoriety of Western dragons has spread further.
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'''3.2.1 The Influence of the Establishment of Qing Dynasty on Cheongsam'''
  
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The Bible criticizes the devil Satan, saying that “Sadan is the great dragon”, and Satan is the greatest devil, and the abstract semantics of dragon here is the devil. The German word “drache” comes from the Latin “draco” and the Greek “drakon”, both of which mean “snake”. In Western culture, the dragon is seen as an evil creature. It destroys everything, spreads disasters, and is the enemy of all things in the world. In Western folktales, dragons are eventually killed by brave heroes. In Germanic and Norse cultures, Siegfried, the dragon slayer was such a hero. In the German epic The Song of the Nibelungs, he killed a dragon and bathed in its blood, making it invulnerable ever since.
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After Nurhachi established the later Jin regime, he carried out the Eight Banners system. Therefore, the Manchu people were also called the Banners, and the clothes they wore were collectively called Qi Dress. When Qing regime charged the central China, a huge wave of shave hair clothing started. The Qing regime began to enforce clothing system reform, people who violated the law may loss their life. To the late Qing dynasty, the Chinese women's dress style quietly blended and the difference between both costumes increasingly reduced, which became  the prelude of Qipao popular throughout the country.  
  
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In the early days, the Western dragon was a divine creature or spirit, but as native Western beliefs declined and Christianity flourished, the Western dragon gradually became a demon-like being, giving it a more negative connotation after the Middle Ages. But as time goes by, and as China’s status in the international community grows, the Western world’s perception of the “dragon” has improved, and we Chinese are proud to be the “descendants of the dragon”.
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'''3.2.2 The Influence of Change in Economy Form of Qing Dynasty on Cheongsam'''
  
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===Importance of Chinese Dragon Culture===
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The economic development of the early and middle Qing Dynasty made great progress on the basis of the Ming Dynasty.The arable land area of the Qing Dynasty was far more than that of the previous historical period, and the crops of the Qing Dynasty increased greatly. On this basis, all sectors of the economic field presented a prosperous situation, and gave birth to the embryo of capitalism. At the same time of the domestic economic prosperity, the foreign trade of the Qing Dynasty also increased rapidly. Until the outbreak of the Opium War, the Qing Dynasty kept a trade surplus in foreign trade, which played a very significant role in the development of Chinese economy. The development of industry and commerce further stimulated the prosperity of the city.The economic development and the prosperity of the city reflected in the design of Qipao. From the Opium War in 1840 to the Revolution of 1911, due to the imperialist aggression, China's economy suffered a great impact.As a result of internal and external difficulties, people's way of life and dress concept are also changed a lot, showing an "open" character. Cheongsam at this time, though mostly retreated into Manchu noble families, its design still keep the Mid-qing Dynasty modelling.But under the influence of western society at that time, the Chinese dress  also quietly changed, including tightening and shortening the sleeves,reducing robe length is and  purer colors. In the decoration of the robes, its integral style tends to be contracted, simple but elegant.
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The Chinese dragon culture, which has been up and down for 8,000 years, has a long and profound history. The image of dragons has penetrated into all corners of society, and the influence of dragons has spread to all dynasties and all levels of culture in a colorful way, which shows the importance of dragon culture in China. Generally speaking, the importance of dragon culture is mainly manifested in the following aspects.
 
  
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5.1Important Force of National Unity and Peaceful Reunification
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'''3.3 Cheongsam during the Republican Period'''
  
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The dragon is a symbol of national unity and peaceful reunification. With its inclusiveness, the dragon culture has brought the Chinese nation together, and it plays an active role in China’s national unity and national reunification as a symbol of China’s peaceful reunification.
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'''3.3.1 The Influence of the Revolution of 1911 on Cheongsam'''
  
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The image of “dragon” has been used throughout the Chinese dynasties, which is also one of the symbols of the long history of Chinese culture. Since the establishment of a unified centralized state in Qin, China has been unified throughout the long years of history and the unity has always been the mainstream, although there have been some division. This is because all Chinese ethnic groups have a strong sense of identification with the dragon, creating a strong national cohesion and promoting the unity of all ethnic groups. As time goes by, more and more people are convinced that we are the “descendants of the dragon” and that the reunification of China is the voice of all the Chinese people. After the establishment of the People’s Republic of China, all ethnic groups have prospered and communicated together, and the implementation of regional ethnic autonomy has strongly guaranteed the equality and autonomy rights of ethnic minorities, promoted the development and prosperity of ethnic minorities, and enhanced the centralized unity and wealth of the country. Numerous people have made great contributions to the prosperity of the motherland, which is the solid cornerstone of China’s national unity and ethnic solidarity. Chinese people of all ethnic groups have long been integrated as one because of the same cultural background and a strong sense of national identity. This kind of national unity and friendship created by the same dragon culture and sense of national identity cannot be destroyed by any external force. From here, we can see the great practical significance of the dragon culture, and it also reflects the important role of the dragon culture in the development of the Chinese nation.
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In 1911, the Revolution overthrew the Manchu QingDynasty and abolished the feudal monarchy that had existed in China for thousands of years. As regimes changed, so did the dress culture,which is a mirror of the politics. With the establishment of the Republic of China, the biggest change in the history of Chinese national costume was the abolition of the costume hierarchy that had been followed for thousands of years. The monopolistic position of traditional costumes was greatly impacted, and with the decrease of the social status of the Manchu, fewer and fewer people wore Cheongsams.The Manchu began to wear it like the Han people. The formal costumes of Manchu and the political rule of the Qing Dynasty became history.
  
−
5.2 Spiritual Pillar of Economic Take-off
+
'''3.3.2 The Influence of the Unbalanced Economy on Cheongsam'''
  
−
In the world, it is customary to call China the “Oriental Dragon”. Since the reform and opening up in 1978, this giant dragon has truly awakened. China’s economic take-off depends on reform and opening up. Dragon Culture has played an important role in both and is a spiritual pillar of China’s economic growth.
+
Dring the Revolution of 1911, China was in a period of historical transition with ups and downs. Due to the imbalance of economic development caused by political turmoil, the change of clothing also appeared imbalanced. In general, change was seen at the upper class, whilel with little change at the lower class. With the frequent exchanges with the West, the styles and materials of clothing changed rapidly, which also accelerated the change of Cheongsam. At this time, the fabric of Cheongsam is various. With the western-style textiles poured in, Cheongsam become a new clothe of women. These foreign fabrics are soft and elastic, making Cheongsams fit well and elegant, so they are very popular. At that time, Shanghai women have begun to perm hair, wearing close-fitting Cheongsam and walking high heels, while women in Sanhe county in Hebei Province still wear the crowns three or four hundred years ago, and wrapped in "three -inche golden lotuses".
  
−
The role of dragon culture in reform is mainly to use its strong cohesive power for the Chinese nation to promote social stability and provide a good environment for reform. For more than two decades, China has made great strides in reform, but has never experienced major social unrest, it is because of the role of the strong cohesive power of dragon culture.
+
'''3.3.3 The Influence of the Collision between the Chinese and Western Cultures'''
−
 
 
−
The role of Dragon Culture in opening up is mainly to use its strong national cohesion to overseas Chinese to attract these people to invest in the mainland, thereby promoting economic development. These overseas entrepreneurs, who are also the descendants of the Yellow Emperor and the heirs of the Dragon, share the same culture, language, family ties and historical origins as thousands of Chinese people, and they also want to help the economic development and modernization process of their motherland in this way, which further promotes overseas Chinese investment in the Chinese mainland. The belief of “descendants of the dragon” is undoubtedly a great spiritual motivation for overseas Chinese to invest in the Chinese mainland, and provides a constant impetus for China’s strong development momentum.
 
  
−
China’s economy is developing rapidly, and the Chinese people also take the soaring dragon as a symbol of economic development. It is said that “the 21st century is the Pacific Century”. And China, as the center of economic growth in the Pacific Rim, will become one of the important forces of the new century!
+
The Westernization Movement in the late 19th century proposed that "Middle school for physical, Western learning for use", which greatly impacted the social dress concept at that time.  In addition to breaking the old dress system, the Nationalist Government also actively advocated the people to learn from the West and in line with the world trend. Western life and customs in the 20th century were not only novel things to Chinese people at that time, but also were connected with western scientific and technological civilization. It is precisely because of the latter that western customs have revolutionary significance for the change of Chinese traditional customs. By the end of 1920s, the style of Cheongsam had changed significantly under the influence of Western culture, such as waist tightening, length shortening, and so on. In the 1920s and 1930s, under the influence of western women's skirts, the waist began to tighten, the cuffs began to shrink, and the hem of the skirt was raised, which was similar to the western straight waist skirt. Under the intense collision of this culture, the new Cheongsam absorbs the advantages of other costumes, and quickly becomes a "fashion". On the eve of the founding of the People's Republic of China in 1949, Cheongsam was very popular in China,and almost every urban woman had one or two Cheongsams, which had become a very popular daily dress for urban women.
  
−
5.3 Inheritance Bond of Chinese National Spirit
+
'''3.4 Cheongsam after the the founding of the people's Republic of China'''
  
−
The Chinese people have cultivated, inherited and developed a deep-rooted and enduring Chinese national spirits during their long struggle. Dragon culture has played an important role in inheriting and promoting the Chinese national spirits throughout the thousands of years of history of the Chinese nation, and is a link passed down from generation to generation.
+
'''3.4.1 The Influence of the Great Cultural Revolution on Cheongsam'''
  
−
Dragon culture inherits the spirit of the Chinese nation, or a certain expectation of the descendants of the Yellow Emperor for the spirit of the Chinese nation. The dragon has a boldness that rides the clouds, a domineering spirit that penetrates the sky and the earth, an unpredictable spirit, and a righteous spirit that calls for rain and wind, showing a feature that is fearless, unstoppable, and omnipotent. The spirit of the dragon is progressive and unstoppable. From being a totem to be worshipped and revered, the dragon has gradually become a symbol of the Chinese spirit, guiding the Chinese people’s appearance. The Chinese use the dragon as a metaphor for themselves, hoping that they and their nation will be like the dragon, running freely in the sky and moving forward. The dragon’s various forms also show the characteristics of Chinese culture.
+
For quite a period of time after the founding of the People's Republic of China, opposing imperialist cultural aggression, decadent bourgeois culture and feudal cultural became an important part of Chinese cultural ideology. Under the background of continuous radicalization, "a revolution that touches people's soul" broke out, and one of whose main objectives was to carry out a "cultural" "revolution". With the launch of the Great Cultural Revolution, Cheongam was regarded as the life style of feudalism, the landlord class and the exploiting class,and became the revolution object. Not only the Cheongsam, but also the long gown, mandarin jacket and cloak were once the target of boycott. Since then, Chinese traditional clothes have almost completely disappeared. It can be said that the Cultural Revolution is exactly a revolution of traditional clothes. As a result,Cheongsam gradually declined and was replaced by a simple popular dresS. Throughout the 1960s and 1970s, the Cheongsam, along with other ornaments, disappeared on the Chinese mainland.  
 +
In the 1980s, under the historical background of reform and opening up, Cheongsam made a comeback quietly. Although it did not recover its position in the 1930s and 1940s, it again influenced the world's clothing industry as a symbol of Chinese clothing.  
  
−
The dragon runs through all dynasties, and even though our social development differs from dynasty to dynasty, the dragon is able to pass down the most basic spiritual outlook of the Chinese people. No matter how the dynasties change, the heritage of dragon culture remains the same, which is an important reason why Chinese culture is long-standing and everlasting, and dragon culture plays a very crucial role in it. Through the dragon culture, we can see the innovative, comprehensive, tolerant, enterprising and independent spirits that the Chinese have always had, and we can also find the power of the Chinese national spirits, and a nation with a strong vitality and appeal.
+
'''3.4.2 The Influence of the Reform and Openning-up on Cheongsam'''
  
−
Since modern times, the historical process of the Chinese nation moving from being a “disadvantaged group” in the world to being a big and powerful country. The progress of pursuing further development is very similar to the gesture and form of the dragon soaring upwards, which is still loved by the Chinese people today. It can be said that the essence of the dragon is in the essence of the Chinese people, and the genes of the dragon are also in the genes of the Chinese people. The pursuit and worship of the dragon and the spirits of the Chinese nation are tightly fused together.
+
Politically, reform and opening-up have promoted institutional building and innovation, stimulated the creative vitality of society, and achieved the historic transformation from a traditional society to a modern one. In terms of foreign relations, China has expanded its development and made a historic change from self-seclusion to openness.
 +
With the development of economy and the improvement of people's living standard, Great changes have taken place in Chinese clothing.People have begun to get rid of the monotonous dress system. Fine texture, rich colors and novel style gradually become the standard to measure clothing, and clothing styles at this time are also multifarious. At this time, cheongsam was no longer regarded as a feudal, bourgeois dress and reappeared in people's vision. Due to the improvement of production technology and the enrichment of material life, Cheongsam has became a kind of fashion coustume, and various fabrics were also applied to make Cheongsama solid foundation for the popularity of cheongsam.
 +
Culturally, after the reform and opening up, in addition to maintaining China's own dress culture, modern western dress culture concepts also entered China with the trend of reform and opening up. People's clothes not only focused on keeping warm, people began to realize that clothes is also a kind of culture.Although China's clothing culture has a long history, but years of isolation from the outside world, young people know little about their own country's rich clothing culture and foreign things. Once the country door was opened, our clothing culture began to connected with foreign clothing culture. Foreign clothing culture, advanced technology and clothing materials enrich our own clothing culture. A new Chinese clothing culture with the characteristics of that times has been formed, which has played a revolutionary role in people's dressing concept and made the clothing style keep pace with the times.Today, the various elements of Cheongsam are basically stable, and it has become a classic women's dress.
  
−
The Chinese have always worshipped the spirit of the dragon because it is “spiritual”. It is the spirit of the dragon that brings well-being and good luck to the Chinese people. The magnificent projects we are concentrating on now, such as economic transformation, targeted poverty alleviation, strict governance of the Party and beautiful China, can also be said to be the dragon's way to clean up the haze around itself in the process of moving forward and further optimize the environment in which it takes off, making it purer and purer. In this environment, the Chinese dragon will also gain a higher ability to take off and take its rightful place in the international community.
 
  
−
===Conclusion===
+
===4.Conclusion===
−
In short, dragons have always remembered in the hearts of Chinese people for thousands of years, occupying a vital position. In addition to spreading and inheriting the dragon culture on the Chinese nation, it has also been brought around the world by Chinese who have traveled overseas. In Chinese settlements or Chinatowns around the world, dragons are still one of the most numerous and eye-catching ornaments.
 
  
−
Dragon culture can be traced back to thousands of years ago. Maybe there is no such creature in real life, but it reflects the innovation, comprehensiveness and inclusiveness of Chinese culture. Dragon culture has become one of the most profound and far-reaching cultures in Chinese culture. It has penetrated into all aspects of Chinese festivals, myths, architecture and costumes, and has profoundly affected the Chinese nation and the lives of the Chinese people. Different from the dragon in the western world, the “dragon” has always been a good symbol in the hearts of Chinese children, representing luck, auspiciousness and hope. The dragon has a deep historical origin, promoting national unity and peaceful reunification, boosting economic take-off, carrying forward the Chinese national spirit, and showing the appearance of the Chinese nation, so all the Chinese people will proudly call themselves “descendants of the dragon”.
+
Since the reform and opening-up, with the continuous improvement of China's status, China has increasingly frequent exchanges with other countries in the world. Chinese costume culture has attracted worldwide attention. Not only in the international market,but also on the fashion t-shaped stage, it arouses great reflection and propagates, popularizes and promotes Chinese costume culture to the world. International fashion master Pierre Cardin said: "In my evening dress design, a large part of the dresses are inspired by the Chinese cheongsam." At the awards gala of the Oscars and Cannes, Gong Li's Chinese Cheongsam sparked the "Cheongsam hot" again. "Since then, even many foreign stars have worn Chinese Cheongsam to attend the world's top cultural and social occasions, thus breaking the dominance of western evening dress and becoming a representative of national clothing culture brand that transcends national boundaries."
 +
"The significance of the existence of Chinese Cheongsam is not only a" dress "but also a symbol, a pride, a sign, a symbol. In terms of dress, Cheongsam always seems to represent the quintessence of China."
  
−
The dragon has become a symbol of national spirit, signifying the unity and love, inclusion, diligence and brave, and perseverance of the entire Chinese nation. It also encourages generations of Chinese people to be brave and work hard, making the Chinese nation stand among the world and be powerful in the international community.
+
===References===
  
−
===References===
+
[1]Yuan Yingjie:The History of Chinese Costumes[M].Beijing:Higher Education Press,1994:217.
  
−
[1]Beowulf. Trans. Michael Alexander. New York：Hazell Watson & Viney Limited,1987:44
+
[2]Gao Weihong:On Cheongsam Culture and Charm[J].Modern Science,2009,3:103.
  
−
[2]顾雪梁,刘法公.中西文化对比[M].国防工业出版社,2008:75.
+
[3]Wang Lihua:Costume Culture[M].Hohhot:Inner Mongolia Press,2005:157.
  
−
[3]吉成名.中国崇龙习俗[M].天津:天津古籍出版社,2002:24.
+
[4]Tomie Yamauchi:A Study on Costume Culture of Han in the 20th century[M].Lanzhou： 
 +
Northwest University Press，2008：44-45.
  
−
[4]刘杨.论神话龙形象表征含义的变迁[G].河南师范大学学报(哲学社会科学版),2009:57.
+
[5]Tong Zhijun: Cheongsam and Women[J].Beijing:Costume Designer,2007:137
  
−
[5]王东.中国龙的新发现[M].北京:北京大学出版社,2000:221.
+
[6]Qianmin: Chengsam: The Model of Traditional Chinese Culture[J].Nanjing:The Art,2005:202.  
  
−
[6]周明初.山海经校注[M].杭州:浙江古籍出版社,2000:16.
 
  
 
===Terms and expressions===
 
===Terms and expressions===
  
−
龙图腾 the Dragon Totem
+
Cheongsam/Qipao旗袍
  
−
远古氏族社会 ancient clan societies
+
Oscars 奥斯卡奖
  
−
划龙舟 dragon boat racing
+
Cannes 戛纳电影节
  
−
《山海经》The Classic of Mountains and Seas
+
Feudalism 封建主义
  
−
《西游记》 Journey to the West
+
Capitalis资本主义
  
−
《封神演义》 The Investiture of Gods
+
The “Eight Banners” 八旗
  
−
真龙天子 the True Dragon, Son of Heaven
+
Huang Taiji 皇太极
  
−
龙袍 dragon robe
+
The Revolution in 1911 辛亥革命
  
−
龙纹 dragon pattern
+
the Spring and Autumn period and the Warring States Period 春秋战国时期
  
−
天人合一  the unity of heaven and humanity
+
Manchu 满族
  
−
汉族 the Han Ethnic Group
+
Op patterns 欧普图案
  
−
《圣经》 Bible
+
Phoenix 凤凰
  
−
《贝奥武夫》 Beowulf
+
===Questions===
−
 
+
1.Which nationality did Cheongsam originate from?
−
《圣乔治与龙》Saint George and the Dragon
 
−
 
 
−
《尼伯龙根之歌》  The Song of the Nibelungs
 
  
−
龙的传人 descendants of the dragon
+
A.Han
  
−
兼容并蓄性 inclusiveness
+
B.Manchu
  
−
民族团结和国家统一 national unity and national reunification
+
C.Miao
  
−
民族认同感 sense of national identity
+
2.Which color is the symbol of dignity and power?
−
 
 
−
东方巨龙 Oriental Dragon
 
−
 
 
−
炎黄子孙 descendants of the Yellow Emperor
 
−
 
 
−
===Questions===
 
  
−
1. How many years ago was the earliest dragon discovered?
+
A.Red
  
−
2. What do most experts now think dragons usually look like?
+
B.Yellow
  
−
3. What are the festivals related to dragons?
+
C.Black
  
−
4. Why did ancient emperors carve dragon patterns on their costumes?
+
3.Is Cheongsam always popular with the Chinese people?
  
−
5. In the architecture of the Chinese nation, what connotations are given to the image of “dragon”?
+
A.Yes
  
−
6. What is the biggest difference between the image of the “dragon” in the hearts of Chinese people and those in the West?
+
B.No 
  
 
===Answers===
 
===Answers===
  
−
1. The earliest dragons discovered are about 6,000 years old.
+
1.B
  
−
2. Most experts now concur that the dragon is a totem complex with a snake as the main body, with the head of a pig, the body of a snake, the horns of a deer, the whiskers of a sheep, the ears of a cow, the scales of a fish, and the claws of an eagle.
+
2.B
 +
 
 +
3.B
  
−
3. Festivals related to dragon culture include the Dragon Boat Festival and the Lantern Festival, etc.
+
==英语口译 张旻丰 Zhang Minfeng 202170081631==
 +
<center>'''Chinese Chess Culture'''</center>
  
−
4. The ancient emperors showed their solemn status and majesty through the dragon pattern on their clothes.
+
<center>Zhang Minfeng</center>
  
−
5. In architectural culture, “dragon” is often used as a ward off evil to protect the safety and prosperity of the family. Different dragon images can also show the power and status of the house owner.
+
===Abstract===
 +
As an abstract picture of ancient battlefield and the wisdom of people in old ages, together with the most typical representative of ancient civilization and culture, chess has been developing and famous for a long history. Up to now, the chess game has become a competitive match and is increasingly popular with chess fans both in China and overseas, at the same time, the chess has a great impact on every country where the chess covers.
  
−
6. In Chinese minds, “dragon” is usually a symbol of something good, but in the West, it represents negative images such as evil.
+
After proposing the Sapir-Whorf Hypothesis which raised how languages affect human thought, the connection between the nationality of language and the nationality of culture have become the final study intention for scholars. And that also proves there must exist close connection between language and culture. Thus, if people want to acquaint one kind of national culture, they require to study its language in advance,vice versa.
  
−
==英语口译 夏晶 Xia Jing 202170081626==
+
In this thesis, the research object Chinese chess or the international chess is actually one kind of representative of its own local culture. Perhaps, both of them have been invaded by other cultures, or have been affected by exchange of local various societies and institutions, in some degree. And finally, only illustrating their language phenomenon reflected by this kind of culture performance, its cultural connotation can be found out.
  
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<center>'''Differences of Table Manners Between China and West'''</center>
+
This thesis focuses the cultural meaning on the study of Chinese chess and the international chess, which includes the study of chess and chessboard's origin, chess piece terms meaning betweeen cultural view and meaning view.
  
−
<center>Xiajing</center>
+
===Key words===
 +
Chinese chess, international chess, cultural meaning
  
 
===Introduction===
 
===Introduction===
 +
Chess, as a popular game with the fans all around the world, represents not only the history of battlefields but also the wisdom of the ancient folks. It also reveals the lasting development of the real society, especially, in terms of social institution and cultural changes.
  
