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Every student needs to find a topic, which is not in the textbook and has not been presented in class. Please check your topics in regard of this. All topics are ok except for those with red marks. Please suggest a new topic instead and wait for the teacher to remove the red marks.

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) . Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
In the topic, please write the category, then the topic - your name and student no.
For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
Add a section at the end called "References".
Please also add a list "Terms and Expressions".
Please add a "Questions" section.
Please add a "Answers" section.

This is the final exam paper website overview

Culture 2022_1 papers 1-10: 1.Chen Cheng 陈诚 2.Chen Kun 陈锟 3.Chen Tianyu 陈天钰 3.Chen Xinyi 陈心怡 4.Deng Lulu 邓鲁露 5.Deng Ruixin 邓蕊欣 6.Guo Zirui 郭子瑞 7.Han Jingru 韩静茹 8.He Minghui 何明慧 9.Lei Heng 雷珩

Culture 2022_2 papers 11-20: 11.Li LinYu 李琳玉 12.Li Siwen 李思文 13.Li Wanying 李婉莹 14.Liu Keyi 刘可仪 15.Liu Qianyi 刘倩仪 16.Liu Yixin 刘亦欣 17.Ma Feifei 马菲菲 18.Ou Xinyu 欧欣榆 19.Wang Rou 汪柔 20.Wei Jingting 魏静婷

Culture 2022_3 papers 21-29: 21.Xu Zhiyuan 徐致远 22.Yan Ni 燕妮 23.Yang Lei 杨磊 24.You Xinning 由馨凝 25.Yu Jinbo 喻锦博 26.Yu Ziqi 禹紫琪 27.Yuan Ling 袁灵 28.Zhou Sirui 周思睿 29.Zou Xiangrui 邹享睿

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 *Please add a "Answers" section.
-==Chen Cheng 陈诚 - Economy: Chinese Currency Changes==
+=This is the final exam paper website overview=
-China's currency not only has a long history, but also a wide variety, creating a unique currency culture.
+[[Culture 2022_1]] papers 1-10: 1.Chen Cheng 陈诚 2.Chen Kun 陈锟  3.Chen Tianyu 陈天钰 3.Chen Xinyi 陈心怡 4.Deng Lulu 邓鲁露 5.Deng Ruixin 邓蕊欣 6.Guo Zirui 郭子瑞 7.Han Jingru 韩静茹 8.He Minghui 何明慧 9.Lei Heng 雷珩
-China's earliest currency was sea shells. By the Spring and Autumn and Warring States periods, shell coins had completely receded from the historical stage.
-The pre-Qin period was an important period in the occurrence and development of Chinese currency. With the expansion and refinement of the division of labour and the development of the commodity economy, primitive money began to appear in the late New Age, acting as a medium of exchange for goods; after that, it entered an era when primitive money, metal-weighed money and minted coins were used together.
-==Chen Kun 陈锟 - History:Wang Yangming==
+[[Culture 2022_2]] papers 11-20: 11.Li LinYu 李琳玉 12.Li Siwen 李思文 13.Li Wanying 李婉莹 14.Liu Keyi 刘可仪 15.Liu Qianyi 刘倩仪 16.Liu Yixin 刘亦欣 17.Ma Feifei 马菲菲 18.Ou Xinyu 欧欣榆 19.Wang Rou 汪柔 20.Wei Jingting 魏静婷
-==Chen Tianyu 陈天钰— Martial Arts:The Development of Chinese Swordsman Spirit==
+[[Culture 2022_3]] papers 21-29: 21.Xu Zhiyuan 徐致远 22.Yan Ni 燕妮 23.Yang Lei 杨磊 24.You Xinning 由馨凝 25.Yu Jinbo 喻锦博 26.Yu Ziqi 禹紫琪 27.Yuan Ling 袁灵 28.Zhou Sirui 周思睿 29.Zou Xiangrui 邹享睿
---[[User:Chen Tianyu|Chen Tianyu]] ([[User talk:Chen Tianyu|talk]]) 04:46, 30 May 2022 (UTC)
-the outline of the first paragraph: a brief introduction of Chinese swordsman spirit+my basic understanding of Chinese swordsman spirit +the overall outline(perspectives)of the essays.
-==Chen Xinyi 陈心怡 - Cuisine: Luosifen==
-Luosifen, also called Snail rice noodle, is a Chinese noodle dish with “offensive” oder and a speciality of the city of Liuzhou, in Guangzhou, southern China.