−
Manners are different in every country. Some manners that we consider are polite in China are not necessarily polite in other countries. It is widely acknowledged that Western people like to dine separately while Chinese people like to dine together. Chinese people advocate the values of collectivism, so Chinese people like to eat together and the table atmosphere in China is lively and harmonious. Besides, the Chinese hosts like to serve the dishes for their guests. But in the West, as western philosophy tends to focus on individualism and personal development, individualist values predominate in western countries. [1]So, people just like to eat the food on their plate. What’s more, it is not a mistake although western people can’t understand the way we serving dishes to guests. This is just a cultural difference between China and West.
+
As for a crucial carrier of society and culture, language plays an vital role for it. And the language, certainly, is also used to convey the messages and information of society and culture.(Wu Guohua,1994) To some extent, language and chess have something in common.
−
Food is so fundamental to our life so that all the other aspects of our living are influenced by and built on it. Healthy daily meals ensures physical fitness for us to work and play. Table manners culture belongs to the diet culture. As cultures various from country to country, so do table manners. Inevitably, there are some differences between Chinese and Western cultures. Sometimes, the differences in etiquette can cause misunderstandings between different cultures, which consequently leads to the failure of cross-cultural communication. Learning the differences of table manners between China and the West can not only enhance the understanding of the target language culture, but also help people perform well during cross-cultural communication, so as to avoid the misunderstandings caused by improper behaviors or manners. [2]In addition, with more and more cross-cultural activities, cross-cultural communication, like the bridge and ties, becomes increasingly essential. It is helpful for us to learn table manners in different countries, because there are more and more international exchanges in the globalized world and banquet is an important part in such communication. Avoiding abruptness and rudeness can ensure the activities of diplomacy go successfully. Therefore, understanding table manners and the differences of them between China and West is of great importance to promote the development of Chinese diplomacy.
 
  
−
===Table Manners in China and West===
+
Chinese chess has a long history and is an important part of Chinese traditional culture.It is a high traditional intellectual competition game. The nine palaces on the chessboard symbolize the imperial palace.帅/将 representing the emperor and士/仕representing the guards around the emperor can only walk in the nine palaces, and 相representing ministers can only walk around the nine palaces.兵/卒 representing pwans can only move forward and not retreat. This layout is a true portrayal of life in feudal society, the chess game process has the meaning of teaching and learning ancient warfare.
  
−
====Chinese Table Manners====
+
Chinese chess is simple and easy to learn, but also easy to learn but difficult to master because of its endless changes. It has cultural, educational, competitive and entertainment value and many other aspects has been loved by people since ancient times. With time going by, the Chinese chess, which carries Chinese traditional cultural genes, occupies a place in the world culture with its distinctive competitive characteristics.
  
−
For many Westerners, Chinese dinner table is quite unique and complex. At the Chinese table, you can not find forks or knives. The Chinese host makes great, sweeping arm movements that go over large sections of the table passing over food. The scene is fantastic, but it leaves the foreigners at a loss for what to do and how to do. As for eating, Chinese people usually did it quietly in the past. There was no eating noises allowed to make, and everything must be done as quietly as they could. Therefore, people had to eat with their mouths closed. Perhaps, to make a "smacking" noise was the worst offence behaviors. While they are drinking soup, wine or any other kinds of liquid, "slurping" was also forbidden. If any sound whatever was created by our intake of food or beverage, it constituted bad manners! Of course, it was unthinkable to speak with one's mouth full of food, so speaking only occurred before or after one had taken in food and swallowed it. But nowadays, you can see this scene when you are attending a formal party.
+
===Origin of Chinese Chess and Its Chessboard===
 +
When it comes to the origin of Chinese chess, also called as Xiang Qi, there are a great number of arguments about it. One of the arguments holds that the Chinese chessis derived from Shen Nong, a legendary ancient Patron of Agriculture. One of them holds that Chinese chess comes from Huang Di, a legendary ruler. However, according to Bo Wu Zhi of Zhang Hua in West Jin Dynasty, which holds Chinese chess derives from Shang Dynasty. In his book, he thinks the Chinese chess is created by King Wu, and the chess is made of ivory.
  
−
China has a long history, traditionally speaking, there are many taboos at Chinese tables, but these days not many people pay attention to them. [3]
+
There are a lot of information contained in the Chinese chess, such as the ancient strategies of battlement, layout of troops, astrology and so on. More scholars consider the Chinese chess as a fabulous production created by Han Xin during the time between Qin Dynasty and Han Dynasty. At that time, Chinese chess is applied by Han Xin for training formation of soldiers against Qin Dynasty. The evidence is that "River Chu and Border Han" are carved in the middle of every Chinese chess chessboard. While some groups of the scholars, especially the Ming Dynasty Luo Xin, holds that Chinese chess is made by Wu Emperor in Northern Zhou Dynasty due to an old history book which has written it down. But up to now, there is no specific evidence that can prove when the Chinese chess is created.
−
However, there are a few things to keep in mind, especially if you are a guest at a private home.  
 
  
−
l) Don't stick your chopsticks upright in the rice bowl. Instead, lay them on your dish. The reason for this is that when somebody dies, the shrine to them contains a bow of sand or rice with two sticks of incense stuck upright in it. So if you stick your chopsticks in the rice bowl, it looks like this shrine and is equivalent to wishing death upon a person at the table!
+
As for the Chinese chess piece, some historians claim that there are only four kinds of pieces in the Chinese chess before Tang Dynasty, which are“将，车，马，卒”.During Tang Dynasty, the pieces are increased to six which are“上将，车，马，卒，军师，王”and Bao Ying Chinese chess is the typical one which can prove this officially. And
 +
some historians also think that the piece“砲”possibly appears during Song Dynasty because“炮”referring to artillery is used in battles at that time. Since then, the shape of Chinese chess is becoming similar to what we play nowadays, and it consists of seven pieces including“车，马，砲，象，士，将，卒”.No matter when the Chinese chess originates from, there is one definite perspective that the rules and pieces of the Chinese chess are changing all the time with the developing process of social culture and are effected by the increasingly advanced weapons.
  
−
2) Make sure that the spout of the teapot is not facing anyone. It is impolite to set the teapot down where the spout is facing towards somebody. The spout should always be directed to where nobody is sitting, usually just outward from the table.
+
If it was concerned from the point of literature, Chinese chess is designed in early Song Dynasty and developed in Southern Song Dynasty. During that time, one poet named Liu Kezhuang portrays the chessboard, all kinds of pieces and even their rules. To Chinese chess, there are obvious differences in each dynasty, and some scholars think that the Chinese chess is the experiential conclusion of the development of each Chinese dynasty. From the point of Chinese chess itself, it is not easy to find out its cultural tradition and conservation. And people can also hardly understand the nature of Chinese chess only if understand the connotation of the piece term and rules in advance.
  
−
3) Don’t tap on your bowl with your chopsticks. Beggars tap on their bowls, so this is not polite. Also, in a restaurant, if the food is coming too slow people will tap their bowls. If you are in someone’s home, it is insulting the cook.
+
As for the chessboard, the Chinese chess chessboard is composed of nine straight lines and eight horizontal lines with the "River Chu and Border Han"(楚河汉界)in the middle of it, which shows such a scene of two troops opposing each other on both sides of a river. Pieces need to put on the intersections. In real history, "River Chu and Border Han"(楚河汉界)is located in the middle between King of Chu city and its opponent King of Han city. These two cities are regarded on the chessboard as two Imperial Palace areas. The number of "nine" lines and "eight" lines refer to the utmost number in ancient China, thus they stand for the length and breadth of land which equals to the whole country. In ancient China, the intention of war is to gain more land and unite other countries into the most powerful country, and the chessboard just stands for the whole land.
  
−
4) The napkins should be laid on the knee, the elbows should close to the body.
+
===Contrast between Chinese Chess Piece Terms and International Chess Piece Terms in Meaning===
 +
In this part of thesis, the author begin to discuss the meaning of every piece term in both Chinese chess and international chess, and then to conclude their differences and similarities to search for their inner link. Seven groups of piece terms are list as follows:马and Knight,車and Rook，卒(兵)and Pawn, 仕(士)and Queen，相(象)and Bishop，将(帅)and King，炮(砲)
  
−
5) Everyone should make preparation before the host or the hostess announces the beginning of the meal.
+
'''Meanig Contrast between piece马and Knight'''
  
−
6) You should let the lady on your right side begin first.
+
Both piece马and Knight are important pieces in those two sorts of chess, and they are perfectly acceptable that these pieces are widely used as cavalry. Why? According to Ancient Chinese Dictionary (2005), the Chinese character马just has two ancient meanings, the first one means a kind of beast and the second one is chip which is also written as码in Chinese. Unfortunately, there is no ideal meaning referring to cavalry from those two meanings. Through categorization, some words and expressions are classified into several groups. The characteristic of马is seen as the basic category, after classifying, the related words and expressions of马in battle, in temper, in relationship with people, status and others are regarded as subordinate categories. Adding mental analysis to these subordinate categories groups, one of those showing up the similar meaning to the symbolic meaning on chessboard, namely cavalry, is picked up. These words and expressions in the group are list as follows:金戈铁马，马革裹尸，厉兵袜马，单枪匹马，千军万马，兵荒马乱，戎马控惚，戎马生涯，招兵买马，兵强马壮，马军，战马.From these Chinese words and expressions, it is clear when the piece term马is used as cavalry. However about the international chess piece
 +
Knight?
  
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====Western Countries'Table Manners====
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In the Longman Dictionary of Contemporary English Knight has four definitions:first up, it means a man with a high rank in former times who was trained to fight with riding a horse. The second meaning is a man who has received a knighthood and has the title SIR; the next one means the chess piece with a horse's head on it; and the forth one is used as a verb, to give someone the rank of knight. From above definitions, the reason can be easily come out that on the chessboard the piece of horse's head signifies the piece Knight, which is the third definition, but in fact it refers to the first definition which means cavalry in real battlefield.
  
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There are many taboos at Western tables. It is the common sense of the Europeans and Americans to dress formally when they are attending a party. If you are invited to someone’s party, you should sit from the left side of the chair and do remember that“lady first!"
+
From the meaning of piece马and piece knight, the author have found that as to the Chinese character马，the meaning of it just stands for a kind of beast or animal and a chip. And only if the Chinese character马is used in one word or expression related to army, weapon or war, the meaning of character马here will be more detail as cavalry. Meanwhile, the piece knight can directly refer to cavalry by definition, because knight has already to be a kind of term of cavalry in Europe at that time.
  
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1) The napkin should be laid on the knees, usually you should not round the neck with the napkin, it’s not proper.
+
'''Meaning Contrast between 車and Rook'''
  
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2) Do not make any noise when you are drinking soup or eating.
+
Both of the piece車and the Rook are the most effective and direct type of piece on chessboard. But what do they stand for in battlefield? As the matter of fact, they are respectively regarded as chariot in the Chinese chess and siege tower in the international chess. Let's take a look at the definition of these two piece terms. In Ancient Chinese Dictionary, 車has three meanings. The first one means vehicle, then the second one represents windlass, and the last one is a verb which means to use windlass to do something. Obviously, in the international chess, the piece shape of piece Rook signifies the chariot, but in fact, the piece Rook signifies another kind of chariot, that is siege tower according to records, and that shape is just what the piece Rook stands for in real battlefield. As to the Chinese chess, the first definition of車is supposed to be used on the chessboard. But what kind of vehicle does車stand for? Through the categorizing, the words and expressions of車are divided into several groups which are seen as subordinate categories, the function of vehicle, the carrying capacity of vehicle, the value of vehicle, the prosperity of some place and so on. Since the Chinese chessboard is seen as a battlefield, the piece車should be regarded as the chariot which belongs to the subordinate category which is the function of vehicle including战车，兵车，马车，炮车，独轮车，敞篷车and so on. While, in Longman Dictionary, Rook only refers to itself which equals to Chinese chess車which means a kind of chariot for attacking, and as WIKIPEDIA says the piece Rook signifies siege tower initially.
  
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3) Do remember that use your right hand to hold the knife and left hand to use the fork to take food.  
+
To sum up, the meaning of Chinese chess piece term車can describe the symbolic meaning on the chessboard only through putting some Chinese characters before車，and these Chinese characters must be available to describe the function or characteristic of vehicle. While, the meaning of international chess piece term Rook can directly express the piece's symbolic meaning on the chessboard.
  
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4) Do not fork some food to eat but plow them up to eat.
+
'''Meaning Contrast between piece 卒/兵and pawn'''
  
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5) Do not stand for the foods, it is not polite.
+
The piece卒/兵and piece Pawn are the largest number of pieces in the Chinese chess and international chess, and their symbolic meaning of both denote soldiers on the chessboard. In Ancient Chinese Dictionary，兵just means weapons, meanwhile，卒
 +
has three definitions which are infantry or soldier, the second is a unit and the last one
 +
refers to death as a verb. From the categorization of the words and expressions of兵/卒，adding the analysis to those words and idioms, which is related to the meaning of soldier or army are listed as follows:无名小卒，贩夫走卒，瓦合之卒，轻卒锐兵，调兵遣将，按兵不动
  
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6) Do not wave the knife and fork in your hand, it is impolite. If you want to talk with somebody else, just put down the table wares first and then you can talk with them.
+
The author find out that in the words and expressions of卒，large part of which are used with the first definition of卒as a soldier. As to the meaning of兵，except for some words and expressions referring to weapon, the meaning in most part of them is extended as the same as solider.
  
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7) It is not proper to keep silence all the time at the table, but it doesn't mean you can keep up a constant flow of words.
+
And as to the piece Pawn, in Longman Dictionary, there are two meanings of pawn, the first means a piece in chess equals to Chinese chess piece term兵/卒，and the second denotes someone who is used by a more powerful person or group. Right here, the second meanings is its origin.
  
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===Differences between Chinese and Western Table Manners===
+
Through comparison between these two kinds of chess in meanings, some findings show that the Chinese chess piece卒，it can also directly describe its symbolic meaning on the chessboard. But the original meaning of the piece term兵can not express its symbolic meaning until the original meaning of the piece兵is extended, while the international chess  piece  Pawn  can  directly  express  its  symbolic  meaning  on chessboard as the same as its second definition indicates.
  
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As is known, there are many differences in diet concept, eating habits and eating atmosphere between Chinese and Western table manners. For example, if you are quiet on the table, it will make the master feel that he does not entertain you well. On the contrary, Western people only communicate with the guest who sits next to him, and the voice of the conversation is very light. Because others will think you are impolite supposing you talk loudly on the table. [4]So, in order to promote the exchange and integration of Chinese and Western table manners, reducing the conflict and misunderstanding, the following is about the analysis of the differences between China and West in the table from the aspect of seating arrangement, tableware placement, meals order, food culture, and payment and tips.
+
'''Meaning Contrast between piece 相/象and Bishop'''
  
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====Seating arrangement====
+
In Ancient Chinese Dictionary，the piece term相owns five meanings and the first two meanings are verbs, the first means to examine something carefully in order to find out more about it, such as相风水，the second one means to assist or help somebody such as，管仲相桓公，and then the third one stands for a person who masters the ceremonies, and the fourth one refers to song as a noun and the last one which is a adverb stands for doing or experiencing something by two people, such as互相.At the same time,the other piece term象has four meanings, the first one refers to elephant, the second means scene, such as景象，the next signifies portrait such as肖像，and the last meaning is a verb referring to imitation.
  
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Whether it is in China or in the Western countries, masters are always pay attention to their guests’ seating arrangement.According to the works of Mencius, “There should be affection between fathers and sons, affiliation between monarchs and courtiers, distinction between husbands and wives, order between seniors and juniors, and trust among friends.” In China, people advocates to compare the status of the noble and the humbler, arrange the guests’ seat according to the order between seniors and juniors. On the basis of traditional culture “the east is noble” and “the direction of facing in the main door is noble”. That is why the seat towards the east or facing in the main door is always arranged for the noblest guest. Chinese people usually use the table whose shape is round. That means reunions, harmony and peace. [5]And there is a distinction between the status of the noble and the humble. The seat directly facing the door of the round table is the main seat, and the order of table is loftiest, it is generally offered to the elderly, the main guest or the people who has high status. The seat on both sides of the main seat is secondary seat and its importance is second only to the main seat. It means that the status of the people who sits on the secondary seat is only next to the main seat’s people. The farthest seat from the main seat, the last seat near the door, is the lowest in round table. It is generally offered to the male and female owners or people who accompany guests to sit down. If it’s a family dinner, the seat is usually arranged for children. If it’s a department banquet, it will be seated by the people whose position is lower. Therefore, the order of seating arrangement has presented a thinking of distinction between the noble and the humbler to some extent.
+
Although the piece相and piece象have many different meanings, in fact they signify the same definition in Chinese chess which refers to prime minister, a civil official with highest level, namely宰相in Chinese. Here宰is a official title which means master or ruler, and相denotes to help somebody  thus宰相is equal to the person who assist the ruler to master the whole matters.
  
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Ladies first are always preferred as a traditional social rule in the West. If it is a party which invites male and female together, the most honorable seat is reserved for the hostess, while the host sits opposite the hostess. The right is generally considered as superiority in the West. In other words, seat on the right is higher than the left. Western food is usually served with a long table, and guest will center on the host and hostess. Man and woman should be seated crossly rather than adjacent to sit, and man should let the woman sit on his right side rather than in the aisle. At the period of seating, man should pull the chair for lady, and sitting after the lady.
+
As to the piece term Bishop, according to Longman Dictionary of Contemporary English, the piece term Bishop has two meanings, the first one means a piece like Chinese chess piece term相/象，the second one is a priest with a high Christian religion, who is the head of all the churches and priests in a large rank in the area. Right here, the second meaning priest is seen as the prototype of the first meaning and the it is also used on chessboard according to WIKIPEDIA.
  
−
====Tableware placement====
+
After the comparison between the meanings of the piece term相/象and piece term Bishop, it is necessary for the piece term相/象to pick up one group of subordinate category words related to its symbolic meaning on chessboard. After that, the words referring to helping somebody are list as follows, they are宰相，相国，首相，辅相. Right here, the word class of相turns out from verb to noun, at the same time, the meaning of it turns into a high level title, namely primary minister. As for the piece term象，some of the scholars believe that it is equal to the piece term相，but some others support a distinct proposal that piece term象stands for a kind of corps, namely elephant. Because the development of Chinese chess has been influenced by spreading of elephant from India. Although the record of elephant for fighting is rare, but elephant actually appears in ancient Chinese war, especially is taken advantage of ethnic minorities in South China.
  
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In China, there is tableware including chopsticks, bowl, cup, plate and so on. The layout of tableware is relatively simple. The plate is placed closest to the body, water cup is placed on the left side of the plate, and wine glass is on the right. Small plate should be put on the above of big plate, and bowl should be placed ahead to the left of the body, then spoon should be put in it. Meanwhile, chopsticks have occupied an important position in Chinese food culture since ancient times. Chopsticks are essential on the Chinese table. It should be careful not to lick the residue on the chopsticks, and put down your chopsticks when talking to others. Don’t stick chopsticks in the food or use them to beat anything. It is impolite to point at others with chopsticks and use chopsticks to pick teeth or get something. In the West, people tends to use knives, forks, spoons, cups and so on, and the tableware placed more complicated than China’s. People often put tray in the middle, fork on the left and knife on the right.[6] The tip of the knife must be placed up and the edge of the knife should be placed inside. If the knife and fork or other tableware is fallen to the ground, it is a decent way of asking the waiter to help you pick up than picking it up by yourself. Put the spoon on the plate, staple food on the left and tableware on the right before dinner. Meanwhile, you will find that the placement of cups is also exquisite. The order that the glasses are placed variously according to the type of wine, from left to right is spirits wine glasses, wine glasses, champagne glasses and beer glasses.  
+
As to the meaning of piece term Bishop, namely priest with high level title, it can directly stand for its symbolic meaning on chessboard.
  
−
====Food Culture====
+
Between the meanings of piece相/象and piece Bishop, the author find out that it is obvious that different kinds of chess pieces can reveal different civilizations. The piece term相/象refers to the feudal official with highest level who assists the ruler of country to manage the whole civilians and other crucial matters. And the piece term Bishop stands for the highest rank priest of Orthodox or Catholicism in medieval Europe.
  
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There is a Chinese saying,"food is the basic of the people, taste is the basic of the food." In the Book of Rites, Confucius has also talked “dining between male and female are the most basic important requirement”. It can be seen that the Chinese people attach great importance to diet. In the same way, Mr. Sun Zhongshan had said that, “it shows that the skill of cooking is not good if you can’t distinguish the taste well”. So the charm of Chinese food is “taste”. Chinese people often say whether a dish is delicious depending on its color and flavor. Chinese people are emotional thinker, that is, people are more sensitive to food than the rational. And people often comment on a dish depending on whether it’s delicious or not rather than its nutrition when they taste the food. Because of paying attention to the taste of food, Chinese people will often ignore the basic nutrition of food. The traditional foods like spring rolls and deep-fried dough sticks, the nutrients of the foods are lost after frying or prolonged stewing. [7]On the other hands, due to Chinese people regarding the “taste” of dishes as very important, so here are five kinds of cooking methods: steaming, boiling, roasting, frying and stir frying. Therefore, there are eight major famous cuisines, or eight styles of dishes. They are Shandong cuisine, Sichuan cuisine, Cantonese cuisine, Fujian cuisine, Su cuisine, Zhejiang cuisine, Hunan cuisine and Anhui cuisine. It makes Chinese food standing in the world food.
+
'''Meaning Contrast between 将/帅and King'''
  
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But in the West, their dishes are more reasonable than China’s in terms of nutrition. The western diet concept is very reasonable and they attach great importance to nutrition balanced collocation and pay attention to science and nutrition. In the West, people usually care about how many proteins, fattiness, vitamins and calories their food contain, and they also consider the absorption of food for nutrition. On the contrary, they don’t care whether the dishes and the taste are good or bad. Because these foods are nutritious and can satisfy the needs of their body functions, they still eat even if the food seems to be unappetizing. For example, Westerners usually eat a cup of milk or oatmeal, a few slices of bread, a fried egg plus a few slices of meat in the morning. And scientists point that such breakfast is very healthy and meet the nutrition and enough energy needs of the body.
+
As an ancient chess with long-term history, the Chinese chess has two similar and important pieces, the piece将and piece帅.And the meaning of piece term将is equal to the piece term帅in Chinese chess，but they belong to opposite side.
  
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====Tableware use====
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In Ancient Chinese Dictionary, as to the meanings of piece term将，it has nine meanings, but only one of them is relevant to leading army. Although this is a verb which denotes to lead somebody to do something, its nominalized meaning signifies general that is phenomenon widely used at that time. This is a kind of verbal nominalization which  results  from  the  metaphor  conceptualization.  Metaphor conceptualization is a common cognitive competence for human people. Lakoff(1999) and Johnson believe that metaphor conceptualization is mainly realized by conceptual metaphor. Hu Zhuanglin(2000) figured out that in the process of conceptual metaphor, one object can turn into another object due to the change of lexical level inside them, however, there also must exist the similar basic attribute in them. As for the piece term帅，there are three definitions found out in total. The first definition as a noun means emperor similar to the meaning of piece term King, and the second one as a verb means to lead somebody to do something which is just like the meaning of the verb of piece term将discussed above, and the last one refers to obey someone or something else. Thus the first definition of piece term帅is used to describe its symbolic meaning on chessboard. From the categorization of the words and expressions of piece term将\帅，the subordinate categories words similar to the meaning of general are listed as follows:王侯将相，将遇良才，调兵遣将，将门虎子，精兵强将，丢车保帅。
  
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The difference about the use of tableware between China and the west is always very distinct. Chinese use chopsticks, spoon, bowl and plate. Chinese tackle any food with chopsticks and spoon. Meeting changes with constancy can describe Chinese tableware. Chinese feel proud about it for long and regard it as a symbol for advancement. Westerners cut food with forks, knives, spoon, bowl and plate. They cut food with knives and forks while serving food in plates. And they have a special spoon for soup. The most iconic tableware between China and the West are chopsticks and knives and forks have an effect on the lifestyle also shows two different kinds of wisdom. It’s common that different regions have different cultures and influences on people in there. Diet, which is important in our daily life, can also influence the tableware between China and West. Since ancient times, Chinese subsisted mainly on agriculture and their staple food is rice and noodles that can be easily placed food in mouth with chopsticks. But in many Western countries, their ancestors live in a hunting lifestyle and their staple food is kinds of meat that they have to cut big animals up with edge tool. These two almost the opposite cultures are reflected in the diet and naturally be embodied in the choice and use of tableware.[8] Chinese always eat together that partly due to chopsticks and they like to sit around the table while eating like a big family. It makes Chinese keep stronger traditional family values than Westerners. And, the opposite eating system in the West are caused by knife and fork. This extends their free spirit, and independent nature.
+
And, as to the piece King, it is also an essential one which plays a decisive role in the international chess. In Longman Dictionary, the basic meaning of king signifies a man who is a ruler of a country because he is from a royal family and of course, it represents the most important piece in chess.
  
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====Payment and Tips====
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In contrast to the piece term King, the meaning of the piece term将/帅all represent the general or emperor nowadays which is different from king. In the matter of fact, before Song Dynasty, instead of piece将/帅，the piece王is used on chessboard. Since Song Dynasty, the piece将/帅are added and limited in Imperial Palace area. The reason arises from the different history background, that is since Song Dynasty, both将and帅prefer to stay in palace or military camp rather than lead army against enemy.But for piece King, it can directly express its symbolic meaning on chessboard and tend to be the meaning of ruler of country and can move everywhere on chessboard, that is because in medieval Europe, kings always lead their lords and armies to fight against enemies on battlefield.
  
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Chinese people like to pay for their guests. In China, if two people have a meal together, generally, one of them would pay for the other. And if many people eat together, people are usually seen to grab bills. However, in Western countries, it is common to pay for bills separately. The AA system is not a new thing on their table.
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'''Meaning Contrast between 仕/士and Queen'''
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Tips are originated in British restaurants in the 18th century. As long as you put a small amount of money in the bowl of the dining table, you can get the service as fast as possible. Then this method has been applied to other industries. [9]In the West, many countries have a tipping approach. It not only provides an important income for service personnel, but also can be exchanged for customers with satisfactory services. Tips are performed privately. Westerners usually put tips under the tea tray or wine glass, or directly stuffed it in the hands of the waiter. Or they don’t take the change when paying the account. However, tips can’t be seen in China.
 
  
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===Reasons for the Different Table Manners Between China and West===
+
As for the piece term仕/士，these two Chinese characters stand for the same meaning, and just used for different sides. From the views of some scholars, these two pieces are admitted as the similar ones as the piece queen, but not totally identical due to different cultural and social backgrounds. In Ancient Chinese Dictionary the piece term士has five meanings, the first one means the laudatory title of man, the second refers to the lowest nobility, the third one denotes intellectuals, the forth one signifies the office of jail and the final one means soldier who is used to be on the chariot to fight against enemies which is different from卒，because卒refers to the soldier who used to fight on foot. At the same time, the piece term仕only has three meanings, the first meaning is equal to that of piece term士，namely intellectuals, and the second denotes officer, then the third one represents maid in a imperial palace.
  
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People don’t grow to maturity without regulations, it will do unsuccessful if you do not follow the rules, and the state will not be peaceful without patriarchal etiquette. Every kind of traditional etiquette can reflect the culture it represents. So, different table manners in China and the West are influenced by many factors, such as climate, religions belief, lifestyle, cultural connotation, the impact of gender and age and so on.  
+
The piece term Queen is the most powerful piece in the international chess, in Longman Dictionary queen has several meanings, one of which means a piece in chess, and in fact, this piece refers to the female ruler of a country. Besides it, the piece term Queen can also denote a related meaning which is a transferred one of it. For example, Tammy Whnette is the queen of country music(queen here means the woman who is regarded as the best at a particular activity or in a particular field). This meaning of the piece term Queen is showing the metaphorical attribute transference of it.
  
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====Climate====
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Through comparison between meanings of piece term仕or piece term士，there are not any related meaning as similar as the piece term Queen. In this case, scholars have proposed three different point views about it to illustrate what the piece term仕/士  really stands for. Some scholars believe that the piece term仕/士stands for guard of emperor, another scholars hold that it represents military counselor of emperor. These two point views can be achieved in the subordinate category of仕/士as follows:身先士卒，将士，悬车致仕，学而优则仕.And the other scholars suppose that it signifies wife of king, because the Chinese chess is seen as epitome of Chu-Han Contention, the piece term仕and piece term士refer to the wife of King of Chu and the wife of King of Han. Although these three point views are not similar at all, they have two common characteristics which are that all of what they signify are always working in imperial palace and accompany with emperor. Thus no matter what the most accurate meaning of the piece term仕/士stands for, there is only one major responsibility for guard, officer and maid to do, that is to protect or service their emperor, even if losing their lives.
  
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As we all know, China lies in the southeast of the Asian continent. The southeast of China is near the ocean and the northwestern part is a large area of desert. And the topography of China is high in the west and low in the east, showing a ladder-like distribution. The area of mountains and plateaus is vast and the distance from east to west is about 5000 kilometers. Therefore, the combination of temperature and precipitation is varied, forming a wide variety of climate. Due to the geographical differences in each region, people in all regions usually live according to actual conditions. Therefore, Chinese staple food is usually rice and pasta. However, many western countries have a temperate maritime climate, which influenced by the westerly winds and warm current from the ocean, so that the sunshine time is short and the whole year is mild and rainy, suitable for the development of animal husbandry. So Westerners are used to eating meat.  
+
To sum up, the piece term仕/士possibly stand for guard, military counselor and wife of the emperor. While the piece term Queen  refers to its symbolic meaning on chessboard which is just one female ruler of a country. Right here, the third meaning of term仕/士，namely wife of king, is similar to queen, so in some degree, the meaning of piece term仕/士can equal to that of piece term Queen.
  
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====Religion belief====
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'''Meaning of piece炮/砲'''
  
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The Chinese cultural traditions for thousands of years are reflected in Buddhism, Taoism and Confucianism. The Buddhists believed that people needs to be compassionate and help others out of trouble. [10]For example, the tableware “chopsticks” are made from nature, and the cost of chopsticks is cheap and its workmanship is simple. Moreover, the whole use of chopsticks is collective work, which can’t be completed without either party. It shows that the Chinese nation is centered on collectivism. But in the West, people generally believe in Christianity. The Christian doctrine believes that god created man and the basis of Christian ethics is original sin. Adam and Eve, the human ancestors, committed crimes because they ate the forbidden fruit, and passed on to their descendants, which becomes the root of all evil.
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The meaning of piece term炮is equal to piece term 砲which is the particular piece for Chinese chess in contrast to international chess. In Ancient Chinese Dictionary炮/砲only has one meaning which means artillery which can be used to express its symbolic meaning on chessboard.
  
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Therefore, the theory of original sin has been developing into the original sin culture in Western countries, which has a profound influence on the Western people’s psychology. So, Western countries advocate democracy, freedom, equality and individualism. And Christians are forbid to eating bloody food and offerings. In the past, Christians have a simple ritual before dinner, crossing their hearts to thank god for the gift. So, Westerners think highly of superiority are not as strong as China’s in table manners.  
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According to definite research, the piece炮/砲is added to the Chinese chess during Tang and Song dynasty. Because at the time of that dynasty, gunpowder is applied to shell, and that is what we called as炮in Chinese. However, before Tang dynasty, stone is the only material used as shell, and we call it as砲in Chinese. So Chinese chess use炮and砲to represent ancient Chinese artillery for different sides.
  
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====Lifestyle====
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===Conclusion===
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This study is about the Chinese chess and the international chess with the view of cultural meaning, which is closed linked with combination between language culture and language meaning, and both of them can not be separated, but depend on each other closely. In this study, the origins and chessboards of Chinese chess and international chess are explained and compared through the view of culture, and then the meanings of these kinds of chess piece terms are analyzed and compared by semantic view or rather cognitive metaphor. Through the combination of culture and meaning, each piece of them can be illustrated accurately and elaborately.
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Culture and life are inseparable. Chinese people advocate eating and chewing food slowly. So three meals a day are usually hot and they pay attention to the color and aroma. And there are a variety of cuisines in China, such as Sichuan, Guangdong, Shandong and other regional cuisines and snacks, which are more adapted to the use of chopsticks and other tableware. But in the West, people pursuit freedom and their sense of rhythm are also strong. So they usually eat cold breakfast and dinner, only hot for lunch. Due to the Westerners’ fast-paced life, the fastfood industry is prevalent in the West.
 
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====Cultural Connotations====
 
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Since ancient times, China has been deeply influenced by Confucianism. Confucius regarded “kindheartedness” as the highest moral standard, and Taoists advocate the idea of “harmony with nature, quiet and inaction”. And Buddhists advocate delivering all living creatures from suffering compassionately. So, China has formed the ethical standard which is the core of Confucianism, including love, justice, etiquette, knowledge, integrity, tolerance, filial piety, fraternal love and so on. For example, in Chinese people's concept of self-cultivation, regulating the family, governing the country and the world, character is of crucial importance, which is based on his concern for the country, love for the team, harmony of his family and interpersonal relationship. If he only cares his own interest, his character would be devalued greatly.
 
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However, most people in the West believe in Christianity. They think God created all things, and God is omnipotent and unique. So, Western countries advocate freedom, democracy and equality, proclaiming the power of the individual, focusing on personal values and individualism. In the West, people have a strong legal concept. They advocate individual liberty, do what they want to do and do not want to be interfered by government, church, or any other organization. At home, children grow up with the concept of self-reliance. Young people always want to be independent as early as possible in order to get rid of their parents. They do not want over-reliance on their family and parent; otherwise, they will lose their freedom as well as the respect from other people. Chinese culture is totally different with the western's on this point. For Chinese people, family is the most important collectivity. Chinese parents cherish their children so much that they even want to do everything for them. For example, when their children become adults and get married, they would provide them with a profile wedding ceremony. When their children have children, they would take care of their grandchildren rather than enjoy an ease and peaceful old life. They put all their hopes on their children and take too much care of them, resulting in theirs poor self-care ability. Even in today's transition from planned economy to market economy, the workers of state-owned enterprises extremely reluctant to lost their permanent job. The dependence is the heritage of Chinese traditional culture and has a far-reaching impact on the cultural concept of modern Chinese people.
 
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====The Impact of Gender and Age====
 
  
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In oriental culture, men are usually highly respected, which is mainly due to the impact of the concept that men enjoy more respect in the feudal society. Whereas in modern society, oriental culture also argues the equality between men and women, but that is not always the case. Men still enjoy more superiority than women in many situations and the phenomenon that women are discriminated still exits. In Western countries, the respect for women is a traditional custom and "Ladies First" is one of the principles of Western social activities. Men have to take care of women in any public places. As the inter-generational relation, Chinese people honor and respect the elderly particularly. In Western countries, because of the concept of independence of children, many elderly people often feel lonely and bleakly in their later life.
+
From the superficial aspect of Chinese chess and the international chess, the most evident findings are that in Chinese chess there are seven kinds of pieces which are車，马，象/相，卒/兵，将/帅，仕/士，炮/砲，while for international chess there are only six kinds of pieces which are Rook, Knight, Bishop, Pawn, King and Queen. In order to contrast them clearly, the pieces with similar meanings can be classified as follows:马and Knight, 車and Rook，象/相and Bishop，卒/兵and Pawn，将/帅and King，仕/士and Queen, and炮/砲.From final results of contrast, some scholars raise a hypothesis that most of the pieces between Chinese chess and international chess are much similar, so they may be derived from the same original chess which people have not known yet. As related investigations show that, the earliest ancient Chinese chess is discovered in Spring-Autumn Dynasty about during the 7th BC to 4th century BC. While, the modern international chess is derived from shatranj which is an ancient Persia chess, and this Persia chess comes from an ancient India chess named Chaturanga which appeared ranging from the 4th century BC to 3rd century BC according to reliable records. By the comparison of their appearance time, the Chaturanga spread from Chinese chess could be deduced but lack of provable evidence.Another similar points are that as the oldest edition of modern international chess, the Chaturanga also has six kinds of pieces which are king, Counselor, Elephant, Knight, Rook and Pawn. Right here the piece Counselor is much similar to the piece仕/士，and the piece Elephant resembles Chinese piece象/相. But from the definite discoveries of study, there are only some connections proved between them in culture, but not confirming that this kind of chess comes from Chinese chess.
  
−
===Conclusion===
+
Through the comparison about the meanings of corresponding piece terms between Chinese chess and international chess, some findings are discovered: for the meanings of Chinese chess piece terms, always they can not describe the symbolic meaning on chessboard directly. Because some of them are with many different meanings, namely, polysemies,such as piece马，piece車，piece仕/士，piece卒/兵;some original meaning of Chinese chess piece terms are derived from verb, among the groups of将/帅，相/象，the original meanings of将and相are verbs. And there is only one piece term which can describe the symbolic meaning on chessboard directly, that is piece炮/砲.
 +
While for the international chess piece terms, almost all of them are able to describe the symbolic meanings on chessboard with their original meanings directly.
  
−
Chinese food and Western food are one of food cultures. Despite that different social histories, different ethnic cultures and different geographical features, different diet backgrounds have been existed between China and the West, the connotation of “eating” won’t change because of these differences. It has become the consensus of Chinese and Western food to emphasize variety of food, balanced nutrition, rational matching and health. As part of the social culture, table manners not only embody custom and culture of a country, but also reflect the cultural connotation and values of a nation. Through the differences between Chinese and Western table manners, we have opportunities to learn about the differences between Chinese and Western cultures. If we have a good understanding of the differences of table manners between China and West, we will avoid cultural conflicts and some contradictions, and ensure the progress of exchanges smoothly. Just as the saying goes, “While in Rome, do as the Romans do”. Understanding the differences of table manners between China and the West, as well as the reasons for these differences, is a good way to understand the local culture. That permits expressing ideas accurately and properly in cross-cultural communication. Similarly, it can avoid communication obstacles and misunderstandings caused by inappropriate ways or behaviors. It can also further improve the success of economic and cultural exchanges and cooperation between China and West, promoting the development of both sides. For foreign language learners, they can learn more about the foreign language. By knowing about Western custom and culture, they can easily understand the profound cultural connotation and improve cross-cultural abilities. This lays a solid foundation for Chinese people and Western people to enhance further cooperation and exchanges.
+
On balance, in describing the meanings between Chinese chess piece terms and international chess piece terms on chessboards, the meaning of Chinese chess piece terms are not as concrete as international chess pieces terms. That is to say, international chess piece terms can express the symbolic meaning of what the piece stands for on chessboard directly, but it always doesn't go for the Chinese piece terms. Such as the piece象，people can not regard it as primary minister at the first sight, maybe just an elephant instead (although this kind of thought is supported by some people, it is still lack of some evidence). But for its counterpart,the international chess piece term Bishop, people could image a picture of priest easily in their mind, because its original and unique meaning is its symbolic meaning on chessboard. And this phenomenon is also a performance that the Chinese character is usually more abstract than English word.
  
 
===References===
 
===References===
 +
*[1]Fillmore,C.J. 1975. An alternative to checklist theories of meaning [C]// C. Cogen,H. Thompson,GThurgood,K.Whistler&J.Wright.  Proceedings  of  the  First  Annual Meeting of the Berkeley Linguistics Society. Berkeley; Berkeley Linguistics Society:123一131.
 +
*[2]Lakoff, G Women, Fire, and Dangerous Things What Categories Reveal about the Mind[M].Chicago and London: University of Chicago Press,1987.
 +
*[3]Langacker, R. W. Concept, Image, and Symbol[M]. Berlin: Mouton de Gruyter,1990
 +
*[4]Liu Shilan刘适兰.从国际象棋与中国象棋的异同看中西方文化差异[J](The Cultural Diferrences between China and Western Countries from the Perspective of International Chess and Chinese Chess).武汉体育学院（Wuhan Sports University），第37卷，第5期，2003.
 +
*[5]Li Xiaoyi李潇逸.从国际象棋看欧洲中世纪父权制（ Patriarchy in Medieval Europe  from  the Perspective of International Chess）[J].中国会议(Chinese Conference).2011.06.
 +
*[6]Wang Xiaopeng王晓鹏.中国象棋与国际象棋比较分析(A Comparative Study between Chinese Chess and International chess)[J].沈阳:东北大学(Northeastern University)，2007.
 +
*[7]Zhang Zaihong张再红.词汇文化语义的认知研究(A cognitive Research on semantic lexical culture)[D].南京:华东科技大学(East China University of Science and Technology)，2009
  
−
[1] Strauss, C. L. The Origin of Table Manners [M]. USA: University of Chicago Press, 1999.
+
==日语笔译 曹梦然 Cao Mengran 202170081632==
−
+
<center>'''Chinese Wedding Costumes'''</center>
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[2] Sizhi Xiong. The Mystery of Chinese Diet. [M] Henan. Henan people press. 2014.
+
<center>曹梦然</center>
−
 
 
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[3] Pamela, M. S &Kathryn, R. D. Food and Culture in America [M]. USA: Wadsworth Publishing Company, 2015.
 
−
 
 
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[4] Scollon. Intercultural Communication: A Discourse Approach [M]. Beijing: Foreign Language Teaching and Research Press, 1995.
 
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[5] Visser, Margaret. The Rituals of Dinner [M]. London: Penguin Group,2012.
 
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[6] Xiaoping Duo. A Brief Introduction to Chinese and Western Culture from the Perspective of Food. [M] Lanzhou: People Press. 2005.
 
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[7] The Comparison of Chinese and Western Table Manners[C].Proceedings of 2016 2nd International Conference on Education Technology,Management and Humanities Science(ETMHS 2016).,2016:520-523.
 
−
 
 
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[8] 彭陈艳.The Difference of Table Manners between China and the West[J].青春岁月,2016(19):235.
 
−
 
 
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[9] 孔凡利.中西方不同餐桌礼仪折射下的价值观差异[J].湖北开放职业学院学报,2021,34(11):186-188.
 
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[10] 林伟杰.中西方国家饮食文化与餐桌礼仪对比分析[J].大众文艺,2019(20):261-262.
 
−
 
 
−
===Terms and Expressions===
 
−
 
 
−
individualist values个人主义价值观
 
−
 
 
−
cross-cultural communication跨文化交际
 
−
 
 
−
forks 餐叉
 
−
 
 
−
smacking 咂咂声
 
−
 
 
−
slurping 叭嗒叭嗒地吃
 
−
 
 
−
prescribe规定
 
−
 
 
−
taboos 禁忌
 
−
 
 
−
spout of the teapot茶壶嘴
 
−
 
 
−
tableware placement 餐具摆放
 
−
 
 
−
Mencius 孟子（孟子是战国时期伟大的思想家、政治家，儒家学派的代表人物。与孔子并称“孔孟”。）
 
−
 
 
−
There should be affection between fathers and sons, affiliation between monarchs and courtiers, distinction between husbands and wives, order between seniors and juniors, and trust among friends. 父子有亲,君臣有义,夫妇有别,长幼有序,朋友有信。
 
−
 
 
−
department banquet 部门聚餐
 
−
 
 
−
aisle过道
 
−
 
 
−
lick the residue 舔筷子
 
−
 
 
−
spirits wine glasses 烈酒酒杯
 
−
 
 
−
The Book of Rites 《礼记》
 
−
 
 
−
spring rolls 春卷
 
−
 
 
−
deep-fried dough sticks 油条
 
−
 
 
−
balanced collocation of nutrition 营养均衡搭配
 
−
 
 
−
oatmeal 燕麦粥
 
−
 
 
−
cultural connotation文化内涵
 
−
 
 
−
patriarchal etiquette 宗法礼仪
 
−
 
 
−
topography 地势
 
−
 
 
−
ladder-like distribution阶梯状分布
 
−
 
 
−
precipitation 降水量
 
−
 
 
−
pasta面食
 
−
 
 
−
westerly winds西风
 
−
 
 
−
warm current 暖流
 
−
 
 
−
husbandry畜牧业
 
−
 
 
−
omnipotent 全能的
 
−
 
 
−
inter-generational relation 代际关系
 
−
 
 
−
===Questions===
 
−
 
 
−
1、What are differences between Chinese and Western table manners?
 
−
 
 
−
2、What are reasons for the different table manners between Chinese and West?
 
−
 
 
−
3、How many kinds of cooking methods are there in China?
 
−
 
 
−
4、What types of major famous cuisines are there in China?
 
−
 
 
−
===Answers===
 
−
 
 
−
1、Seating arrangement, tableware placement, food culture, tableware use, and payment and tips.
 
−
 
 
−
2、They are climate, religions belief, lifestyle, cultural connotation, and the Impact of gender and age.
 
−
 
 
−
3、There are five kinds of cooking methods: steaming, boiling, roasting, frying and stir frying.
 
−
 
 
−
4、There are eight styles of dishes. They are Shandong cuisine, Sichuan cuisine, Cantonese cuisine, Fujian cuisine, Su cuisine, Zhejiang cuisine, Hunan cuisine and Anhui cuisine.
 
−
 
 
−
==英语口译 向师琦 Xiang Shiqi 202170081627==
 
−
<center>'''The Collision between Confucian Culture and Chinese Modernist Literature'''</center>
 
−
 
 
−
<center>Xiang Shiqi</center>
 
−
 
 
 
===Abstract===
 
===Abstract===
−
As the traditional political culture of China, Confucianism permeates all aspects of Chinese national thought, behavior and political life. While influencing Chinese political culture, Confucianism is also constantly being combined with the most popular culture of the times. As the most dominant culture in China today, Chinese modernist literature is merging and colliding with Confucian culture. This paper aims to examine the connotations of Confucianism and Chinese modernist literature in political culture and to analyze the positive and negative influences of Confucianism on the fusion of Chinese modernist literature. It is hoped that the study will enable people to understand, inherit and carry forward the excellent Confucian culture, thereby further improving the overall quality of the nation and enhancing the effectiveness of ideological and political education.
+
In Chinese history, the embroidered red dresses, the phoenix coronet & colorful embroidered capes and the red head kerchiefs that Han people wore on their wedding ceremony were customized-made in Qing dynasty and early Minguo. The wedding dresses in Ming dynasty made the phoenix coronet & colorful embroidered capes and the red head kerchiefs, etc. popular in Han dynasty for 500 years. But the New Cultural revolution, the Cultural Revolution and the opening reform in recent and contemporary ages made the Chinese traditional wedding culture change a lot, and some are almost disappeared. Today, the Chinese traditional wedding and traditional wedding dresses became popular, but the confusion is which dynasty that the Chinese traditional wedding dresses of Han nationality can be dated. To study the evolution of Chinese traditional wedding dresses from Ming dynasty to today is to make modern people know more about Chinese traditional wedding dresses of Han nationality, to enlighten the designers today and make them creative and thoughtful to design Chinese traditional wedding dresses .  
  