-==Deng Lulu 邓鲁露 - Fine Arts: Chinese Paper Cutting ==
-==Deng Ruixin 邓蕊欣 - Science and Technology: Taobao(淘宝) ==
-==Guo Zirui 郭子瑞 - Traditional Craft: Bronze ==
-==Han Jingru 韩静茹 - Entertainment: Deyunshe ==
-Deyunshe, originally named as the Beijing Conversation Conference, is one of the biggest Chinese crosstalk organizations and folk art performance groups in China. Established in 1995, Deyunshe has been the common abbreviation of Beijing Deyunshe Culture Communication Company Ltd. since its renaming in 2003. Following its key principle of "let the cross talk back to the theatre", in these years, Deyunshe has made important contributors to the inheritance and innovation of Chinese crosstalk, opera, pingshu and other forms of folk art performance.
-==He Minghui 何明慧 - Traditional Cuisine: Dumpling ==
-==Lei Heng 雷珩 - Photoshop technology culture in China ==
-Outline: 1. the development of P.S. technology in China from the ancient time to present time; 2. The influence of it on China people; 3. The importance of it to China.
-==Li LinYu 李琳玉 - Traditional Crafts: Handcraft - Oil-paper Umbrella==
-===history===
-The spread of oil-paper umbrellas was started by the invention of Yun, wife of Luban. "Chop bamboo sticks to thin strips, covered in animal fur, closed to become a cane, opened as a cone." Early umbrella materials were mostly feathers or silks, later replaced by paper. When oil-paper umbrellas first appeared is unknown. Some estimate that they spread across to Korea and Japan during the Tang dynasty. It was commonly called the "green oil-paper umbrella" during the Song dynasty. The popularity grew and the oil-paper umbrella became commonplace during the Ming dynasty. They are often mentioned in popular Chinese literature. By the 19th century, oil-paper umbrellas were a common item in international trade under the name kittisols.
-==Li Siwen 李思文 - stage entertainment:Yuan drama==
-'''The Definition of Yuan Drama'''
-Yuan drama
-Yuan drama is a wonderful flower in the splendid cultural treasure-house of the Chinese nation, which embodies unique characteristics in ideological content and artistic achievements. Tang and Song poetry and Yuan drama have become three important milestones of the history of Chinese literature.
-The Yuan Dynasty was the heyday of the Yuan drama. Generally speaking, poetic drama(杂剧) and non-dramatic song(散曲) are collectively called Yuan drama, and both use north drama as a singing form. Non-dramatic song is the main body of Yuan Dynasty literature. However, the achievements and influence of poetic drama far exceed that of non-dramatic song,so some people refer to Yuan drama singlely as "poetic drama", which is also "yuan dynasty opera".[1]
-'''The Rise and development of Yuan Drama'''
-Reasons of rise
-The rise and development of Yuan drama has complex reasons. First of all, the fundation of the previous society was the basis for the rise of the Yuanqu.The vast territory of the Yuan Dynasty, the prosperity of the city economy, the grand theater, the active book club and the countless audience laid the foundation for the rise of the Yuanqu; Secondly, the cultures of various ethnic groups in Yuan Dynasty exchanged and melted with each other, promoting the formation of Yuan drama; Third, Yuan drama isthe inevitable result of the inheritance and development of the literary tradition and the inherent law of poetry itself.
-Development of Yuan drama
-The development of Yuan drama can be divided into three periods.
-Early period: The duriation between the founding of Yuan Dynasty and the destruction of Southern Song Dynasty. During this period, Yuan drama had just entered the poetry world from folk colloquial slang, and had distinct colloquial characteristics and a cheerful, simple and natural sentiment.Most of the authors in that period are northerners, among whom Guan Hanqing, Ma Zhiyuan, Wang Shifu, Wang Xiaojun and Bai Pu had the highest achievements.
-Middle period: from Zhiyuan period to post-Zhiyuan period. The creation of Yuan darama in this period began to make a comprehensive transition to literalization and specialization. Non-dramatic song became the main genre of poetry. Important writers include Zheng Guangzu, Sui Jingchen, Qiao Ji, Zhang Kejiu and so on.
-End: From Zhizheng period to the end of Yuan Dynasty. At this time, the composers of non-dramatic song were specialized in composing. They paid attention to the rhythm of words, deliberately seeking work in art and advocating elegance and delicacy, elegance and beauty. The represented writers are Zhang Yanghao and Xu Zaisi. [2]
-'''Yuan Drama System'''
-The system of Yuan drama is embodied in the following six aspects.