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In Chinese history, Confucianism has been the official guiding ideology of feudal society since Emperor Wu of the Han Dynasty adopted Dong Zhongshu's advice to "dismiss a hundred schools and revere only Confucianism". As the mainstream of traditional Chinese culture, Confucianism has played a pivotal role in the history of feudal China for over 2,000 years and has had an immeasurable impact on shaping the national character and spirit of the nation. Exploring the collision between Confucianism and modern Chinese culture is of great theoretical and practical significance to the development and construction of modern Chinese culture.
+
===Key words===
 +
Traditional wedding dresses in Han nationality; The phoenix coronet& colorful
 +
embroidered cape; wedding accessories
  
−
As the backbone of ancient Chinese thought and culture, traditional Confucianism has always occupied a dominant ideological position from the two Han dynasties to the Ming and Qing dynasties. At the same time, the values advocated by Confucianism became the core values of traditional society. It is therefore of great importance to study the collision between Confucian culture and modern Chinese culture.
 
−
===Key words===
 
−
Confucian culture; Chinese modernist literature; political culture; national comprehensive quality; ideological and political education
 
 
===Introduction===
 
===Introduction===
−
Confucian culture is a cultural school with Confucianism as its guiding ideology. Confucianism was created by Confucius in the Spring and Autumn Period, who advocated blood relations, social achievements, self-cultivation and moral rationality. Its central ideas are forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness. In the new era of socialism with Chinese characteristics, inheriting the essence of Confucian culture plays an important role in promoting China's socialist modernization. The inheritance of Confucian culture can effectively promote the five-pronged construction of China's political, economic, cultural, social and ecological civilization. Each of us should be the disseminator of excellent traditional culture and contribute to the great rejuvenation of the Chinese nation.
+
When it comes to Chinese wedding dresses, not only foreigners but also most Chinese people are believed to be very unfamiliar with it. What should Chinese wedding dresses look like? Why is the Chinese wedding dress worn by modern people different from the feudal era? What is the "phoenix coronet & colorful embroidered capes" that is mentioned in the book? The wedding dress is a microcosm of the entire Chinese culture. As China's internal turmoil and various cultures spread and developed in the modern era, the wedding dress has changed its look, introduced different elements, been abandoned, and has been rediscovered in modern times. To understand the look of wedding dress, we must look at it from a historical perspective.
−
 
 
−
In the course of the development of Confucian culture, how to integrate modern Chinese literature with it is significant. Based on this, a large number of scholars and research institutions have carried out research and analysis on it. The earliest scholars who studied the integration of Confucian culture and contemporary modern culture were Japanese scholars. Japanese scholars believed that the role of traditional Confucianism itself was limited and that it should be interrelated with the culture related to modernization. Korean scholars believed that Confucianism lies in the development of contemporary culture. The influence of Confucianism on politics and the corresponding political spirit should be fully considered. American scholars made a full study and analysis of the integration of Confucianism and modern culture, mainly from the past, modern and corresponding values, pointing out the profound connotation of Confucianism and Confucianism. Want to change in the evolution of modern society and its corresponding role.
 
−
 
 
−
As China's traditional political culture, Confucian culture runs through all aspects of China's national thinking, behavior and political life. Confucian culture influences Chinese political culture while it is also constantly combined with the most popular culture of the times. As the most mainstream culture in China today, Chinese modernist literature is blending and colliding with Confucian culture. The purpose of this paper is to study the connotation of Confucian culture and Chinese modernist literature in political culture and to analyze the positive and negative effects of Confucian culture on the integration of Chinese modernist literature. Through this study, we hope that we can make the people understand, inherit and carry forward the excellent Confucian culture, so as to further improve the overall quality of the people and enhance the effectiveness of Ideological and political education.
 
−
 
 
−
This essay aims to explore the collision between Confucianism and modern Chinese culture. The structure of this paper is as follows:
 
−
The second section of this paper will specifically analyze the contemporary value of Confucianism. In the third section of this paper, I will introduce the combination of Confucianism and modern Chinese literature. In the third section, I will give some ways to realize the value of excellent Confucian culture in Chinese modernist culture. The next part will illustrate the contemporary insights from Confucian culture. And in the final part, I will make a brief summary of this paper.
 
−
 
 
−
===The Contemporary Values of Confucianism===
 
−
For our country, Confucianism is the hallmark of Chinese culture, as well as the unique spiritual symbol and soul of China, which under its own characteristics can make China stand among the nations of the world. In the current multicultural context, various cultures are flooding into China and impacting Chinese culture. If China does not have its own culture, especially Confucianism, then China will have lost its soul. For this reason
 
−
The leaders of the country also attach great importance to culture and have been close to Confucianism three times in one year, considering the study of Confucius and Confucianism to be "an important way to understand the historical origins of the spiritual world of Chinese people today".
 
−
 
 
−
For schools, Confucian culture is conducive to the realization of the ideological and political education objectives of universities, as Confucian culture advocates such moral cultivation methods as "self-reflection" and "prudence", which are in line with the standards of socialist successors required to be cultivated by the ideological and political education objectives of universities. At the same time, Confucian culture is also conducive to the formation of a correct worldview, and outlook on life and values, helping university students to fully understand their responsibilities and missions; secondly, Confucian culture can enrich the content of ideological and political education in universities, combining Confucian culture with ideological and political education in universities, allowing university students to achieve the purpose of patriotic education through the understanding, appreciation and analysis of Confucian culture, and enhancing Finally, Confucianism culture has certain significance for the teaching concept of colleges and universities. Teachers should respect students, pay attention to them, try to explore the bright spots in their bodies, and at the same time constantly promote students' self-education so that they can see their own value.
 
−
 
 
−
Personally, society as a whole is gradually modernizing, but at the same time this has brought about some problems for mankind. In addition to the often mentioned environmental problems between man and nature, there are also problems between man and man, such as the alienation of man, the lack of morality and the confusion of life. Confucian culture is an excellent culture with rich connotations and abundant wisdom, which can give full play to its own characteristics and provide valuable guidance and direction to solve these problems of people.
 
−
 
 
−
===The Combination of Confucianism And Chinese Modernist Culture===
 
−
The Confucian culture was combined with political systems, political relations and certain economic bases within a certain period, which in turn led to the formation of the corresponding political culture. In the course of its historical development, Confucianism has been the dominant ideology of traditional Chinese political culture.  We can see that Confucian culture has changed in connotation accordingly from ancient times to the present day, but its corresponding development has a historical inheritance. Confucian culture followed the idea of "harmony" in its early emergence, followed the idea of putting people first and emphasizing "people" in the course of its historical development, and in its later years, it emphasized the idea of "applying knowledge to the world and learning from it", stressing the unity of knowledge and practice. In terms of political culture, Confucianism emphasizes the idea of integrity in politics. It emphasizes that the moral quality of politicians and the ability of saints should be raised to a certain level. It emphasizes that the upper class of the state should have the awareness of the people.
 
−
In the course of its continuous development, Confucianism has continued to merge with contemporary culture. Its corresponding basic characteristics are mainly manifested in the following three points.
 
−
As the dominant culture of modern Chinese culture, modern Chinese literature represents contemporary Chinese thought and influences, to a certain extent, people's daily behavior and habits. In some important cultural and literary works, it even represents the dominant thought of the era. Contemporary mainstream modern Chinese literary culture emphasizes the same core values as Confucianism. The values of benevolence, righteousness, propriety, wisdom and trust permeate people's daily lives while guiding their habits and daily behavior.
 
−
The collision between contemporary Chinese modernist literature and Confucianism is conducive to the better dissemination and development of Chinese political culture in three main ways, corresponding to the following:
 
−
1) Promoting education in worldview
 
−
The integration of ideas is conducive to a better grasp of Marxism, further promoting people's worldview education and helping them to establish a correct worldview. The integrated Confucian culture embodies simple materialism and dialectics, which has much in common with the core ideas of Marxism.
 
−
 
 
−
2) It is conducive to improving life outlook education
 
−
It is conducive to helping educators to develop a correct outlook on life and helping people to develop a "selfless" outlook on life, as well as a view of life in the service of the people.
 
−
 
 
−
3) Promotes education on collectivism
 
−
It is conducive to helping people develop a sense of family and country, a sense of subordination of individual interests to national, social and collective interests, and a collective consciousness that "the rise and fall of the world is the responsibility of the individual".
 
−
 
 
−
===Ways to Realize the Values of Excellent Confucian Culture in Chinese modernist Culture===
 
−
In terms of the integration and collision of excellent Confucian thought with contemporary Chinese literature, the methods and relevant details of realizing the value of excellent Confucian thought in Chinese modernist culture are as follows.
 
−
 
 
−
(1) Consciously accepting the influence of excellent Confucian culture and improving personal moral cultivation
 
−
The corresponding details are mainly reflected in the need to improve the ability to discriminate, cope with the impact of cultural diversity, practice excellent culture, achieve the unity of knowledge and action, internalize the value connotation of culture in the heart, to externalize the value connotation of excellent Confucian culture in action, and to advocate the practice of Confucian cultural thought in study, life and work. I would like to combine it with contemporary Chinese culture.
 
−
 
 
−
2) Emphasis on school education, allowing Confucian culture to enter schools
 
−
Its concrete measures are mainly reflected in entering primary school campuses to play an enlightening role, entering secondary school campuses to play an inculcating role, and entering university campuses to play a guiding role.
 
  
−
3) Use social power to create an educational atmosphere
+
===The History of Chinese Wedding Dress===
−
Adhere to academic taste, classics to the masses and popularize Confucian culture. Enterprises should incorporate excellent Confucian culture and promote a correct view of interests. Enterprises should combine Confucian culture with contemporary cultural products and integrate relevant Confucian culture into the institutional and spiritual culture of the enterprise. In terms of cultural popularization, the power of parks and grassroots mass organizations can be used to popularize Confucian culture.
+
Wedding dress in China has regional differences, as well as differences in time and ethnicity, but there are still some distinctive features that distinguish it from other countries. Historically speaking, the wedding clothes of the Tang and Song dynasties laid the foundation for Chinese wedding clothes, and after the Ming dynasty, Chinese wedding clothes took shape and have been used ever since. Let's talk about the characteristics of the Ming Dynasty wedding clothes.
 +
The most familiar Han wedding dresses today are the colorful embroidered dragon and phoenix, phoenix coronet and colorful embroidered capes, big red capes, A few people know that more than 3,000 years ago in the Zhou Dynasty, the color of wedding dresses was black and red, and this mainstream wedding dress color system lasted until before the Sui and Tang Dynasties. The development to the North and South Dynasties also once appeared white dresses, to the Song Dynasty, the court nymphs of the six dresses, the wedding dress is cyan. By the Ming Dynasty, the big red wedding dresses we are familiar with only had a clear shape.
 +
The Ming Dynasty established the custom of celebrating in red. When getting married, the bride usually wore a large red blouse with a long green skirt underneath. The bridegroom theoretically wore a ninth-ranking official's uniform, a hairpin wusha hat and long boots, and a red silk belt. Below are cartoon drawings that visually reflect the image of wedding costumes at that time.
  
−
===Contemporary Insights from Confucian Culture===
 
−
(1) Incorporate the essence of Confucian culture into the ideological and political education of university students
 
  
−
Confucian culture has important inspirations for the ideological and political education of contemporary university students. The Confucian culture emphasizes the need to establish ambitious aspirations. Confucius said: "The three armies can be more handsome, but a man cannot take away his will. During university studies, students should set up ambitious ideals, study diligently, strive to build a solid foundation of theoretical knowledge, enrich their skills in practical exercises, improve their skills to serve the people and strive for the communist cause for the rest of their lives. At the same time, students should pay attention to cultivating the quality of being helpful to others, and be good at helping their classmates to answer questions and solve problems in their studies. The excellent Confucianism, such as "loving people with benevolence" and "restoring rituals to oneself", should be introduced into the ideological and political education of students, and we should practice them in our study life. To become a good youth of the new era. Finally, contemporary students should also adhere to the principle of honesty, as no one can be established without trust. There are many other essences in Confucian culture, which should be incorporated into the ideological and political education of students.  
+
===6.3.1 The phoenix coronet===
 +
During the 400 years from the Ming Dynasty to the modern era, men could wear ninth-grade official uniforms when they married, while new brides used phoenix coronet and colorful embroidered capes. The phoenix coronet, as the name implies, is a cap in the shape of a phoenix, usually made of iron or silver. The rich use gold and Kingfisher feather art. It is decorated with pearls and precious stones. It is shown in the picture below.
  
−
(2) Promote the integration of excellent Confucian culture into the contemporary economic development of China
+
===6.3.2 colorful embroidered capes===
 +
The phoenix coronet and colorful embroidered capes appeared as a set of ornaments, originally meaning a gorgeous silk fabric that women used to drape over their bodies. "The colorful embroidered capes were used by Taoist masters as their vestments. The custom gradually evolved, and in the Song Dynasty, colorful embroidered capes became an accessory to the consort's regular clothes and the dresses of the princesses, with different embroidery patterns depending on the rank. In the Ming Dynasty, the wives of consorts and officials all wore colorful embroidered capes, but the consorts used vermilion and gold threads to embroider dragon and phoenix patterns, while other women could only use capes in dark blue without embroidery patterns. For the marriage of common people, women could wear phoenix coronet colorful embroidered capes.
  
−
Confucian culture advocates faith, and in contemporary society, faith means being honest and trustworthy and not deceiving others. Only in this way can we create a good business and consumer environment and implement the concept of honesty in all aspects of production, management, exchange and consumption, so as to speed up the healthy flow of economic activities and create more wealth for the people. In reality, all major merchandising platforms must operate in good faith, abide by their principles, put consumers first and provide them with the best services to achieve steady and rapid economic growth.
+
===6.3.3 head covering===
−
In reality, all major merchandising platforms should operate with integrity, abide by their principles, put consumers first and provide them with the best services, achieve steady and rapid economic growth and realize common prosperity for all people at an early date. As for Confucianism, we should remove the essence of the culture, remove the falsehoods and preserve the truth, effectively promote the integration of good Confucian culture into the construction of the contemporary Chinese economy, and contribute to the achievement of high-quality and sustainable development of the Chinese economy.
+
The prototype of the cover is the ancient veil, which is a red cloth over the bride's head. The cover is covered from the time the bride leaves the boudoir until the male family enters the bridal chamber, when the groom picks it off or uncovers it with a scale. The material of the barrier surface is mostly silk gauze, silk gauze net of things, its thin and transparent does not obstruct the bride's vision. But also with a slightly thicker fabric made, the form of more square scarf or cap type. Covered in the head, long to between the ears, neck, chest and even to the feet a few feet, and vary with the times, different regions. The color is mostly red. There are two kinds of head coverings: round and square, sometimes with colorful embroidery on the head coverings.
 +
6.4 Evolution of wedding clothes in Qing Dynasty
 +
The Qing dynasty dress system changed dramatically, and men used robes and mandarin jacket as formal wedding dresses due to Manchu policies. But in general the first and middle of the Qing Dynasty women's wedding clothes still continued the style of the Ming Dynasty. In the late Qing Dynasty, influenced by men's mandarin jacket, women began to commonly use black mandarin jacket and red skirts as wedding dresses. The waistcoat was embroidered with gold and silver threads with dragon and phoenix patterns, as shown in the picture below.
  
−
(3) Promote the core values of socialism and disseminate the essence of Confucian culture
+
Women's skirts still follow the popular "horse face dress" of the Ming Dynasty. This skirt has two light surfaces in front and behind the body without pleating, and it was popular in the Qing Dynasty to decorate the light surfaces in front and behind with gorgeous embroidery.
  
−
The core values of socialism in the new era are "wealth and strength, democracy, civilization, harmony, freedom, equality, justice, rule of law, patriotism, respect for work, honesty and friendliness". There are many similarities with the Confucian culture, for example, there are also similarities between "the people are precious" and "democracy", as Mencius also emphasized: "The people are precious, the community is second, and the ruler is light. There is a degree of similarity, albeit a difference in degree, with today's emphasis on full respect for the subjectivity of the people and the promotion of their democracy. "Ritual" is consistent with civilization in that it emphasizes the need for people to live in peace and be courteous in dealing with others and building a harmonious socialist society. It requires people to treat each other with honesty and integrity in daily life and to exercise self-discipline. "Justice" and "rule of law" are a transcendence of "benevolence" and "righteousness", and it can be seen that the core values of socialism are similar to the essence of Confucianism. In promoting the core values of socialism, we should combine them with the essence of Confucian culture, promote advanced socialist culture and advance the construction of socialist modernization in China.  
+
===6.5 Chinese Wedding Dresses Since Modern Times===
 +
The mandarin jacket and skirt were still the main wedding clothes at the beginning of the Republic of China, initially black gown and red skirt with the wedding clothes at the end of the Qing Dynasty, and then gradually became popular to red gown and red skirt, whose color was more bright and eye-catching. Until now, the color of the coat and skirt still retains the form of red coat and red skirt. The collar of the gown is "Chinese style" stand-up collar, no slit and sash, the length of the sleeve is also different from the cheongsam, the gown is long-sleeved, but the Republican period gown sleeve length is shorter than the Qing Dynasty, the cuffs are also small. The sleeve length of the dress in the Republic of China period was about 5 cm above the wrist, in order to allow the bride to display the bracelets, bangles and other accessories worn. The skirt coat is relatively loose, with only a small waist, which is different from the cheongsam's emphasis on the female figure. The dress coat must also be worn inside a long coat and pants worn inside.
 +
The westernization of wedding clothes also took place at the same time. The westernization of wedding clothes began in the late Qing Dynasty, and flourished in the middle of the Republic. In the late Qing Dynasty, the Qing court was in internal and external difficulties, and the country was in decline. In order to save the peril, a large number of foreign students were sent to study abroad, and the army also changed to train a new army. Among the Chinese students and soldiers, western-style student's drill clothes, drill caps and western-style military uniforms and caps first appeared. The importation of foreign clothes provided another reference system for judging beauty and directly influenced the change of social dress concept. In this context, it is not surprising that the fundamental changes in Han wedding costumes were understood and accepted by people. Thus, in Shanghai from the 1920s to the 1940s, both the style and the shape of clothing were Western in style. Women's clothing gradually became more and more fitted from wide clothes and sleeves. It was at this time that wedding dresses combining East and West began to appear. In this period in China, centered on Shanghai and other major cities, women wore Chinese cheongsam with western veil, and men wore suits or long shirts and hats, and Chinese wedding dresses did not have a uniform standard and blossomed, following the owner's preference. The picture below shows the popular wedding dresses at that time.
  
−
(4) Strengthen education on gratitude and build a harmonious socialist society
+
===6.6 Chinese wedding clothes exit the stage of history===
 +
For economic and political reasons, one of the phenomena that occurred between the early days of liberation and the Cultural Revolution was the disappearance of traditional wedding clothes.
 +
The special nature of wedding clothes no longer existed, and the so-called acquisition of wedding clothes was nothing more than making a new dress. In this era of extreme material scarcity, the purchase of a new dress became a great luxury. The period from the founding of the People's Republic of China to the Cultural Revolution The period between the founding of the People's Republic of China and the Cultural Revolution was a time of hardship and simplicity. Since the country's economy was at a low level of development, hardship and simplicity became the common fashion of the times, and people mostly wore blue, army green or gray clothes. At a time when the standard of living was quite low, there was no The standard of living was quite low, there was no extra income to buy extra clothes, so the traditional wedding costume was replaced by regular clothes. dress. This practice also embodied the proletarian spirit of hardship and simplicity and was advocated by people at that time. At the same time At the same time, in those times of class struggle, wearing wedding dresses and western clothes to get married was feared to be described as aspiring to a bourgeois lifestyle. The need to get married as a matter of human nature took a back seat to the needs of the revolution and the need to work.
 +
In the early years of the founding of New China, China's politics, economy, military and culture were all modeled on the Soviet Union, and Soviet clothing became a symbol of the revolution.
 +
Soviet clothing became a symbol of the revolution, and Soviet dresses instantly swept across China, Lenin's dress and the Bragi being two distinct examples.
 +
The Lenin suit was a typical costume for female cadres in the late 1950s, and was actually a modification of the suit, which was worn by Lenin before and after the October Revolution.
 +
After the October Revolution, Lenin often wore this style of clothing, the revolutionary enthusiasm of people in order to completely separate it from the suit, so it was given It was given the name "Lenin Suit", which was full of proletarian colors, as a proof of the revolutionary determination to follow the Soviet Union's example. This was a testament to the determination to follow the Soviet Union's example. The Lenin suit was once popular among women, and the fashionable dress for women was to wear the Lenin suit and have short hair to show their heroic The revolutionary style of heroism.
 +
In the late 1950s, when a leader of the former Soviet Union visited China, he suggested that Chinese clothing did not fit the image of a large socialist country and that women should all wear flowery clothes.
 +
Women should all wear flowery clothes to reflect the thriving face of socialism. At one time, the floral bragi became fashionable. Bragi is the Russian translation of the dress, the style is extremely simple: loose short-sleeved, bubble pleated skirt, simple round collar, and The fabric color pattern was mainly floral, plaid and stripes. This style is healthy and lively, not pretentious, and has been popular for a long time. This style was also used in the summer to wear when getting married.
 +
It can be said that after the founding of New China until the eve of reform and opening up, Chinese wedding dresses and even weddings were basically extinct in mainland China.
 +
6.7 Chinese wedding clothes after the reform and opening up
 +
With the reform and opening up, with the emancipation of the mind, people's dressing style also began to become more and more diversified. While more and more young people are choosing Western-style weddings, traditional Chinese weddings are also favored by many tradition-loving Chinese people. Due to the long break in generation, there is a lack of craftsmen who can make traditional wedding clothes in mainland China, so people imitate the clothes of the previous generation and adapt them into the Chinese wedding clothes that are now popular in mainland China. This is the so-called "xiuhe dress".
  
−
Education on gratitude is very important for the development of society. Thanksgiving education mainly includes: "filial respect for parents, respect for teachers, love for others, love for the motherland, and gratitude for nature." Respect for teachers means respecting teachers in academic life, humbly accepting their advice and striving to improve oneself to become even better. Loving others means having a loving heart and treating those around you with kindness. We should also love our country, which is a great land in which we are growing up healthy and strong, and cherish it and be grateful to it. Learn to be grateful to nature, live in harmony with nature, respect the laws of nature, act in accordance with objective laws, and strive to build a harmonious socialist society. The ideas of filial piety and fraternal brotherhood emphasized in Confucian culture are similar to gratitude education. In contemporary society, only when a person learns to be grateful can he or she go farther and higher. If we all learn to be grateful, then society will certainly become more harmonious.
+
This wedding dress is still part of the Chinese wedding costume, but its structure and cut are very different from its predecessors. The traditional Chinese cut was abandoned in favor of a more body-hugging Western cut. Since the horse-faced skirt was lost, the skirt was commonly made into a straight skirt with a piece of cloth sewn on the skirt to make it look like a horse-faced skirt. The body of the dress is embroidered with gold and silver threads with dragon and phoenix designs.
−
 
+
In recent years, more and more people are calling for wedding dresses should be from ancient times, and young people are trying to imitate the wedding customs of various Chinese feudal dynasties, including wedding dresses. As for what exactly Chinese wedding clothes should look like, there is actually no definite conclusion today.
−
(5) Advance the ecological conservation and build a beautiful China
 
−
 
 
−
The ancient sages of China emphasized the "unity of heaven and man", which means that the relationship between man and nature should be well coordinated to achieve a harmonious co-existence between man and nature. In Confucianism, man and nature as a whole must be in a relatively stable state, and both "too much" and "not enough" will result in an ecological imbalance, thus disrupting both. In Confucianism, man and nature as a whole must be in a relatively stable state. Without ecological balance, the evolution of life and mankind would be unsupported. If ecology flourishes, civilization will flourish; if ecology fails, civilization will fail. To build an ecological civilization, we must take the carrying capacity of the resources and environment as the basis, the laws of nature as the guideline, sustainable development and harmony between man and nature as the goal, and firmly follow the path of civilized development with development in production, prosperity in life and good ecology, so as to build a beautiful China.
 
−
 
 
−
===Conclusions===
 
−
Generally speaking, Confucian cultural values have existed for thousands of years and have been the source of their longevity in the construction of family and state culture into a dualistic structure of family and state, shaping the Chinese people's traditional virtues of hard work, and respect for the elderly and love for the young. This is constructive and the path to the construction of core socialist values. The Chinese people's traditional virtues of hard work, respect for the old and love for the young have been shaped by the dual structure of the family and the state. Therefore, a sound institutional mechanism for the construction of core socialist values should be established to ensure that the core socialist values are The Chinese people's traditional virtues of hard work, respect for the elderly and love for children has inspired the construction of socialist core values. The core values of socialism should play a leading role in the construction of culture in China.
 
−
 
 
−
The transmission of traditional Confucian culture needs to be passed on and innovated from generation to generation. And a nation without innovation and change can hardly stand in the forest of the world's nations. Confucianism is not only the source of strength of contemporary Chinese culture, but also the core of the traditional culture and national spirit of the Chinese nation, and an important basis for our next generation to establish themselves in the world and build socialism. The development of individuals and nations needs to be rooted in the soil of culture and draw on its nourishment.
 
−
 
 
−
===Questions===
 
−
1. What are the central ideas of Confucian culture?
 
−
 
 
−
2. When was Confucianism created?
 
−
 
 
−
3. Where did the earliest scholars who studied the integration of Confucian culture and contemporary modern culture come from?
 
−
 
 
−
===Answers===
 
−
1. Forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness.
 
−
 
 
−
2. Japan.
 
−
 
 
−
3. The Spring and Autumn Period.
 
−
 
 
−
===References===
 
−
*[1]张奇.儒家文化的传承及其当代启示[J].边疆经济与文化,2021(05):110-112.
 
−
*[2]徐茜妍.试论传统儒家文化的现代价值[J].汉字文化,2021(11):194-195.DOI:10.14014/j.cnki.cn11-2597/g2.2021.11.086.
 
−
*[3]勾宇威.论新时代育人理念对优秀儒家文化的借鉴与发展[J].高校马克思主义理论教育研究,2021(04):122-128.
 
−
*[4]董雅华.论儒家文化的价值重估与传承[J].天津师范大学学报(社会科学版),2016(02):27-32.
 
−
*[5]邓雨巍,陈立勇.从传统到当代:儒家文化与铁人精神的时代关联[J].长江丛刊,2020(32):1+10.
 
−
*[6]张珊.儒家文化价值观的构建路径及其当代启示[J].现代交际,2020(19):218-220.
 
−
*[7]邹广胜.儒家文化的当代反思[J].中央社会主义学院学报,2019(02):81-88.
 
−
 
 
−
==英语口译 向望 Xiang Wang 202170081628==
 
−
<center>'''Fandom Culture in China'''</center>
 
−
 
 
−
<center>Xiang Wang</center>
 
−
 
 
−
===Introduction===
 
−
 
 
−
A fandom is a subculture composed of fans characterized by a feeling  of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity.  Fandom culture, or the so-called "fanquan" culture, refers to online youth  communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.  
 
−
 
 
−
===The Evolution of Fandom Culture===
 
−
 
 
−
===Comparison of Fandom Culture between China and Other Countries===
 
−
 
 
−
===The Impact of Fandom Culture===
 
  
 
===Conclusion===
 
===Conclusion===
−
 
+
There is no exact definition or form of Chinese wedding dress. It has a long history and is rich in variations of forms, but had been transformed and abandoned for economic and ideological reasons, among others. Nowadays, more and more people are taking Chinese traditions seriously, and it has become a modern Chinese trend to keep digging into the marriage customs of ancient feudal dynasties. I believe different people will have different answers as to what Chinese wedding clothes should look like. Perhaps in the near future, traditional Chinese wedding dresses will still shine in China.
 
===References===
 
===References===
 +
[1] 王宏付.民国时期上海婚礼服中的“西化”元素[J].装饰，2006，（5）
  
−
===Terms and expressions===
+
[2] 徐莉.试论婚礼服饰的变迁[J].北京城市学院学报，2006，（3）
−
 
 
  
−
===Questions===
+
[3] 姚君洲.论女性婚礼服在中国的发展趋势[J]，徐州教育学院学报，2001，16（01）
−
 
 
−
===Answers===
 
  
−
==英语口译 徐舞 Xu Wu 202170081629==
+
[4]许星.苏州地区民间传统婚礼仪俗及衣着饰物探析[J].装饰，2006，（3）：97
−
<center>'''The Analysis Of "Chi+O"'''</center>
 
  
−
<center>Xu Wu</center>
+
[5]史林.对白色婚礼服流行的几点思考[J].苏州丝绸工学院学报，1996，3（1）
  
−
===Abstract===
+
[6] 邓雅，梁惠娥.探源中华婚礼服饰[J].辽宁丝绸，2007，（4）
−
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
 
−
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
 
−
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
 
−
typical significance to choose the verb "Chi" with object as the research object. Based
 
−
on the research results, this paper attempts to make a comprehensive and multi angle
 
−
investigation and research on the phenomenon of "eat" with object through corpus data
 
−
statistics. This paper mainly discusses the phonetic distribution, semantic types and
 
−
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
 
−
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
 
−
the perspective of word meaning, food objects are the first; From the perspective of
 
−
deep semantic structure, patient object is still the most typical type of object. Secondly,
 
−
by summarizing the diachronic changes of "Chi" with object, we find that the types of
 
−
object increase after "Chi". The reasons include the change of word meanings, cultural
 
−
influence, network development and so on.
 
  
−
===Key words===
+
[7] 孟萍萍.中国传统婚礼服民族特性的表现[J].广西轻工业，2007，23（5）
−
Chi; Object
 
  
−
===Introduction===
+
[8] 许星.中国古代民间婚礼仪俗中的着装风格初探[J].苏州丝绸工学院学报，1998，18
−
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.
+
（6）
  
−
===Literature Review===
+
[9] 陈莉娴，林柏芯，唐诗韵等．香港都市人之古今婚俗[R]．中国文化考察报告，1999
−
Through extensive reading and material analysis, the following research directions can be summarized.
 
  
−
1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification
+
[10] 香港博物館．本地华人传统婚礼．香港市政局．1986
  
−
Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.
+
[11] 周锡保．中国古代服饰史．中国戏剧出版社[M]，1984
  
−
2.Analysis from the perspective of cultural linguistics
+
===Terms and Expressions===
−
 
+
凤冠 phoenix coronet
−
Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.
 
  
−
3. Analysis from the perspective of English and Chinese
+
霞帔 colorful embroidered capes
  
−
Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.
+
点翠  Kingfisher feather art
  
−
4. From the perspective of teaching Chinese as a foreign language
+
马褂  mandarin jacket
  
−
Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.
+
马面裙 horse face dress
  
−
5. From the perspective of metaphor and metonymy
+
秀禾服 xiuhe dress
−
 
 
−
Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".
 
−
 
 
−
===Research Significance and Corpus Sources===
 
−
 
 
−
"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
 
−
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.
 
−
 
 
−
===The syllable distribution of "Chi" with object in modern Chinese===
 
−
 
 
−
1.Syllables
 
−
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.
 
−
 
 
−
2.Statistics
 
−
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:
 
−
 
 
−
Syllable Type Total Percentage
 
−
Monosyllable 7128 54.43%
 
−
Two-syllable 4736 36.16%
 
−
Three-syllable 1006 7.68%
 
−
Four-syllable 144 1.24%
 
−
Four or more syllables 58 0.49%<math>Insert formula here</math>
 
−
 
 
−
3.Conclusion
 
−
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.
 
−
 
 
−
===The word meaning distribution of "Chi" with object in modern Chinese===
 
−
 
 
−
1.Word meaning
 
−
 
 
−
"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.
 
−
 
 
−
2.Statistics
 
−
 
 
−
According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:
 
−
 
 
−
Word Meaning type Total Percentage
 
−
Tool 440 3.37%
 
−
Food 10736 81.99%
 
−
Place 24 0.19%
 
−
Abstract noun 1680 12.84%
 
−
Colloquialism 210 1.61%<math>Insert formula here</math>
 
−
 
 
−
3.Conclusion
 
−
 
 
−
There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.
 
−
 
 
−
===The semantic structure of "Chi" with object in modern Chinese===
 
−
 
 
−
1.Semantic structure
 
−
 
 
−
According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".
 
−
 
 
−
2.Statistics
 
−
 
 
−
As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:
 
−
 
 
−
Object type Total Percentage
 
−
Recipient object 10792 82.41%
 
−
Object of place 212 1.62%
 
−
Result object 1472 11.24%
 
−
Instrumental object 836 4.73%<math>Insert formula here</math>
 
−
 
 
−
(3)Conclusion
 
−
 
 
−
According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.
 
−
 
 
−
===Reasons===
 
−
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".
 
−
 
 
−
===Conclusion===
 
−
 
 
−
The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.
 
−
 
 
−
First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.
 
−
 
 
−
Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.
 
−
 
 
−
Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
 
−
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.
 
−
 
 
−
From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".
 
−
 
 
−
===References===
 
−
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.
 
−
 
 
−
[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.
 
−
 
 
−
[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.
 
−
 
 
−
===Terms ans Expressions===
 
−
Chi+O 吃+宾语  phonetic distribution 音节分布  semantic types 词语义类型  deep semantic structure 深层语义结构  recipient object 受事宾语   metaphor 隐喻
 
−
 
 
−
metonymy 转喻  Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库  conceptual meaning 概念义  color meaning 色彩义
 
  
 
===Questions===
 
===Questions===
−
Where does the word "Chi" rank in the top 8000 words that are used most frequently?
+
When did Chinese wedding dresses start to revere red?
  
−
How many types can word meaning be divided into and what are they?
+
What led to the extinction of Chinese wedding dresses in China itself?
  
−
What’s the main reasons why the number of object types after “Chi” increased?
+
What are the origins of modern wedding dresses?
  
 
===Answers===
 
===Answers===
−
It ranks 77th.
+
1. The beginning of the Ming Dynasty
−
 
 
−
Two types. They are conceptual meaning and color meaning.
 
−
 
 
−
They are cultural influence, network development and changes in word meaning.
 
  
−
==英语口译 张静芝 Zhang Jingzhi 202170081630==
+
2. Changes in the dominant ideology and the constraints of productivity level
  
−
==英语口译 张旻丰 Zhang Minfeng 202170081631==
+
3. The popular mandarin jacket and skirt of the Qing Dynasty
−
 
 
−
==日语笔译 曹梦然 Cao Mengran 202170081632==
 

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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

英语口译 向望 Xiang Wang 202170081628

Fandom Culture in China
Xiang Wang

1.Introduction

A fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity. Fandom culture, or the so-called "fanquan" culture, refers to online youth communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.

2.Fandom

History

Although early fandom was strongly perceived as a fandom culture involving a few fanatic people, it has recently brought about a shift in perception that can be accessed in a variety of ways only by the name of a star or related search terms on portal sites, which is largely due to the development of the Internet and media.

Among the numerous fandoms in cyberspace, especially the nation’s “idol” fandom has steadily expanded its influence in various ways to date. In the past, idol fandom culture was called “girl culture” or “teenage culture” and was considered primarily an immature culture for teenage girls, while the third-generation idol fandom has recently expanded to men and over 40s, exerting an influence on cultural consumption aspects for all generations.

Fan relationship

Parasocial relationship is a one-sided relationship as a result of constant exposure to a media persona that a celebrity demonstrates. This then causes fans to develop an illusion of an intimate relationship or friendship. Idols are typically trained to have and form close connections with their fans which leads to this close-knit connection becoming a parasocial relationship. Idols do this through parasocial interaction. Parasocial interaction between fans and idol(s) is a start at explaining fandom culture. The idol(s) become a “parasocial-kin”, an object of consumption and parasocial interaction; such as a family member or a friend. This “parasocial kinship” is defined by how an individual would treat an extended family member, allowing for further understanding of the positive and negative aspects of the idol/fan parasocial relationship.

Celebrities are icons that are driven by their presence in majorly media-driven societies. As time, society, and culture progress, the idols must change and form along with it. The best way that this is represented is through social media.

Fansumer

“Fansumer” is a compound word of “fan” and “consumer.” This means consumers who participate in production, in other words, productive consumers. Then, the fan base, which was classified as a fandom, turned into a very active fan who focused on the interaction of planning, investing and checking while participating in the overall production and production process for products or entertainers, not just one-sided love and purchase for one-sidedly.

Fansumer’s sphere of activity is very wide. As mentioned above, they invest in startup idea products, engage in corporate product development, engage in marketing activities as supporters, and support or criticize celebrities or influencers, not to mention fostering celebrities before their debut. The driving force behind these Fansumer’s activities is the pride that ‘it was made by me.’ It’s called Byme Syndrome, noting the efficacy of being created by me.

Fan behavior

Positive

Members of idol fandoms may better themselves in the pursuit of their obsession, such as by studying to enter the same university as their idols, learning foreign languages to follow their idol’s career abroad, or learning image-processing techniques to edit photos of the idol. Fans’ role in creating their own fan content allows for idol groups to gain mainstream exposure in the west, and have tours abroad.

Negative

Stalker fans are considered to have become overly obsessed with a public figure and engaged in behavior that constitutes an invasion of privacy. Stalker fans may disguise themselves as a stage hand or manager to approach the star or pretend to be reporters in order to gain entry to a press conference. Many fans use the Internet and social media to find and track the location of their idols. Some of the fans came to the group’s hostel, stole the members’ underwear, took pictures of them sleeping, and later sent the pictures to the members by text message. Many normal fans have an unpleasant feeling about such fans’ actions. Paparazzi also exist in China and Zhuo Wei is one of the most famous ones. They report on the private lives of celebrities in the Chinese entertainment industry and have violated privacy by exposing secrets and illicitly taken photos.

3. Fandom culture

Overview

Fandom culture is not new. Long before the internet, fan clubs were organizing gatherings, publishing magazines, and writing fan fiction. But in the early 2000s, the rise of social networks fundamentally changed the face of fandom, turning it from a pleasant communal activity into something competitive, chaotic, and even abusive.

In China, the main driving force behind this evolution of fandom is Sina Weibo, the largest social media platform in the country. In addition to helping enthusiasts find their communities, Weibo also brought celebrities and their supporters closer together by breaking down the wall between them. At its core, the way Weibo operates in the world of fandom is no different than its global counterparts like Twitter and Instagram. But if in the West the relationship between stars and their fans can be called one-sided — fans just follow, consume content, or copy the lavish lifestyles on display — in China the relationship is more co-dependent.

The fan circle members are believed to be mostly Generation Zers born after 1995, and their number has grown significantly in recent years. In 2020, about 8 percent of China’s 183 million underage netizens engaged in reputation-boosting activities for their idols, according to a recent report from the China Internet Network Information Center.

The status quo of fandom culture in China

For many young people in China, particularly those born after the 1990s, fandom culture—which can be traced back to the idol worship of the 1980s and 1990s—has offered a rare avenue for identity formation and community building in society. As networked and often highly organized communities of fans rallying around their beloved idols, “fandoms” have enabled close parasocial interactions in which fans feel a kind of intimacy with the object of their shared interest, as well as a sense of active participation that can be empowering and identity-forming.

Examples of fandom culture include the hit show “Idol Producer,” which launched in January 2018 on the online video platform iQiyi and empowered fans to select and promote their favored contestants from among 100 aspiring performers. The ultimate goal of the program was to select nine performers to form a brand-new male idol group. As fans organized to promote their favored idols through social media platforms, their interactions were fueled by Gen Z-focused services like live-streaming and live commerce.

Fandoms have become big business in China. A report published by iResearch Consulting Group put the market value of the fan economy in China at close to $620 billion in 2019 and estimated that the fan economy would grow a further 50 percent by 2023.

It would be easy to dismiss fandoms as shallow and celebrity-obsessed, but the highly organized online communities forming around China’s fandoms have already demonstrated their potential for both social activism and political organization. Perhaps the most prominent example of online fandom communities’ potential for political expression came in 2016, when the so-called “Diba expedition” saw thousands of highly organized cyber-nationalists, mostly “fan girls,” mob the Facebook account of Taiwan’s newly elected leader, Tsai Ing-wen.

Fandoms and their capacity for collective action were also one of the largely untold stories of China’s fight against the COVID-19 epidemic in its early stage. In January 2020, as it became clear that an epidemic had emerged in Wuhan and surrounding areas, the government response was far too slow in many key areas, including the provision of protective equipment. By contrast, the networks already formed within fandom culture—the same that allowed mobilization in support of chosen idols—enabled the rapid marshalling of resources. On Jan. 21, 2020, one day after China confirmed human transmission of COVID-19, the fan network of Zhu Yilong, a young actor originally from the city of Wuhan, mobilized funds to purchase more than 200,000 protective masks. These and other supplies were delivered to Wuhan within 24 hours, offering much-needed support for medical personnel and others on the front lines. The aid offered by the Zhu Yilong network is just one of many examples of how online groups provided a crucial means of support amid a rapidly unfolding crisis.

4. Fandom culture in the wave of social media

Fandom culture has been around for centuries. However, it is the emergence of social media in recent decades that has led to the remarkable transformation and development of fandom culture. Most obviously, fans play a more active role. They are not like completely passive receivers in the past but participate in the production process of cultural products on their own initiative. All these phenomena show that fandom culture profoundly impacts the economy, culture, society, and other fields.

The impacts of digital networks

Many processes, such as forming fan groups and creating fandom culture, require communication and interaction. However, due to the limited means of communication, in the pre-Internet era, communication between fans was always hindered in various ways, either by long distances or inconvenient schedules. Henry Jenkins argues that the emergence of digital networks has made it possible for fans who might not otherwise have met to have meaningful conversations and has created a new context that fans can share. It is reasonable to declare that those barriers mentioned above have been broken in a digital network environment where the degree of fan interaction is much higher than in the pre-Internet era, as is the degree of fandom culture development.

The interaction between social media and fan engagement

In the first 10 years of the new century, the world Internet gradually developed from Web1.0 to Web2.0. Compared with Web 1.0, Web 2.0 emphasizes more on interactivity. This feature has laid the foundation for the emergence of social media platforms and thus promoted the new development of fandom culture. Guo Shuojia points out that the rise of social media has greatly broadened the scale of fan groups and promoted communication within fan groups. Because the fans can communicate and discuss on social media in real-time, which all result in the prosperity of the immediacy and participation of the current fan culture (Guo Shuojia, 2018,147-162).

In the second decade of the 21st century, fandom culture has seen a new boom around the world, which is related to the continuous upgrading of social media. All the efforts that social media make to increase users’ stickiness and activity objectively help fandom culture grow. Take Weibo for example, China’s largest entertainment social media platform. When a user chooses to follow a celebrity, the user is immediately notified of the celebrity’s tag, channel, and fan group. Further, through big data technology, the user will be frequently recommended content related to or similar to the celebrity, including entertainment news, commercial advertisements, and other content, when browsing information.

Celebrities’ active participation in social media

Moreover, the growth of fandom culture is not the result of the rise of social media alone. Celebrities also choose to use social media to enhance the sense of intimacy and provide greater possibilities for interaction (Guo Shuojia, 2018). In other words, it’s not just fans who are discovering the power of social media. Celebrities and the business communities behind them are also noticing the value that social media can bring. Since she joined Twitter in 2008, Lady Gaga has insisted on interacting with her fans as a publicity hot spot. Lucy Bennett has summarized this kind of phenomenon as “the emergence and widespread use of social media by celebrities are trying to reconfigure the contact level and participation depth between both fans and celebrities” (Lucy Bennett, 2014, 109-120). Since its establishment in 2009, Weibo has also attracted a large number of celebrities to come here to share their daily life and communicate with their fans, which attracts more fans and improves their business value. With the expansion of fans, fandom culture and fan economy have entered the mainstream of society.

Brief summary

The growth of fandom culture results from a multi-faceted effort by social media, fans, and celebrities. The emergence and development of social media have narrowed the distance between celebrities and fans, creating a new environment for real-time comments and feedback from fans. At the same time, the development of fandom culture has promoted the development of the fan economy. In the context of the double prosperity of fan culture and fan economy, fans have become an indispensable group in the social scene, and their influence soared.

5.The role change of fans

From receiver to producer

Firstly, the exchange of traditional media to emerging social media promotes the development of the participatory culture of fandom, which makes their role change from the receiver to the producer. According to Henry Jenkins, participatory culture is a notion to describe how media fandom operates, and it is known as spectator culture (Henry Jenkins, 1992). And we consider participatory culture important to fandom culture because fandom was participatory in so far as fans formed alternative interpretations that were often expressed through unauthorized cultural productions. Before the 2010s, the mainstream media was still traditional media, making the fans only receive information from official sites, and there is not enough space or suitable platform for fandom to expand. However, John Fiske pointed out that fans are the producers and consumers of popular culture capital, and fandom culture has two cores, chatting and derivative creation (John Fiske, 1992, 30-49). Under the control of traditional media, although fans at that time do not have enough space to communicate with each other, there are still platforms like Tieba (in 2009, the Tieba of Li Yuchun already had over a billion) for them to exchange commands and show their derivative creative productions. Therefore, after 10 years, we media emerged, newly developed platforms like Weibo, Bilibili, and the developed technology promote the progress of the social media revolution, producing more alternative spaces for fandom and participatory culture to grow. According to Cai Qi, fans are always the first user and promoter of new media techniques, and the most direct driver of a true communication revolution is, as always, technology (Cai Qi, 2009, 86-90). In the generation of we media, fans have taken the best advantage of social media platforms to promote their fandom. A place like Chaohua (community of Weibo) is now a community for fans to exchange the dynamics of the idol, communicate feelings, and produce artworks. Along with the revolution of social media these years, the role of fans is not only receiver and consumer of information, but also producer and participants of derivative creations.