-.Temple(宫调): Temple refers to the mode of ancient Chinese music, the tune and temple are from court banquet music of Sui and Tang Dynasty.The north and south drama commonly used are five temples and four tones, including Zheng Gong(正宫), Zhonglu Gong(中吕宫), Nanlu Gong(南吕宫), Xianlu Gong(仙吕宫), Huangzhong Gong(黄钟宫) (five temples)(五宫), Damian tone(大面调), Double tone(双调), Shang tone(商调),Yue tone(越调) (four tones)(四调), each temple and tune has its own style. The number of opera sets and non-dramatic song sets in the yuanqu is formed by connecting two different song cards in the same palace key.
-.Qupai(曲牌): Commonly known as "Quzi", is a general name for various tunes, each with a special name, such as "Dot the red lip"(点绛唇), "Shan Po Yang"(山坡羊), etc. The total number is numerous, and there are 335 North Drama in Yuan Dynasty,each of which has a certain tune and singing method, and also stipulates the number of words, syntax, and pingshu of the song. According to this, people can fill in the new song lyrics, most of the song cards are from the folk, some of them are developed from the words, so Qupai is also the same as Cipai, but the content is not completely consistent. In addition, there are specially played Qupai, but most of them only have tunes and no lyrics.
-.Rhyme(曲韵): Yuan drama strictly abides by the requirements of the nineteen parts of the "Central China phonology" in terms of rhyme and divides it into flat, up, and go, and has the following characteristics in rhyme: flat rhyme, not avoiding heavy rhyme. It usually uses one rhyme to the end, borrowing rhyme, dark rhyme, redundant rhyme, and losing rhyme.
-.Level and oblique tones(平仄):Qu is more strict in the use of words than in Ci poetry, and pays special attention to the flatness of each last sentence.
-.Antithesis(对仗）：The Antithesis of Qu is relatively free, , that means it can use level tone to paralle with oblique tone, and level tone to parallel with level tone. There are thirteen kinds of confrontation forms of qu, such as "two-word pair"(两字对), "end-to-end pair"(首尾对), "serif pair"(衬字对), etc. and there are many characteristics in the use of language and word order combination, mainly manifested in that there are Gong Dui(a neat antithesis) and Kuan Dui(an untidy antithesis), but the phenomenon of Kuan Dui is more common; The sentence is self-contained,such as "loyal subjects are not afraid of death, afraid of death are not disloyal subjects".
-'''Representatives of Yuan Drama '''
-.Guan Hanqing(关汉卿)
-Guan Hanqing (1234 – c.1300), with courtesy name Hanqing and alias Yizhai(已斋), was a native of Xiezhou(解州) (present-day Yuncheng, Shanxi), and was also from Dadu(大都) (present-day Beijing) and Qizhou(祁州) (present-day Anguo, Hebei). The founder of Yuan drama, the first of the "Four Greats of Yuan Drama"(元曲四大家), together with Bai Pu(白朴), Ma Zhiyuan(马致远) and Zheng Guangzu(郑光祖), is known as the "Four Greats of Yuan Drama", and is known as "Qu sheng"(曲圣).
-Guan Hanqing has the greatest achievement in poetic drama, with 67 now known and 18 extant, the most famous of which is "Snow in Summer"(《窦娥冤》). There are more than 40 Xiaoling(a short form of Yuan drama 小令) and more than 10 sets of scattered songs.
-Representatives of his work: "Snow in Summer","Rescued by a courtesan"(《救风尘》),"River-veiwing Pavilion"(《望江亭》),"Worshiping-the-moon Pavilion"(《拜月亭》)
-.Ma Zhiyuan(马致远)
-Ma Zhiyuan, from Dadu (present-day Beijing), according to other research, Ma Zhiyuan is a native of Ma Citang Village, Dongguang County, Hebei Province, and the Dongguang County Chronicle and the Dongguang Ma Clan Genealogy are recorded. His courtesy name is Qianli(千里), which means "thousand miles" and in his later years, he used "East Fence"(东篱) as his alias to show his admiration for Tao Yuanming's ambition. The representative work is "Han Gong Qiu"(《汉宫秋》).