From passive to active

The revolution of social media also changes the mindset of fans from passive to active. As mentioned above, the essence of fandom culture is participatory culture. Fans need to have communication in the fandom. The change of mindset can be considered a willingness to communicate with other people and enlarge their fandom. According to Cai Qi and Huang Yaoying, based on the technology development, from traditional media to emerging we media, information spreading is also changed from node to surface to multiple nodes exchange (Cai Qi, Huang Yaoyin, 2011, 28-33). In the age of traditional media, the role of fans on the internet is more like the audience. They receive information from media and form concepts but lack the platform for expression and comments. People can only communicate their ideas with their surroundings which is very limited under the condition of traditional media, and it is also hard for them to form a circle to share a common hobby. While under the condition of we media, people can send out their fragment information through the Internet to everyone and receive the information they are interested in immediately. Fans in this generation can make use of these conditions and form their fandom quickly. Like in Douban, you can choose to join different groups and find a few people with common interests, which stimulates the willingness of expression quite a lot. Therefore, it can be concluded that the social media revolution encourages expression and different voices, which makes fans braver to share their ideas, and the mindset change from passive to active.

6.The impact of fandom culture

Thanks to social media, fans have gained so much power compared to the past. As an integral part of society, being such a powerful group allows them to have a strong influence that cannot be neglected on our society. The influence is multi-dimensional and impressive.

Economic influence: fan economy

Among the most followed celebrities on Weibo, Xie Na, who ranked first, has 129 million followers. The figure shows how enormous the fan base is in China, which is also targeted by companies as their potential market. In his 1992 book Textual Poachers, Jenkins described fandom as a base for consumer activism among five core dimensions (Henry Jenkins, 1992). Indeed, many product producers seek the endorsement of famous actors or singers to boost sales. Combining a celebrity’s advertising post on his or her social media and other forms of advertisement is now considered a reliable marketing strategy by big companies. Fans’ purchase power is also demonstrated when their object of admiration makes a new production, whether it is music, a film or other forms of achievement. For example, when a singer or a band releases a new album, fan bases will immediately devote themselves to negotiation with the publisher to get the lowest price possible and design special merchandises like slogans, canvas bags, bottles, etc. These merchandises, with beautiful pictures of the singer or band on them, must be purchased with the album, which serves to attract as many fans as possible to purchase the album. Baidu Jeon Jungkook Bar, a fan base for the K-pop sensation BTS’ member Jungkook, purchased a total of 166,200 Map of the Soul: Persona albums after its release. As Li put it, when fans’ need is met and they are excited about what will come next, they will be willing to spend more money; when the consumption is interactive, it lasts longer (L. Li, 2012, 25-26).

The fan economy in China is driven mostly by minors. An average online fan club has millions of young (mostly female) followers ready to support their idols by contributing money or actively buying the idol’s advertised products. Often, they go beyond spending money. For example, fans can raise an idol’s commercial rating and help him or her get even more endorsement deals if they took a screenshot of the purchase, tagged it with both their own username and the brand’s social account, and uploaded it to social media.

Cooperation with Chinese idols is a proven method for brands to grow their reputation. In 2019, Estee Lauder announced Xiao Zhan, a popular Chinese singer and actor, as its brand ambassador just before Singles’ Day, the world’s largest online shopping festival, held on November 11 every year. As a result, sales exceeded 40 million yuan ($6.2 million) in one hour. U.S. cosmetic brand Origins reported similar results. Its collection, made in collaboration with Wang Yibo, surpassed 30 million yuan ($4.6 million) in one hour. Last year, Chinese actor, singer, and dancer Jackson Yee became a global makeup and skin care ambassador for Armani Beauty and an Emporio Armani global ambassador.

Some studies show that of the estimated 500 million “idol chasers” (defined as anyone ready to spend money on an idol) in China, 36% are willing to spend 100 to 500 RMB ($15 to $75) per month. What do they get in return? Emotional satisfaction, an academic analysis of the fan economy says, is like having a good conversation with a friend. This feeling is the key element of the so-called “emotional capital” of the star. The more people feel that a celebrity can understand and satisfy their emotional needs, the more emotional capital they get.

Cultural influence: creation boom and values shift

Recent years have witnessed a boom of fan productions: fan fiction, fan videos, fan arts, fan edits, etc. Jenkins believed that the reason why more and more people are participating in this creation is that the network provides them with a safe place where they can experiment with new passions or activities (Henry Jenkins, 2018, 11-26). The massive online community offers fans the audience no matter whether their creation is good or bad. Many fans with specialties in a particular area even give instructions to rookies by using social media or making instruction videos. Through social media, each fan could find a way to participate in content creation and feel a sense of belonging and achievement. The advent of social media has also enabled people to voice their opinions in an unimpeded way. Information and knowledge could no longer be cut off from the public; public opinion is free from control and manipulation. Thus, independent of the traditional media, fans have come together to break the mould of society. Their strong voice, in turn, exerts influence on traditional media (Cai Qi, 2009, 86-90). Fans question the values held by most people, for example, the definition of beauty. Wang Ju, a participant in one of the most popular variety shows in China, Produce 101, has dark skin and a strong body contrary to the typical appearance of female idols who are usually slim with light skin color. At the beginning of the show, netizens criticized her harshly, making fun of her skin and exaggerated expressions. However, as the show went on, Wang Ju expressed her respect for the independence of females and demonstrated her candid and ambitious personality, which gained her a lot of fans, many of whom were against her before. Her fans did their utmost to promote her and vote for her, contributing to her rising popularity. People began to recognize this different definition of beauty. Global Times wrote: “The personality Wang displays coincides with the shifting attitudes of China’s younger generations (Zhang Yiqian, 2018).”

Social Influence: Public Welfare

As mentioned before, China has a large fan base, which can play an important role in donation and relief. Fans can deliver what they appeal for online (Cai Qi, 2009, 86-90). Many fan bases continue to make donations to international and domestic organizations such as Whale and Dolphin Conservation, WWF and participate in various projects to help advance the cause of animal, environmental protection, and human welfare. After the coronavirus outbreak in Wuhan at the end of 2019, many fan bases and organizations in China rallied to raise funds for the epicenter of the epidemic. By February 2020, there were more than 300 fan groups in the joint force that has obtained face masks, protective gowns, and other crucial supplies to donate to medical practitioners fighting in Wuhan. Among the deeply concerned fan groups, Lun Deng’s fan club stood out. More than 3000 members of Deng, a famous actor with more than 39 million followers on Weibo, contributed to the donation effort by raising more than 230,000 yuan ($32,752) in 12 hours (Chen Nan, 2020). By doing their utmost to support Wuhan, fans show care and compassion for their compatriots and a sense of social responsibility.

7.The “Clear and Bright ” campaign

The campaign, called “Clear and Bright,” started in June, with the Cyberspace Administration of China (CAC) saying in a statement that it would put an end to cyberbullying and rumor-spreading. Some of the behaviors being targeted include inducing minors to raise funds, vote rigging, and agitating fans to flaunt their wealth and extravagant lives.

The celebrity-ranking ban follows the CAC’s removal of 150,000 pieces of “harmful online content” and punishment of more than 4,000 accounts related to fan clubs, according to a recent Xinhua report.

The campaign was originally launched after an incident in May that came to be known as the “milk waste” scandal. The popular talent show Youth With You 3 encouraged viewers to buy milk and scan the QR code inside the bottle caps to support their favorite stars on the show. Videos of people opening bottles of dairy products and dumping the contents into drains went viral. Some calculated that 270,000 bottles of dairy products were poured directly into the sewage. Intense online backlash caused the show to be suspended by the Beijing Municipal Radio and Television Bureau.

8.Conclusion

Fandom culture emerges as a subculture; it is a cultural phenomenon formed by the interplay between the network and social media. Its emergence and development are an important transformation of niche culture in the era of new media and big data. In the network society, the development of network technology makes interaction possible, and the media is no longer compulsory. Fandom culture is created by fan groups and its characteristics of the organization and circle-based groups, and full participation exert a significant impact on the mainstream culture, the spread of media information, people's behavior and the progress of society. Fandom culture is a double-edged sword and its future development needs to be properly guided by the government.

References

Henry Jenkins, Fandom, negotiation, and participatory culture, in: P. Booth (Eds.), A companion to media fandom and fan studies, John Wiley & Sons, Inc., Oxford, 2018, pp. 11-26. DOI: https://doi.org/10.1002/9781119237211

Guo Shuojia, Charging Fandom in the Digital Age: The Rise of Social Media, in: C. Wang (Eds.), Exploring the Rise of Fandom in Contemporary Consumer Culture, IGI Global, Hershey, 2018, pp. 147-162. DOI: https://doi.org/10.4018/978-1-5225-3220-0

Lucy Bennett, Fan/celebrity interactions and social media: Connectivity and engagement in Lady Gaga fandom, in: L. Duits, K. Zwaan, S. Reijnders (Eds.), The Ashgate Research Companion to Fan Cultures, Ashgate Publishing, Ltd., London, 2014, pp. 109-120. DOI: https://doi.org/10.4324/9781315612959

Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture, Routledge, New York, 1992. DOI: https://doi.org/10.4324/9780203361917

John Fiske, The Cultural Economy of Fandom, in: L.A. Lewis (Eds.), The Adoring Audience: Fan Culture and Popular Media, Routledge, London, 1992, pp. 30-49. DOI: https://doi.org/10.4324/9780203181539

Cai Qi, The Internet and the Development of Fan Culture, in: X. Liu, J. Chen, Y. Wang (Eds.), Chinese Journal of Journalism & Communication, Renmin University of China, Beijing, 2009 (7), pp. 86-90.

Cai Qi, Huang Yaoyin, New Media Communication and the Development of Audiences' Participatory Culture, in: P. Liu, Q. Wang (Eds.), Shanghai Journalism Review, Shanghai United Media Group, Shanghai, 2011 (8), pp. 28-33. DOI: https://doi.org/10.16057/j.cnki.31-1171/g2.2011.08.009

L. Li, Fan culture under consumerism, in: C. Jing (Eds), Youth Journalist, Dazhong Press Group, Jinan, 2012 (14), pp. 25-26. DOI: https://doi.org/10.15997/j.cnki.qnjz.2012.14.009

Zhang Yiqian, 2018, Woman not slim and fair shoots to phenomenal stardom with LGBT, feminist fan base, [Online] Retrieved May, 25, 2021, from https://www.globaltimes.cn/page/201806/1105683.shtml

Chen Nan, 2020, Pop fans rally to raise funds for Wuhan, [Online] Retrieved May, 20, 2021, from http://www.chinadaily.com.cn/a/202002/05/WS5e3a1ecca310128217274fd2_6.html

Terms and expressions

Fandom/Fan circle 饭圈

Fansumer 粉丝消费

Stalker fans 私生饭

Paparazzi 狗仔

China Internet Network Information Center 中国互联网络信息中心

Idol Producer 偶像练习生

live-streaming 直播

iResearch Consulting Group 艾瑞咨询集团

fan economy 粉丝经济

Diba expedition 帝吧出征

fan girls 饭圈女孩

participatory culture 参与文化

we media 自媒体

Produce 101 创造101

Whale and Dolphin Conservation 鲸豚保育协会

WWF 世界自然基金会

emotional capital 情感资本

Questions

1. What has led to the remarkable transformation and development of fandom culture?

A.Fans

B.Network

C.Social media

D.Idol

2. What are the fan circle members mostly believed to be?

A.Boomers

B.Generation X

C.Generation Y

D.Generation Z

3. What does “Diba expedition” show?

A.online fandom communities’ potential for political expression

B.a large group of fandom members

C.a journey to a remote area

D.an online platform that focuses on an expedition

Answers

1. Social media

2. Generation Z

3. online fandom communities’ potential for political expression

英语口译 徐舞 Xu Wu 202170081629

The Analysis Of "Chi+O"
Xu Wu

Abstract

The structure of "Chi + object" widely exists in Chinese, and studies on this kind of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top 8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of typical significance to choose the verb "Chi" with object as the research object. Based on the research results, this paper attempts to make a comprehensive and multi angle investigation and research on the phenomenon of "eat" with object through corpus data statistics. This paper mainly discusses the phonetic distribution, semantic types and deep semantic structure of the object after "Chi". Finally, it comes to the conclusion: from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From the perspective of word meaning, food objects are the first; From the perspective of deep semantic structure, patient object is still the most typical type of object. Secondly, by summarizing the diachronic changes of "Chi" with object, we find that the types of object increase after "Chi". The reasons include the change of word meanings, cultural influence, network development and so on.

Key words

Chi; Object

Introduction

"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

Literature Review

Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

Research Significance and Corpus Sources

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction. This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

The syllable distribution of "Chi" with object in modern Chinese

1.Syllables Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage Monosyllable 7128 54.43% Two-syllable 4736 36.16% Three-syllable 1006 7.68% Four-syllable 144 1.24% Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

The word meaning distribution of "Chi" with object in modern Chinese

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage Tool 440 3.37% Food 10736 81.99% Place 24 0.19% Abstract noun 1680 12.84% Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

The semantic structure of "Chi" with object in modern Chinese

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage Recipient object 10792 82.41% Object of place 212 1.62% Result object 1472 11.24% Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

Reasons

Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

Conclusion

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low. By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

References

[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

Terms ans Expressions

Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语   metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

Questions

Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

Answers

It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

英语口译 张静芝 Zhang Jingzhi 202170081630

The Chinese Cheongsam Culture
Zhang Jingzhi

Abstract

This paper will show the beauty of cheongsam from its shape, color, pattern and material, and explain the influence of social ideology on cheongsam, one of the traditional Chinese clothes by connecting the evolution of cheongsam with the development of Chinese society in recent hundreds of years.

Key words

Cheongsam,culture,social ideology

1.Introduction

Clothing is not only the product of human material civilization, but also the crystallization of human spiritual civilization. Throughout the development history of human civilization, the clothing characteristics of any nation contain profound cultural heritages of a nation, which has been deposited for thousands of years. Since the day of the origin of clothing, human beings have blend their living customs, aesthetic tastes, color interests, as well as various cultural attitudes and religious concepts into clothing, and built the spiritual civilization connotation of clothing culture. As an exotic costume of China,Cheongsam’s material choice and the change of style and design and colour collocation not only record the productivity, science and technology level of the specific historical period, but also have close relations with the social ideology, political background, economic environment, as well as the national culture psychology.so to speak, Each evolution of Cheongsam is an "inflection point" in the development of the whole Chinese costume and even the whole modern Chinese history, whose significance directly indicates the profound changes of ideology, social economy and superstructure in modern Chinese society.


2.Cheongsam-A representative of Chinese Clothing

2.1 Comparison of Chinese and Western Costume

2.2.1 The Comparison of Modeling

In the design of clothing structure, due to the selection of different human body posture, Chinese and Western clothing are different in clothing style. The static posture of the human body when standing is the structural design standard of Chinese clothing. The structural form of the standing posture of the human body with natural flat arms and easy legs has become the structural form of Chinese traditional clothing since the ancient clothing system. Therefore, Chinese traditional clothing has the characteristics of straight line, whole piece and plane type. People are convenient to raise a hand or lift a leg and squat or sit with such costume. Chinese dress usually has the features of simple and plain,as well as is conducive to labor. The pursuit of perfect combination with individual shape is the top priority in the structural design of Western clothing, so the structure of clothing is more complex than that of Chinese clothing. In the design and modeling of western clothing, each special feature of the human body structure is designed respectively. For example, according to the torso, upper limbs, lower limbs and other parts, the collar, garment body, sleeve, trouser tube and other major parts are designed respectively, then some other accessory parts are added to form the whole garment and pants. And each main component is irregular tubular shape or tubular formit according to the human body outline with different length, wideth, size . In terms of external surface, western classical clothing often adopts the horizontal expanding shoulder outline, expanded sleeve shape, huge skirt and overlapping lace to emphasize the horizontal style, so that the clothing produce exaggerated and radiating effect. The undulating facial contour, tall and straight body shape and passionate temperament of westerners all determine these modeling characteristics of Western clothing.

2.1.2 The Comparison of Colour

Color is another major factor in the composition of clothing, Chinese clothing has always paid more attention to the choice and collocation of color. In ancient China, the costume color is divided into two kinds: normal color and secondary color. The normal color is cyan, yellow, red, white and black, and the other is secondary color. In ancient times, the choice of clothing color in China was a phenomenon with social connotation: once a certain color was favored by the royal and noble, it was forbidden to use it among the folk, otherwise, it was a crime of deceiving the king. In most dynasties, the normal color was reserved for the superior society, indicating nobility. In the folk, normal color is also the color that people like and pursue when designing clothes. On the one hand, this shows that ancient China attaches great importance to dress color, on the other hand, it also shows that the use of dress color has obvious class nature. Like the eastern culture, the western people attach great importance to the choice of clothing color, but they pay more attention to the emotion contained in the color. Western people believe that any kind of color is endowed with profound meaning, any kind of color can represent a sublimed spirit. When people see red, which gives people a kind of passion, romance and strong feelings, they will associate with blood, sun and flame and other related things. However, westerners attach great importance to the choice and collocation of clothing colors in close coordination with the age, skin color, body shape and figure of the wearer, as well as with the purpose and environment of wearing the costume, it mainly because that the above various colors can produce different emotional changes and symbols to people. Westerners often choose clothing colors according to their own specific characteristics. Therefore, the choice and collocation of clothing color appear to be very personalized, and there sre rarely blind imitation phenomenons, people's wearing appears featured.

2.1.3 The Comparison of Dermatoglyphic Pattern

Chinese and Western clothes have their own preferences in the choice of patterns. Chinese style clothing preferences using pattern to express auspicious wishes. Due to China's textile industry has been leading in the world, and is able to use heavy machinery and exquisite workmanship to weave a variety of complex auspicious patterns,so through the ages, whether it is noble silk or folk prints, auspicious patterns are widely used, which reflects people's expectations and hopes for a better life. The patterns of dragon flying and dancing, the Dragon and Phoenix and the Nine Dragons playing with pearls not only symbolize totem worship, but also express the emotions of "Descendants of the Dragon". Western European clothing has always been known as the representative of western clothing, and the patterns on its clothing are constantly changing and updating with the vicissitudes of history, incorporating new elements and cultures from time to time. In ancient times, western European costumes were mainly flowers and patterns, especially in the Italian Renaissance, gorgeous flower patterns were more popular. In modern times, with the development of science and technology, it became popular to use geometric principles to design the Op patterns and so on. With the continuous progress of science and technology and the maturity of textile and dyeing technology, the patterns of western mainstream clothing are becoming more and more delicate, and all kinds of clear and distinctive patterns are slowly becoming a popular costume theme in the world.

2.1.4 The Comparison of Material

Due to the influence of history, culture, geography and other aspects, there are huge differences in the materials of Chinese and Western clothes. China, the once famous "Silk Kingdom", is rich in silk goods, so the traditional Chinese clothes are mainly made of silk. Silk products have the characteristics of soft and smooth, good air permeability.They are cool and comfortable in summer while light and warm in winter, so they are widely used in the clothing industry and are gradually popular in the world market. The silk pattern is delicate and exquisite, the cloth color is bright, the silk cloth is chosen to make the clothing, rich in national characteristics, and can be decorated with various crafts, after wearing, it gives a person with elegant and noble, graceful and charming feeling. Different from the Eastern countries whose civilization developed earlier, most western countries were nomadic people who were mainly hunting and nomadic in the early development period. Therefore, in the primitive society, they were good at making clothes with the animal fur to achieve the purpose of heating, protection and decoration. With the rapid development of woolen spinning and woolen weaving technology in western countries, especially the exquisite woolen spinning technology in Britain and Italy, after the Middle Ages, the wearing of woolen cloth became increasingly common. In western countries at that time, the men's clothing is mostly made from woolen. Because the distinctive characteristics of the cwoolen materials are solid, crisp, high plasticity, so clothes made from it can make the garment appearance with neat, modesty, full of vigor and vitality.

2.2 The Beatuty of Cheongsam

2.2.1 The Beauty of Modeling

As we all know, Cheongsam is the representative of Traditional Chinese national dress. However, the reason why Cheongsam can be called one of the most dazzling pearl among many Chinese clothes is due to its shape. The silhouette can best reflect the modeling of Cheongsam. Cheongsam has rigorous structure and smooth lines. This kind of implicit curve shape fully shows the natural curvaceous beauty of the human body, which is in line with the Asian people's physique, especially suitable for the petite and exquisite Southerners in China. At the same time, it also reflects the "people-oriented" design concept and embodies the traditional cultural characteristics of "unity of heaven and man" in China. After centuries of evolution, the s-shaped contour structure and oriental style have become the most stable elements of Cheongsam, deeply influencing designers at home and abroad and making people unforgettable.

2.2.2 The Beauty of Colour

The color of clothing is regarded as the soul of beauty of clothing. The use of cheongsam in color can be said to be a classic image of Chinese clothing, which fully expressed the significance of color. Each color has different characteristics and implication, in different seasons, occasions, through the combination of color collocation, color can give people enthusiastic,elegant, warm and romantic even sedate and sad aesthetic feelings. Since ancient times, China has had the custom of wearing red. Chinese red is the theme color that Chinese people like to use in the Spring Festival and wedding celebrations. Red is a color with rich emotions and is a symbol of happiness. The red Cheongsam can be the best expression of warm, bold, happy emotions, but also make people appear vigorous, full of youth and vitality. Yellow is the traditional color of our country. In history, yellow is a symbol of dignity and power. Yellow is rich in layers and is widely used in Cheongsam, which is loved by women. The green cheongsam symbolizes nature, growth, hope, freshness and tranquility. It reminds people of plants in nature and brings people a sense of comfort, suppleness and gentleness. Blue cheongsam can well show the pure, rational, serious and honest personality of women. Purple is a kind of color full of mystery, it is mixed by red and blue. Purple is regarded as a symbol of nobility and luxury, and is often chosen as a dress color by princes and nobles. Purple cheongsam full of luxurious, rich, elegant feeling. Black is a dual color, symbolizing darkness and silence on the one hand, while maturity, solemnity and mystery on the other hand. White symbolizing purity and holiness. White Cheongsam can best reflect people's nobility, elegance. The Manchus of the Qing Dynasty believed that white was auspicious, and they often wore red or other colors of Cheongsam with white lace, or paired with a white veil. In conclusion,different colors show different connotations of Cheongsam, but it is these gorgeous colors that makes Cheongsam a bright visual symbol in Chinese culture.

2.2.3 The Beauty of Dermatoglyphic Pattern

In costume decoration, pattern is an essential element in Chinese costume culture. It has a long history and is the embodiment of traditional symbols. Every pattern has a deep meaning. Cheongsam patterns are mainly animal patterns, plant patterns, landscape patterns, and geometric patterns，and different categories of patterns have different meanings. Animal patterns often have profound meanings, such as joy, longevity, auspice, happiness and health. Common patterns include dragon, phoenix, pheasant, crane, mandarin duck, butterfly, peacock, magpie and auspicious fish. Plant decoration is endowed with a lot of auspicious meaning, showing people's yearning for beautiful things. Cheongsams with landscape patterns are relatively rare. Landscape patterns mainly include landscape rural residence, pavilions and pastoral scenery with strong freehand brushwork. Landscape patterns mostly contain clear meaning, that is appreciating landscape. The Ten Views of the West Lake and the scenery of the four seasons are often chosen as themes. The geometric patterns on the Cheongsam give people a fresh and elegant aesthetic feeling. They look orderly, rhythmical, and have a lasting appeal.