-.Zheng Guanzu(郑光祖)
-His courtesy name is Dehui(德辉). He was a famous miscellaneous dramatist and composer inYuan Dynasty, and his miscellaneous dramas were "famous in the world and amaze boudoir"(名闻天下，声振闺阁) at that time.18 kinds ofpoetic dramas can be examined.The representative work is "Qian-nu's Soul Fleeying with Her Lover"(《倩女离魂》).
-.Bai Pu(白朴)
-His original name was Heng(恒),and courtesy name was Renfu(仁甫), and later he changed his name to Pu(朴) and courtesy name to Taisu(太素), and his alias is Langu(兰谷). His ancestral home was Suizhou (隩州, near present-day Hequ, Shanxi), later migrated to Zhending(真定) (present-day Zhengding County, Hebei), and lived in Jinling(金陵) (present-day Nanjing) in his later years. He was a famous writer and miscellaneous dramatist of Yuan Dynasty, and one of "Four Greats of Yuan Drama". The masterpiece of him is "Pei Shaojun And Li Qianjun"(《墙头马上》).[3]
-'''Four Tragedies of Yuan Drama'''
-"Snow in Summer"(《窦娥冤》) Guan Hanqing
-"Wu Tong Rain"(《梧桐雨》) Bai Pu
-"Han Gong Qiu"(《汉宫秋》) Ma Zhiyuan
-"Chinese Orphan"(《赵氏孤儿》) Ji Junxiang
-'''Four Love Dramas of Yuan Drama'''
-"Worshiping-the-moon Pavilion"(《拜月亭》) Guan Hanqing
-"The West Chamber"(《西厢记》) Wang Shifu(王实甫)
-"Pei Shaojun And Li Qianjun"(《墙头马上》) Bai Pu
-"Qian-nu's Soul Fleeying with Her Lover"(《倩女离魂》) Zheng Guanzu
-'''Reference'''
-[1].https://baike.sogou.com/v144704.htm[Z].
-[2].唐定耀.元曲 针砭时弊[J].神州学人,2019,(03):01-02.
-[3].唱念做打  生旦净末——中国戏曲[J].万象,2019(01):34-37.
-==Li Wanying 李婉莹 - Music and instruments: Erhu==
-Music and Instruments:Erhu
-.A Brief Introduction
-The erhu is a Chinese two-stringed bowed musical instrument. It is used as a solo instrument as well as in small ensembles and large orchestras. It is one of the main bowed string instruments in the Chinese musical family used by various ethnic groups of China. The first Chinese character of the name of the instrument (二, èr, two) is believed to come from the fact that it has two strings. An alternate explanation states that it comes from the fact that it is the second highest huqin in pitch to the gaohu（高胡） in the modern Chinese orchestra. The second character (胡, hú) indicates that it is a member of the Huqin family, with Hu commonly meaning barbarians. The name Huqin literally means "instrument of the Hu peoples", suggesting that the instrument may have originated from regions to the north or west of China generally inhabited by nomadic people on the extremities of past Chinese kingdoms.
-.The Development of Erhu
-The Erhu, with a history more than one thousand years, originated from an ethnic minority in northeast China during the Tang Dynasty. And at that time, Erhu was called as Xiqin.
-During the Song Dynasty, it was called as Jiqin and had achieved a high level of performance according to scholar Shen Kuo, it is said that a minister Xu Yan’s had finished his playing with one of the string broken in front of the emperor and other ministers.
-During the Yuan Dynasty, people could accurately illustrate the principle of making a huqin, which pave the way for its further development.
-During the Ming and Qing Dynasty, Huqin became a main accompaniment instrument for opera which began prevailing.
-During Chinese modern times, the instrument was called as Erhu, and its performance has reached a very high level after more than half a century of development and spread. During this period, Liu Tianhua（刘天华） was the one who created Erhu’s new era and was seen as the father of the modern Erhu school. He assured five positions and created the vibrato(huaxian) technique, which expanded Erhu’s register, enriched its expression and made it sound more soft and smooth. He also departed it from accompaniments which laid the foundation for Erhu to enter the hall of elegance.
-After the founding of New China, ethnic and folk music developed rapidly. In order to vigorously explore the artistic treasures of folk artists, Hua Yanjun（华彦钧）, Liu Beimao（刘北茂） and other folk artists’ Erhu music was made into records, making the art of Erhu performance mushroom and develop rapidly.