2.2.4 The Beauty of Material

Fabric is the material basis on which shape and color depend. The fabric of Cheongsam is very exquisite, and the fabric of Cheongsam is also different in different periods. The cheongsam made of different fabrics also has different styles and charm. They can be simple, elegant, luxurious, or even gorgeous. Cheongsam made of dark high-grade velvet or cashmere fabrics can reflect the elegance; Woolen Cheongsam reveals maturity and the beauty of intelligence; The Cheongsam made from high-quality silk or gauze is light and soft, showing the elegance and quietness of ladies. As a formal dress, the floral velvet Cheongsam usually are decorated by bright patterns and colors, giving people a sense of elegance and luxury. Cheongsam made of cotton, usually are decorated with plaid, stripes and other patterns, or flowers with pure color, giving people a gentle and comfortable feeling. With the development of the times, now the choices of Cheongsam fabric are also very wide, so people generally choose Cheongsam according to their own needs or the seasons. Cheongsam made of these high-quality fabrics can fully express the beauty of women's body shape.


3. 3. The Evolution of Cheongsam and the Development of Chinese Society

3.1 The Origin of Cheongsam

Cheongsam is a kind of robe, and its history can be traced back to the ancient Chinese robe of the Spring and Autumn period and the Warring States Period.The ancient Chinese robe is one of the most important forms of clothing in ancient China. During the Yuan and Ming dynasties, the ancestors of the Manchu, called Nuzhen, lived outside the north of Liaoning Province under the Changbai Mountain, Songhua River and Heilongjiang River. As the fishing and hunting economy occupied an important position, men, women and children were skilled in riding and shooting. Not only men are good at shooting and riding, but women are no less skilled at shooting and riding than men. When riding and shooting, men wear the "horse-hoof-shaped cuff" type of gown. The gowns cuffs are narrow and cover the back of the hand, the sides of the gown open, cloth bags tied in the waist. Women wore a long gown with narrow sleeves and corset,which is also for the convenience of riding and shooting activities on horseback. In 1601, Nurhaci unified the Nuzhen tribes and established the Eight Banners. The people who were incorporated into the banners were called Banners, and the robes worn by Banners were called Qipao. In 1635, Huang Taiji renamed Nuzhen as Manchu. In the process of frequent campaigns, the people of Manzhou gradually formed a kind of Qipao with wide waist and straight cylinder. At this time, not only the people who were drafted into the banners wore Qipao, but also men, women and children wore Qipao. The men's Qipao were called long gowns, and the women's gowns were called big robes. In 1644, after Emperor Shizu entered the central China and moved to Beijing, Qipao became popular in the Central China. In the late Qing Dynasty, when the colonial rule began,because the western and political influence on people's life style and concept, the manchu and Han women's clothing was integrated.

3.2 Cheongsam during Qing Dynasty

3.2.1 The Influence of the Establishment of Qing Dynasty on Cheongsam

After Nurhachi established the later Jin regime, he carried out the Eight Banners system. Therefore, the Manchu people were also called the Banners, and the clothes they wore were collectively called Qi Dress. When Qing regime charged the central China, a huge wave of shave hair clothing started. The Qing regime began to enforce clothing system reform, people who violated the law may loss their life. To the late Qing dynasty, the Chinese women's dress style quietly blended and the difference between both costumes increasingly reduced, which became the prelude of Qipao popular throughout the country.

3.2.2 The Influence of Change in Economy Form of Qing Dynasty on Cheongsam

The economic development of the early and middle Qing Dynasty made great progress on the basis of the Ming Dynasty.The arable land area of the Qing Dynasty was far more than that of the previous historical period, and the crops of the Qing Dynasty increased greatly. On this basis, all sectors of the economic field presented a prosperous situation, and gave birth to the embryo of capitalism. At the same time of the domestic economic prosperity, the foreign trade of the Qing Dynasty also increased rapidly. Until the outbreak of the Opium War, the Qing Dynasty kept a trade surplus in foreign trade, which played a very significant role in the development of Chinese economy. The development of industry and commerce further stimulated the prosperity of the city.The economic development and the prosperity of the city reflected in the design of Qipao. From the Opium War in 1840 to the Revolution of 1911, due to the imperialist aggression, China's economy suffered a great impact.As a result of internal and external difficulties, people's way of life and dress concept are also changed a lot, showing an "open" character. Cheongsam at this time, though mostly retreated into Manchu noble families, its design still keep the Mid-qing Dynasty modelling.But under the influence of western society at that time, the Chinese dress also quietly changed, including tightening and shortening the sleeves,reducing robe length is and purer colors. In the decoration of the robes, its integral style tends to be contracted, simple but elegant.

3.3 Cheongsam during the Republican Period

3.3.1 The Influence of the Revolution of 1911 on Cheongsam

In 1911, the Revolution overthrew the Manchu QingDynasty and abolished the feudal monarchy that had existed in China for thousands of years. As regimes changed, so did the dress culture,which is a mirror of the politics. With the establishment of the Republic of China, the biggest change in the history of Chinese national costume was the abolition of the costume hierarchy that had been followed for thousands of years. The monopolistic position of traditional costumes was greatly impacted, and with the decrease of the social status of the Manchu, fewer and fewer people wore Cheongsams.The Manchu began to wear it like the Han people. The formal costumes of Manchu and the political rule of the Qing Dynasty became history.

3.3.2 The Influence of the Unbalanced Economy on Cheongsam

Dring the Revolution of 1911, China was in a period of historical transition with ups and downs. Due to the imbalance of economic development caused by political turmoil, the change of clothing also appeared imbalanced. In general, change was seen at the upper class, whilel with little change at the lower class. With the frequent exchanges with the West, the styles and materials of clothing changed rapidly, which also accelerated the change of Cheongsam. At this time, the fabric of Cheongsam is various. With the western-style textiles poured in, Cheongsam become a new clothe of women. These foreign fabrics are soft and elastic, making Cheongsams fit well and elegant, so they are very popular. At that time, Shanghai women have begun to perm hair, wearing close-fitting Cheongsam and walking high heels, while women in Sanhe county in Hebei Province still wear the crowns three or four hundred years ago, and wrapped in "three -inche golden lotuses".

3.3.3 The Influence of the Collision between the Chinese and Western Cultures

The Westernization Movement in the late 19th century proposed that "Middle school for physical, Western learning for use", which greatly impacted the social dress concept at that time. In addition to breaking the old dress system, the Nationalist Government also actively advocated the people to learn from the West and in line with the world trend. Western life and customs in the 20th century were not only novel things to Chinese people at that time, but also were connected with western scientific and technological civilization. It is precisely because of the latter that western customs have revolutionary significance for the change of Chinese traditional customs. By the end of 1920s, the style of Cheongsam had changed significantly under the influence of Western culture, such as waist tightening, length shortening, and so on. In the 1920s and 1930s, under the influence of western women's skirts, the waist began to tighten, the cuffs began to shrink, and the hem of the skirt was raised, which was similar to the western straight waist skirt. Under the intense collision of this culture, the new Cheongsam absorbs the advantages of other costumes, and quickly becomes a "fashion". On the eve of the founding of the People's Republic of China in 1949, Cheongsam was very popular in China,and almost every urban woman had one or two Cheongsams, which had become a very popular daily dress for urban women.

3.4 Cheongsam after the the founding of the people's Republic of China

3.4.1 The Influence of the Great Cultural Revolution on Cheongsam

For quite a period of time after the founding of the People's Republic of China, opposing imperialist cultural aggression, decadent bourgeois culture and feudal cultural became an important part of Chinese cultural ideology. Under the background of continuous radicalization, "a revolution that touches people's soul" broke out, and one of whose main objectives was to carry out a "cultural" "revolution". With the launch of the Great Cultural Revolution, Cheongam was regarded as the life style of feudalism, the landlord class and the exploiting class,and became the revolution object. Not only the Cheongsam, but also the long gown, mandarin jacket and cloak were once the target of boycott. Since then, Chinese traditional clothes have almost completely disappeared. It can be said that the Cultural Revolution is exactly a revolution of traditional clothes. As a result,Cheongsam gradually declined and was replaced by a simple popular dresS. Throughout the 1960s and 1970s, the Cheongsam, along with other ornaments, disappeared on the Chinese mainland. In the 1980s, under the historical background of reform and opening up, Cheongsam made a comeback quietly. Although it did not recover its position in the 1930s and 1940s, it again influenced the world's clothing industry as a symbol of Chinese clothing.

3.4.2 The Influence of the Reform and Openning-up on Cheongsam

Politically, reform and opening-up have promoted institutional building and innovation, stimulated the creative vitality of society, and achieved the historic transformation from a traditional society to a modern one. In terms of foreign relations, China has expanded its development and made a historic change from self-seclusion to openness. With the development of economy and the improvement of people's living standard, Great changes have taken place in Chinese clothing.People have begun to get rid of the monotonous dress system. Fine texture, rich colors and novel style gradually become the standard to measure clothing, and clothing styles at this time are also multifarious. At this time, cheongsam was no longer regarded as a feudal, bourgeois dress and reappeared in people's vision. Due to the improvement of production technology and the enrichment of material life, Cheongsam has became a kind of fashion coustume, and various fabrics were also applied to make Cheongsama solid foundation for the popularity of cheongsam. Culturally, after the reform and opening up, in addition to maintaining China's own dress culture, modern western dress culture concepts also entered China with the trend of reform and opening up. People's clothes not only focused on keeping warm, people began to realize that clothes is also a kind of culture.Although China's clothing culture has a long history, but years of isolation from the outside world, young people know little about their own country's rich clothing culture and foreign things. Once the country door was opened, our clothing culture began to connected with foreign clothing culture. Foreign clothing culture, advanced technology and clothing materials enrich our own clothing culture. A new Chinese clothing culture with the characteristics of that times has been formed, which has played a revolutionary role in people's dressing concept and made the clothing style keep pace with the times.Today, the various elements of Cheongsam are basically stable, and it has become a classic women's dress.


4.Conclusion

Since the reform and opening-up, with the continuous improvement of China's status, China has increasingly frequent exchanges with other countries in the world. Chinese costume culture has attracted worldwide attention. Not only in the international market,but also on the fashion t-shaped stage, it arouses great reflection and propagates, popularizes and promotes Chinese costume culture to the world. International fashion master Pierre Cardin said: "In my evening dress design, a large part of the dresses are inspired by the Chinese cheongsam." At the awards gala of the Oscars and Cannes, Gong Li's Chinese Cheongsam sparked the "Cheongsam hot" again. "Since then, even many foreign stars have worn Chinese Cheongsam to attend the world's top cultural and social occasions, thus breaking the dominance of western evening dress and becoming a representative of national clothing culture brand that transcends national boundaries." "The significance of the existence of Chinese Cheongsam is not only a" dress "but also a symbol, a pride, a sign, a symbol. In terms of dress, Cheongsam always seems to represent the quintessence of China."

References

[1]Yuan Yingjie:The History of Chinese Costumes[M].Beijing:Higher Education Press,1994:217.

[2]Gao Weihong:On Cheongsam Culture and Charm[J].Modern Science,2009,3:103.

[3]Wang Lihua:Costume Culture[M].Hohhot:Inner Mongolia Press,2005:157.

[4]Tomie Yamauchi:A Study on Costume Culture of Han in the 20th century[M].Lanzhou： Northwest University Press，2008：44-45.

[5]Tong Zhijun: Cheongsam and Women[J].Beijing:Costume Designer,2007:137

[6]Qianmin: Chengsam: The Model of Traditional Chinese Culture[J].Nanjing:The Art,2005:202.


Terms and expressions

Cheongsam/Qipao旗袍

Oscars 奥斯卡奖

Cannes 戛纳电影节

Feudalism 封建主义

Capitalis资本主义

The “Eight Banners” 八旗

Huang Taiji 皇太极

The Revolution in 1911 辛亥革命

the Spring and Autumn period and the Warring States Period 春秋战国时期

Manchu 满族

Op patterns 欧普图案

Phoenix 凤凰

Questions

1.Which nationality did Cheongsam originate from?

A.Han

B.Manchu

C.Miao

2.Which color is the symbol of dignity and power?

A.Red

B.Yellow

C.Black

3.Is Cheongsam always popular with the Chinese people?

A.Yes

B.No

Answers

1.B

2.B

3.B

英语口译 张旻丰 Zhang Minfeng 202170081631

Chinese Chess Culture
Zhang Minfeng

Abstract

As an abstract picture of ancient battlefield and the wisdom of people in old ages, together with the most typical representative of ancient civilization and culture, chess has been developing and famous for a long history. Up to now, the chess game has become a competitive match and is increasingly popular with chess fans both in China and overseas, at the same time, the chess has a great impact on every country where the chess covers.

After proposing the Sapir-Whorf Hypothesis which raised how languages affect human thought, the connection between the nationality of language and the nationality of culture have become the final study intention for scholars. And that also proves there must exist close connection between language and culture. Thus, if people want to acquaint one kind of national culture, they require to study its language in advance,vice versa.

In this thesis, the research object Chinese chess or the international chess is actually one kind of representative of its own local culture. Perhaps, both of them have been invaded by other cultures, or have been affected by exchange of local various societies and institutions, in some degree. And finally, only illustrating their language phenomenon reflected by this kind of culture performance, its cultural connotation can be found out.

This thesis focuses the cultural meaning on the study of Chinese chess and the international chess, which includes the study of chess and chessboard's origin, chess piece terms meaning betweeen cultural view and meaning view.

Key words

Chinese chess, international chess, cultural meaning

Introduction

Chess, as a popular game with the fans all around the world, represents not only the history of battlefields but also the wisdom of the ancient folks. It also reveals the lasting development of the real society, especially, in terms of social institution and cultural changes.

As for a crucial carrier of society and culture, language plays an vital role for it. And the language, certainly, is also used to convey the messages and information of society and culture.(Wu Guohua,1994) To some extent, language and chess have something in common.

Chinese chess has a long history and is an important part of Chinese traditional culture.It is a high traditional intellectual competition game. The nine palaces on the chessboard symbolize the imperial palace.帅/将 representing the emperor and士/仕representing the guards around the emperor can only walk in the nine palaces, and 相representing ministers can only walk around the nine palaces.兵/卒 representing pwans can only move forward and not retreat. This layout is a true portrayal of life in feudal society, the chess game process has the meaning of teaching and learning ancient warfare.

Chinese chess is simple and easy to learn, but also easy to learn but difficult to master because of its endless changes. It has cultural, educational, competitive and entertainment value and many other aspects has been loved by people since ancient times. With time going by, the Chinese chess, which carries Chinese traditional cultural genes, occupies a place in the world culture with its distinctive competitive characteristics.

Origin of Chinese Chess and Its Chessboard

When it comes to the origin of Chinese chess, also called as Xiang Qi, there are a great number of arguments about it. One of the arguments holds that the Chinese chessis derived from Shen Nong, a legendary ancient Patron of Agriculture. One of them holds that Chinese chess comes from Huang Di, a legendary ruler. However, according to Bo Wu Zhi of Zhang Hua in West Jin Dynasty, which holds Chinese chess derives from Shang Dynasty. In his book, he thinks the Chinese chess is created by King Wu, and the chess is made of ivory.

There are a lot of information contained in the Chinese chess, such as the ancient strategies of battlement, layout of troops, astrology and so on. More scholars consider the Chinese chess as a fabulous production created by Han Xin during the time between Qin Dynasty and Han Dynasty. At that time, Chinese chess is applied by Han Xin for training formation of soldiers against Qin Dynasty. The evidence is that "River Chu and Border Han" are carved in the middle of every Chinese chess chessboard. While some groups of the scholars, especially the Ming Dynasty Luo Xin, holds that Chinese chess is made by Wu Emperor in Northern Zhou Dynasty due to an old history book which has written it down. But up to now, there is no specific evidence that can prove when the Chinese chess is created.

As for the Chinese chess piece, some historians claim that there are only four kinds of pieces in the Chinese chess before Tang Dynasty, which are“将，车，马，卒”.During Tang Dynasty, the pieces are increased to six which are“上将，车，马，卒，军师，王”and Bao Ying Chinese chess is the typical one which can prove this officially. And some historians also think that the piece“砲”possibly appears during Song Dynasty because“炮”referring to artillery is used in battles at that time. Since then, the shape of Chinese chess is becoming similar to what we play nowadays, and it consists of seven pieces including“车，马，砲，象，士，将，卒”.No matter when the Chinese chess originates from, there is one definite perspective that the rules and pieces of the Chinese chess are changing all the time with the developing process of social culture and are effected by the increasingly advanced weapons.

If it was concerned from the point of literature, Chinese chess is designed in early Song Dynasty and developed in Southern Song Dynasty. During that time, one poet named Liu Kezhuang portrays the chessboard, all kinds of pieces and even their rules. To Chinese chess, there are obvious differences in each dynasty, and some scholars think that the Chinese chess is the experiential conclusion of the development of each Chinese dynasty. From the point of Chinese chess itself, it is not easy to find out its cultural tradition and conservation. And people can also hardly understand the nature of Chinese chess only if understand the connotation of the piece term and rules in advance.

As for the chessboard, the Chinese chess chessboard is composed of nine straight lines and eight horizontal lines with the "River Chu and Border Han"(楚河汉界)in the middle of it, which shows such a scene of two troops opposing each other on both sides of a river. Pieces need to put on the intersections. In real history, "River Chu and Border Han"(楚河汉界)is located in the middle between King of Chu city and its opponent King of Han city. These two cities are regarded on the chessboard as two Imperial Palace areas. The number of "nine" lines and "eight" lines refer to the utmost number in ancient China, thus they stand for the length and breadth of land which equals to the whole country. In ancient China, the intention of war is to gain more land and unite other countries into the most powerful country, and the chessboard just stands for the whole land.

Contrast between Chinese Chess Piece Terms and International Chess Piece Terms in Meaning

In this part of thesis, the author begin to discuss the meaning of every piece term in both Chinese chess and international chess, and then to conclude their differences and similarities to search for their inner link. Seven groups of piece terms are list as follows:马and Knight,車and Rook，卒(兵)and Pawn, 仕(士)and Queen，相(象)and Bishop，将(帅)and King，炮(砲)

Meanig Contrast between piece马and Knight

Both piece马and Knight are important pieces in those two sorts of chess, and they are perfectly acceptable that these pieces are widely used as cavalry. Why? According to Ancient Chinese Dictionary (2005), the Chinese character马just has two ancient meanings, the first one means a kind of beast and the second one is chip which is also written as码in Chinese. Unfortunately, there is no ideal meaning referring to cavalry from those two meanings. Through categorization, some words and expressions are classified into several groups. The characteristic of马is seen as the basic category, after classifying, the related words and expressions of马in battle, in temper, in relationship with people, status and others are regarded as subordinate categories. Adding mental analysis to these subordinate categories groups, one of those showing up the similar meaning to the symbolic meaning on chessboard, namely cavalry, is picked up. These words and expressions in the group are list as follows:金戈铁马，马革裹尸，厉兵袜马，单枪匹马，千军万马，兵荒马乱，戎马控惚，戎马生涯，招兵买马，兵强马壮，马军，战马.From these Chinese words and expressions, it is clear when the piece term马is used as cavalry. However about the international chess piece Knight?

In the Longman Dictionary of Contemporary English Knight has four definitions:first up, it means a man with a high rank in former times who was trained to fight with riding a horse. The second meaning is a man who has received a knighthood and has the title SIR; the next one means the chess piece with a horse's head on it; and the forth one is used as a verb, to give someone the rank of knight. From above definitions, the reason can be easily come out that on the chessboard the piece of horse's head signifies the piece Knight, which is the third definition, but in fact it refers to the first definition which means cavalry in real battlefield.

From the meaning of piece马and piece knight, the author have found that as to the Chinese character马，the meaning of it just stands for a kind of beast or animal and a chip. And only if the Chinese character马is used in one word or expression related to army, weapon or war, the meaning of character马here will be more detail as cavalry. Meanwhile, the piece knight can directly refer to cavalry by definition, because knight has already to be a kind of term of cavalry in Europe at that time.

Meaning Contrast between 車and Rook

Both of the piece車and the Rook are the most effective and direct type of piece on chessboard. But what do they stand for in battlefield? As the matter of fact, they are respectively regarded as chariot in the Chinese chess and siege tower in the international chess. Let's take a look at the definition of these two piece terms. In Ancient Chinese Dictionary, 車has three meanings. The first one means vehicle, then the second one represents windlass, and the last one is a verb which means to use windlass to do something. Obviously, in the international chess, the piece shape of piece Rook signifies the chariot, but in fact, the piece Rook signifies another kind of chariot, that is siege tower according to records, and that shape is just what the piece Rook stands for in real battlefield. As to the Chinese chess, the first definition of車is supposed to be used on the chessboard. But what kind of vehicle does車stand for? Through the categorizing, the words and expressions of車are divided into several groups which are seen as subordinate categories, the function of vehicle, the carrying capacity of vehicle, the value of vehicle, the prosperity of some place and so on. Since the Chinese chessboard is seen as a battlefield, the piece車should be regarded as the chariot which belongs to the subordinate category which is the function of vehicle including战车，兵车，马车，炮车，独轮车，敞篷车and so on. While, in Longman Dictionary, Rook only refers to itself which equals to Chinese chess車which means a kind of chariot for attacking, and as WIKIPEDIA says the piece Rook signifies siege tower initially.

To sum up, the meaning of Chinese chess piece term車can describe the symbolic meaning on the chessboard only through putting some Chinese characters before車，and these Chinese characters must be available to describe the function or characteristic of vehicle. While, the meaning of international chess piece term Rook can directly express the piece's symbolic meaning on the chessboard.

Meaning Contrast between piece 卒/兵and pawn

The piece卒/兵and piece Pawn are the largest number of pieces in the Chinese chess and international chess, and their symbolic meaning of both denote soldiers on the chessboard. In Ancient Chinese Dictionary，兵just means weapons, meanwhile，卒 has three definitions which are infantry or soldier, the second is a unit and the last one refers to death as a verb. From the categorization of the words and expressions of兵/卒，adding the analysis to those words and idioms, which is related to the meaning of soldier or army are listed as follows:无名小卒，贩夫走卒，瓦合之卒，轻卒锐兵，调兵遣将，按兵不动

The author find out that in the words and expressions of卒，large part of which are used with the first definition of卒as a soldier. As to the meaning of兵，except for some words and expressions referring to weapon, the meaning in most part of them is extended as the same as solider.

And as to the piece Pawn, in Longman Dictionary, there are two meanings of pawn, the first means a piece in chess equals to Chinese chess piece term兵/卒，and the second denotes someone who is used by a more powerful person or group. Right here, the second meanings is its origin.

Through comparison between these two kinds of chess in meanings, some findings show that the Chinese chess piece卒，it can also directly describe its symbolic meaning on the chessboard. But the original meaning of the piece term兵can not express its symbolic meaning until the original meaning of the piece兵is extended, while the international chess piece Pawn can directly express its symbolic meaning on chessboard as the same as its second definition indicates.

Meaning Contrast between piece 相/象and Bishop

In Ancient Chinese Dictionary，the piece term相owns five meanings and the first two meanings are verbs, the first means to examine something carefully in order to find out more about it, such as相风水，the second one means to assist or help somebody such as，管仲相桓公，and then the third one stands for a person who masters the ceremonies, and the fourth one refers to song as a noun and the last one which is a adverb stands for doing or experiencing something by two people, such as互相.At the same time,the other piece term象has four meanings, the first one refers to elephant, the second means scene, such as景象，the next signifies portrait such as肖像，and the last meaning is a verb referring to imitation.

Although the piece相and piece象have many different meanings, in fact they signify the same definition in Chinese chess which refers to prime minister, a civil official with highest level, namely宰相in Chinese. Here宰is a official title which means master or ruler, and相denotes to help somebody thus宰相is equal to the person who assist the ruler to master the whole matters.

As to the piece term Bishop, according to Longman Dictionary of Contemporary English, the piece term Bishop has two meanings, the first one means a piece like Chinese chess piece term相/象，the second one is a priest with a high Christian religion, who is the head of all the churches and priests in a large rank in the area. Right here, the second meaning priest is seen as the prototype of the first meaning and the it is also used on chessboard according to WIKIPEDIA.

After the comparison between the meanings of the piece term相/象and piece term Bishop, it is necessary for the piece term相/象to pick up one group of subordinate category words related to its symbolic meaning on chessboard. After that, the words referring to helping somebody are list as follows, they are宰相，相国，首相，辅相. Right here, the word class of相turns out from verb to noun, at the same time, the meaning of it turns into a high level title, namely primary minister. As for the piece term象，some of the scholars believe that it is equal to the piece term相，but some others support a distinct proposal that piece term象stands for a kind of corps, namely elephant. Because the development of Chinese chess has been influenced by spreading of elephant from India. Although the record of elephant for fighting is rare, but elephant actually appears in ancient Chinese war, especially is taken advantage of ethnic minorities in South China.

As to the meaning of piece term Bishop, namely priest with high level title, it can directly stand for its symbolic meaning on chessboard.

Between the meanings of piece相/象and piece Bishop, the author find out that it is obvious that different kinds of chess pieces can reveal different civilizations. The piece term相/象refers to the feudal official with highest level who assists the ruler of country to manage the whole civilians and other crucial matters. And the piece term Bishop stands for the highest rank priest of Orthodox or Catholicism in medieval Europe.

Meaning Contrast between 将/帅and King

As an ancient chess with long-term history, the Chinese chess has two similar and important pieces, the piece将and piece帅.And the meaning of piece term将is equal to the piece term帅in Chinese chess，but they belong to opposite side.

In Ancient Chinese Dictionary, as to the meanings of piece term将，it has nine meanings, but only one of them is relevant to leading army. Although this is a verb which denotes to lead somebody to do something, its nominalized meaning signifies general that is phenomenon widely used at that time. This is a kind of verbal nominalization which results from the metaphor conceptualization. Metaphor conceptualization is a common cognitive competence for human people. Lakoff(1999) and Johnson believe that metaphor conceptualization is mainly realized by conceptual metaphor. Hu Zhuanglin(2000) figured out that in the process of conceptual metaphor, one object can turn into another object due to the change of lexical level inside them, however, there also must exist the similar basic attribute in them. As for the piece term帅，there are three definitions found out in total. The first definition as a noun means emperor similar to the meaning of piece term King, and the second one as a verb means to lead somebody to do something which is just like the meaning of the verb of piece term将discussed above, and the last one refers to obey someone or something else. Thus the first definition of piece term帅is used to describe its symbolic meaning on chessboard. From the categorization of the words and expressions of piece term将\帅，the subordinate categories words similar to the meaning of general are listed as follows:王侯将相，将遇良才，调兵遣将，将门虎子，精兵强将，丢车保帅。

And, as to the piece King, it is also an essential one which plays a decisive role in the international chess. In Longman Dictionary, the basic meaning of king signifies a man who is a ruler of a country because he is from a royal family and of course, it represents the most important piece in chess.

In contrast to the piece term King, the meaning of the piece term将/帅all represent the general or emperor nowadays which is different from king. In the matter of fact, before Song Dynasty, instead of piece将/帅，the piece王is used on chessboard. Since Song Dynasty, the piece将/帅are added and limited in Imperial Palace area. The reason arises from the different history background, that is since Song Dynasty, both将and帅prefer to stay in palace or military camp rather than lead army against enemy.But for piece King, it can directly express its symbolic meaning on chessboard and tend to be the meaning of ruler of country and can move everywhere on chessboard, that is because in medieval Europe, kings always lead their lords and armies to fight against enemies on battlefield.

Meaning Contrast between 仕/士and Queen

As for the piece term仕/士，these two Chinese characters stand for the same meaning, and just used for different sides. From the views of some scholars, these two pieces are admitted as the similar ones as the piece queen, but not totally identical due to different cultural and social backgrounds. In Ancient Chinese Dictionary the piece term士has five meanings, the first one means the laudatory title of man, the second refers to the lowest nobility, the third one denotes intellectuals, the forth one signifies the office of jail and the final one means soldier who is used to be on the chariot to fight against enemies which is different from卒，because卒refers to the soldier who used to fight on foot. At the same time, the piece term仕only has three meanings, the first meaning is equal to that of piece term士，namely intellectuals, and the second denotes officer, then the third one represents maid in a imperial palace.

The piece term Queen is the most powerful piece in the international chess, in Longman Dictionary queen has several meanings, one of which means a piece in chess, and in fact, this piece refers to the female ruler of a country. Besides it, the piece term Queen can also denote a related meaning which is a transferred one of it. For example, Tammy Whnette is the queen of country music(queen here means the woman who is regarded as the best at a particular activity or in a particular field). This meaning of the piece term Queen is showing the metaphorical attribute transference of it.

Through comparison between meanings of piece term仕or piece term士，there are not any related meaning as similar as the piece term Queen. In this case, scholars have proposed three different point views about it to illustrate what the piece term仕/士 really stands for. Some scholars believe that the piece term仕/士stands for guard of emperor, another scholars hold that it represents military counselor of emperor. These two point views can be achieved in the subordinate category of仕/士as follows:身先士卒，将士，悬车致仕，学而优则仕.And the other scholars suppose that it signifies wife of king, because the Chinese chess is seen as epitome of Chu-Han Contention, the piece term仕and piece term士refer to the wife of King of Chu and the wife of King of Han. Although these three point views are not similar at all, they have two common characteristics which are that all of what they signify are always working in imperial palace and accompany with emperor. Thus no matter what the most accurate meaning of the piece term仕/士stands for, there is only one major responsibility for guard, officer and maid to do, that is to protect or service their emperor, even if losing their lives.

To sum up, the piece term仕/士possibly stand for guard, military counselor and wife of the emperor. While the piece term Queen refers to its symbolic meaning on chessboard which is just one female ruler of a country. Right here, the third meaning of term仕/士，namely wife of king, is similar to queen, so in some degree, the meaning of piece term仕/士can equal to that of piece term Queen.

Meaning of piece炮/砲

The meaning of piece term炮is equal to piece term 砲which is the particular piece for Chinese chess in contrast to international chess. In Ancient Chinese Dictionary炮/砲only has one meaning which means artillery which can be used to express its symbolic meaning on chessboard.

According to definite research, the piece炮/砲is added to the Chinese chess during Tang and Song dynasty. Because at the time of that dynasty, gunpowder is applied to shell, and that is what we called as炮in Chinese. However, before Tang dynasty, stone is the only material used as shell, and we call it as砲in Chinese. So Chinese chess use炮and砲to represent ancient Chinese artillery for different sides.

Conclusion

This study is about the Chinese chess and the international chess with the view of cultural meaning, which is closed linked with combination between language culture and language meaning, and both of them can not be separated, but depend on each other closely. In this study, the origins and chessboards of Chinese chess and international chess are explained and compared through the view of culture, and then the meanings of these kinds of chess piece terms are analyzed and compared by semantic view or rather cognitive metaphor. Through the combination of culture and meaning, each piece of them can be illustrated accurately and elaborately.

From the superficial aspect of Chinese chess and the international chess, the most evident findings are that in Chinese chess there are seven kinds of pieces which are車，马，象/相，卒/兵，将/帅，仕/士，炮/砲，while for international chess there are only six kinds of pieces which are Rook, Knight, Bishop, Pawn, King and Queen. In order to contrast them clearly, the pieces with similar meanings can be classified as follows:马and Knight, 車and Rook，象/相and Bishop，卒/兵and Pawn，将/帅and King，仕/士and Queen, and炮/砲.From final results of contrast, some scholars raise a hypothesis that most of the pieces between Chinese chess and international chess are much similar, so they may be derived from the same original chess which people have not known yet. As related investigations show that, the earliest ancient Chinese chess is discovered in Spring-Autumn Dynasty about during the 7th BC to 4th century BC. While, the modern international chess is derived from shatranj which is an ancient Persia chess, and this Persia chess comes from an ancient India chess named Chaturanga which appeared ranging from the 4th century BC to 3rd century BC according to reliable records. By the comparison of their appearance time, the Chaturanga spread from Chinese chess could be deduced but lack of provable evidence.Another similar points are that as the oldest edition of modern international chess, the Chaturanga also has six kinds of pieces which are king, Counselor, Elephant, Knight, Rook and Pawn. Right here the piece Counselor is much similar to the piece仕/士，and the piece Elephant resembles Chinese piece象/相. But from the definite discoveries of study, there are only some connections proved between them in culture, but not confirming that this kind of chess comes from Chinese chess.

Through the comparison about the meanings of corresponding piece terms between Chinese chess and international chess, some findings are discovered: for the meanings of Chinese chess piece terms, always they can not describe the symbolic meaning on chessboard directly. Because some of them are with many different meanings, namely, polysemies,such as piece马，piece車，piece仕/士，piece卒/兵;some original meaning of Chinese chess piece terms are derived from verb, among the groups of将/帅，相/象，the original meanings of将and相are verbs. And there is only one piece term which can describe the symbolic meaning on chessboard directly, that is piece炮/砲. While for the international chess piece terms, almost all of them are able to describe the symbolic meanings on chessboard with their original meanings directly.

On balance, in describing the meanings between Chinese chess piece terms and international chess piece terms on chessboards, the meaning of Chinese chess piece terms are not as concrete as international chess pieces terms. That is to say, international chess piece terms can express the symbolic meaning of what the piece stands for on chessboard directly, but it always doesn't go for the Chinese piece terms. Such as the piece象，people can not regard it as primary minister at the first sight, maybe just an elephant instead (although this kind of thought is supported by some people, it is still lack of some evidence). But for its counterpart,the international chess piece term Bishop, people could image a picture of priest easily in their mind, because its original and unique meaning is its symbolic meaning on chessboard. And this phenomenon is also a performance that the Chinese character is usually more abstract than English word.

References

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日语笔译 曹梦然 Cao Mengran 202170081632

Chinese Wedding Costumes
曹梦然

Abstract

In Chinese history, the embroidered red dresses, the phoenix coronet & colorful embroidered capes and the red head kerchiefs that Han people wore on their wedding ceremony were customized-made in Qing dynasty and early Minguo. The wedding dresses in Ming dynasty made the phoenix coronet & colorful embroidered capes and the red head kerchiefs, etc. popular in Han dynasty for 500 years. But the New Cultural revolution, the Cultural Revolution and the opening reform in recent and contemporary ages made the Chinese traditional wedding culture change a lot, and some are almost disappeared. Today, the Chinese traditional wedding and traditional wedding dresses became popular, but the confusion is which dynasty that the Chinese traditional wedding dresses of Han nationality can be dated. To study the evolution of Chinese traditional wedding dresses from Ming dynasty to today is to make modern people know more about Chinese traditional wedding dresses of Han nationality, to enlighten the designers today and make them creative and thoughtful to design Chinese traditional wedding dresses .

Key words

Traditional wedding dresses in Han nationality; The phoenix coronet& colorful embroidered cape; wedding accessories

Introduction

When it comes to Chinese wedding dresses, not only foreigners but also most Chinese people are believed to be very unfamiliar with it. What should Chinese wedding dresses look like? Why is the Chinese wedding dress worn by modern people different from the feudal era? What is the "phoenix coronet & colorful embroidered capes" that is mentioned in the book? The wedding dress is a microcosm of the entire Chinese culture. As China's internal turmoil and various cultures spread and developed in the modern era, the wedding dress has changed its look, introduced different elements, been abandoned, and has been rediscovered in modern times. To understand the look of wedding dress, we must look at it from a historical perspective.

The History of Chinese Wedding Dress

Wedding dress in China has regional differences, as well as differences in time and ethnicity, but there are still some distinctive features that distinguish it from other countries. Historically speaking, the wedding clothes of the Tang and Song dynasties laid the foundation for Chinese wedding clothes, and after the Ming dynasty, Chinese wedding clothes took shape and have been used ever since. Let's talk about the characteristics of the Ming Dynasty wedding clothes. The most familiar Han wedding dresses today are the colorful embroidered dragon and phoenix, phoenix coronet and colorful embroidered capes, big red capes, A few people know that more than 3,000 years ago in the Zhou Dynasty, the color of wedding dresses was black and red, and this mainstream wedding dress color system lasted until before the Sui and Tang Dynasties. The development to the North and South Dynasties also once appeared white dresses, to the Song Dynasty, the court nymphs of the six dresses, the wedding dress is cyan. By the Ming Dynasty, the big red wedding dresses we are familiar with only had a clear shape. The Ming Dynasty established the custom of celebrating in red. When getting married, the bride usually wore a large red blouse with a long green skirt underneath. The bridegroom theoretically wore a ninth-ranking official's uniform, a hairpin wusha hat and long boots, and a red silk belt. Below are cartoon drawings that visually reflect the image of wedding costumes at that time.


6.3.1 The phoenix coronet

During the 400 years from the Ming Dynasty to the modern era, men could wear ninth-grade official uniforms when they married, while new brides used phoenix coronet and colorful embroidered capes. The phoenix coronet, as the name implies, is a cap in the shape of a phoenix, usually made of iron or silver. The rich use gold and Kingfisher feather art. It is decorated with pearls and precious stones. It is shown in the picture below.

6.3.2 colorful embroidered capes

The phoenix coronet and colorful embroidered capes appeared as a set of ornaments, originally meaning a gorgeous silk fabric that women used to drape over their bodies. "The colorful embroidered capes were used by Taoist masters as their vestments. The custom gradually evolved, and in the Song Dynasty, colorful embroidered capes became an accessory to the consort's regular clothes and the dresses of the princesses, with different embroidery patterns depending on the rank. In the Ming Dynasty, the wives of consorts and officials all wore colorful embroidered capes, but the consorts used vermilion and gold threads to embroider dragon and phoenix patterns, while other women could only use capes in dark blue without embroidery patterns. For the marriage of common people, women could wear phoenix coronet colorful embroidered capes.

6.3.3 head covering

The prototype of the cover is the ancient veil, which is a red cloth over the bride's head. The cover is covered from the time the bride leaves the boudoir until the male family enters the bridal chamber, when the groom picks it off or uncovers it with a scale. The material of the barrier surface is mostly silk gauze, silk gauze net of things, its thin and transparent does not obstruct the bride's vision. But also with a slightly thicker fabric made, the form of more square scarf or cap type. Covered in the head, long to between the ears, neck, chest and even to the feet a few feet, and vary with the times, different regions. The color is mostly red. There are two kinds of head coverings: round and square, sometimes with colorful embroidery on the head coverings. 6.4 Evolution of wedding clothes in Qing Dynasty The Qing dynasty dress system changed dramatically, and men used robes and mandarin jacket as formal wedding dresses due to Manchu policies. But in general the first and middle of the Qing Dynasty women's wedding clothes still continued the style of the Ming Dynasty. In the late Qing Dynasty, influenced by men's mandarin jacket, women began to commonly use black mandarin jacket and red skirts as wedding dresses. The waistcoat was embroidered with gold and silver threads with dragon and phoenix patterns, as shown in the picture below.

Women's skirts still follow the popular "horse face dress" of the Ming Dynasty. This skirt has two light surfaces in front and behind the body without pleating, and it was popular in the Qing Dynasty to decorate the light surfaces in front and behind with gorgeous embroidery.

6.5 Chinese Wedding Dresses Since Modern Times

The mandarin jacket and skirt were still the main wedding clothes at the beginning of the Republic of China, initially black gown and red skirt with the wedding clothes at the end of the Qing Dynasty, and then gradually became popular to red gown and red skirt, whose color was more bright and eye-catching. Until now, the color of the coat and skirt still retains the form of red coat and red skirt. The collar of the gown is "Chinese style" stand-up collar, no slit and sash, the length of the sleeve is also different from the cheongsam, the gown is long-sleeved, but the Republican period gown sleeve length is shorter than the Qing Dynasty, the cuffs are also small. The sleeve length of the dress in the Republic of China period was about 5 cm above the wrist, in order to allow the bride to display the bracelets, bangles and other accessories worn. The skirt coat is relatively loose, with only a small waist, which is different from the cheongsam's emphasis on the female figure. The dress coat must also be worn inside a long coat and pants worn inside. The westernization of wedding clothes also took place at the same time. The westernization of wedding clothes began in the late Qing Dynasty, and flourished in the middle of the Republic. In the late Qing Dynasty, the Qing court was in internal and external difficulties, and the country was in decline. In order to save the peril, a large number of foreign students were sent to study abroad, and the army also changed to train a new army. Among the Chinese students and soldiers, western-style student's drill clothes, drill caps and western-style military uniforms and caps first appeared. The importation of foreign clothes provided another reference system for judging beauty and directly influenced the change of social dress concept. In this context, it is not surprising that the fundamental changes in Han wedding costumes were understood and accepted by people. Thus, in Shanghai from the 1920s to the 1940s, both the style and the shape of clothing were Western in style. Women's clothing gradually became more and more fitted from wide clothes and sleeves. It was at this time that wedding dresses combining East and West began to appear. In this period in China, centered on Shanghai and other major cities, women wore Chinese cheongsam with western veil, and men wore suits or long shirts and hats, and Chinese wedding dresses did not have a uniform standard and blossomed, following the owner's preference. The picture below shows the popular wedding dresses at that time.

6.6 Chinese wedding clothes exit the stage of history

For economic and political reasons, one of the phenomena that occurred between the early days of liberation and the Cultural Revolution was the disappearance of traditional wedding clothes. The special nature of wedding clothes no longer existed, and the so-called acquisition of wedding clothes was nothing more than making a new dress. In this era of extreme material scarcity, the purchase of a new dress became a great luxury. The period from the founding of the People's Republic of China to the Cultural Revolution The period between the founding of the People's Republic of China and the Cultural Revolution was a time of hardship and simplicity. Since the country's economy was at a low level of development, hardship and simplicity became the common fashion of the times, and people mostly wore blue, army green or gray clothes. At a time when the standard of living was quite low, there was no The standard of living was quite low, there was no extra income to buy extra clothes, so the traditional wedding costume was replaced by regular clothes. dress. This practice also embodied the proletarian spirit of hardship and simplicity and was advocated by people at that time. At the same time At the same time, in those times of class struggle, wearing wedding dresses and western clothes to get married was feared to be described as aspiring to a bourgeois lifestyle. The need to get married as a matter of human nature took a back seat to the needs of the revolution and the need to work. In the early years of the founding of New China, China's politics, economy, military and culture were all modeled on the Soviet Union, and Soviet clothing became a symbol of the revolution. Soviet clothing became a symbol of the revolution, and Soviet dresses instantly swept across China, Lenin's dress and the Bragi being two distinct examples. The Lenin suit was a typical costume for female cadres in the late 1950s, and was actually a modification of the suit, which was worn by Lenin before and after the October Revolution. After the October Revolution, Lenin often wore this style of clothing, the revolutionary enthusiasm of people in order to completely separate it from the suit, so it was given It was given the name "Lenin Suit", which was full of proletarian colors, as a proof of the revolutionary determination to follow the Soviet Union's example. This was a testament to the determination to follow the Soviet Union's example. The Lenin suit was once popular among women, and the fashionable dress for women was to wear the Lenin suit and have short hair to show their heroic The revolutionary style of heroism. In the late 1950s, when a leader of the former Soviet Union visited China, he suggested that Chinese clothing did not fit the image of a large socialist country and that women should all wear flowery clothes. Women should all wear flowery clothes to reflect the thriving face of socialism. At one time, the floral bragi became fashionable. Bragi is the Russian translation of the dress, the style is extremely simple: loose short-sleeved, bubble pleated skirt, simple round collar, and The fabric color pattern was mainly floral, plaid and stripes. This style is healthy and lively, not pretentious, and has been popular for a long time. This style was also used in the summer to wear when getting married. It can be said that after the founding of New China until the eve of reform and opening up, Chinese wedding dresses and even weddings were basically extinct in mainland China. 6.7 Chinese wedding clothes after the reform and opening up With the reform and opening up, with the emancipation of the mind, people's dressing style also began to become more and more diversified. While more and more young people are choosing Western-style weddings, traditional Chinese weddings are also favored by many tradition-loving Chinese people. Due to the long break in generation, there is a lack of craftsmen who can make traditional wedding clothes in mainland China, so people imitate the clothes of the previous generation and adapt them into the Chinese wedding clothes that are now popular in mainland China. This is the so-called "xiuhe dress".

This wedding dress is still part of the Chinese wedding costume, but its structure and cut are very different from its predecessors. The traditional Chinese cut was abandoned in favor of a more body-hugging Western cut. Since the horse-faced skirt was lost, the skirt was commonly made into a straight skirt with a piece of cloth sewn on the skirt to make it look like a horse-faced skirt. The body of the dress is embroidered with gold and silver threads with dragon and phoenix designs. In recent years, more and more people are calling for wedding dresses should be from ancient times, and young people are trying to imitate the wedding customs of various Chinese feudal dynasties, including wedding dresses. As for what exactly Chinese wedding clothes should look like, there is actually no definite conclusion today.

Conclusion

There is no exact definition or form of Chinese wedding dress. It has a long history and is rich in variations of forms, but had been transformed and abandoned for economic and ideological reasons, among others. Nowadays, more and more people are taking Chinese traditions seriously, and it has become a modern Chinese trend to keep digging into the marriage customs of ancient feudal dynasties. I believe different people will have different answers as to what Chinese wedding clothes should look like. Perhaps in the near future, traditional Chinese wedding dresses will still shine in China.

References

[1] 王宏付.民国时期上海婚礼服中的“西化”元素[J].装饰，2006，（5）

[2] 徐莉.试论婚礼服饰的变迁[J].北京城市学院学报，2006，（3）

[3] 姚君洲.论女性婚礼服在中国的发展趋势[J]，徐州教育学院学报，2001，16（01）

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[5]史林.对白色婚礼服流行的几点思考[J].苏州丝绸工学院学报，1996，3（1）

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[8] 许星.中国古代民间婚礼仪俗中的着装风格初探[J].苏州丝绸工学院学报，1998，18 （6）

[9] 陈莉娴，林柏芯，唐诗韵等．香港都市人之古今婚俗[R]．中国文化考察报告，1999

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Terms and Expressions

凤冠 phoenix coronet

霞帔 colorful embroidered capes

点翠 Kingfisher feather art

马褂 mandarin jacket

马面裙 horse face dress

秀禾服 xiuhe dress

Questions

When did Chinese wedding dresses start to revere red?

What led to the extinction of Chinese wedding dresses in China itself?

What are the origins of modern wedding dresses?

Answers

1. The beginning of the Ming Dynasty

2. Changes in the dominant ideology and the constraints of productivity level

3. The popular mandarin jacket and skirt of the Qing Dynasty

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