-In the 1950s and 1960s, a group of erhu educators and performers represented by Zhang Rui（张锐）, Zhang Shao（张韶） and Wang Yi （王乙）emerged successively. Under their influence, new erhu performers such as Min Huifen（闵惠芬） and Wang Guotong（王国潼） were cultivated. For example, Erhu composer Liu Wenjin's（刘文金） Great Wall Capriccio （《长城随想曲》）gave full play to the performance of the Erhu and deliberately innovated to make the Erhu glow with new vitality and splendor.
-.Construction
-The Erhu consists of a long vertical stick-like neck, at the top of which are two big tuning pegs, and at the bottom is a small resonator body (sound box) which is covered with python skin on the front (playing) end. Two strings are attached from the pegs to the base, and a small loop of string (Qian Jin) placed around the neck and strings acting as a nut pulls the strings towards the skin, holding a minute wooden bridge in place.
-The parts of the Erhu:
-Qín tong (琴筒), sound box or resonator body; it is hexagonal (liu jiao, southern), octagonal (ba jiao, northern), or, less commonly, round.
-Qín pí/She pí (琴皮/蛇皮), skin, made from python. The python skin gives the erhu its characteristic sound.
-Qín gan (琴杆), neck.
-Qín tou (琴头), top or tip of neck, usually a simple curve with a piece of bone or plastic on top, but is sometimes elaborately carved with a dragon's head.
-Qín zhou (琴轴). tuning pegs, traditional wooden, or metal machine gear pegs
-Qiān jin (千斤), nut, made from string, or, less commonly, a metal hook
-Nèi xián (内弦), inside or inner string, usually tuned to D4, nearest to player
-Wai xián (外弦), outside or outer string, usually tuned to A4
-Qín ma (琴码), bridge, the medium in the vibration between the strings and the skin , made from wood
-Qín Gong (琴弓), bow, has screw device to vary bow hair tension
-Qín diàn (琴垫), pad, a piece of sponge, felt, or cloth placed between the strings and skin below the bridge to improve its sound
-Qín tuō (琴托) – base, a piece of wood attached to the bottom of the qín tong to provide a smooth surface on which to rest on the leg
-.Playing Technique
-(1)Tuning
-The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin.
-(2)Position
-The Erhu is played sitting down, with the sound box placed on the top of the left thigh and the neck held vertically, in the similar fashion as that of a cello or double bass player. However, performers of more recent years have played while standing up using a specially developed belt-clip.
-(3)Right hand
-The bow is held with an underhand grip. The bow hair is adjusted so it is slightly loose. The fingers of the right hand are used to push the hairs away from the stick in order to create tension in the hairs. The bow hair is placed in between the two strings and both sides of the bow hair are used to produce sound, the player pushes the bow away from the body when bowing the outside string, and pulls it inwards when bowing the inside string.
-Aside from the bowing technique used for most pieces, the Erhu can be plucked, usually using the second finger of the right hand. This produces a dry, muted tone (if either of the open strings is plucked, the sound is somewhat more resonant) which is sometimes used in contemporary pieces.
-(4)Left hand
-The left hand alters the pitch of the strings by pressing on the string at the desired point. Being a fretless instrument, the player has fine control over tuning. Techniques include hua yin (slides滑音), rou xian (vibrato揉弦), and huan ba (changing positions换把).
-.Ten Chinese Erhu Classics
-(1)Er Quan Ying Yue (Moon reflection in Erquan)《二泉映月》
-(2)Liang Xiao (The Enchant Evening)《良宵》
-(3)Ting Song (Listen to the Pines) 《听松》
-(4)Kong Shan Niao Yu (The Birds Sing in Countryside)《空山鸟语》
-(5)Han Chun Feng Qu (Cold Spring Wind Song)《寒春风曲》
-(6)Yue Ye (Moonlight Night)《月夜》
-(7)Liu Bo Qu (Flowing Wave Song)《流波曲》
-(8)Bing Zhong Yin (Song by a Sick Man)《病中吟》
-(9)San Bao Fo (Buddha Sambo)（三宝佛）
-(10)Guang Ming Xing (Marching Toward Brightness)《光明行》
-Reference
-[1]赵雪涵.二胡的发展历史与风格[J].北方音乐,2020(03):107-108.
-[2]Wikipedia entry
-==Liu Keyi 刘可仪 - Traditional and Modern Views on Marriage and Love==
-The concept of marriage and love is people's views and attitudes towards marriage and love. The views on marriage and love are not invariable, and people's views on marriage and love are different in different periods. The formation of the view of love and marriage has its complicated social and historical factors as well as individual subjective factors.In recent years, due to the influence of China's social and economic development and diversified changes in values, college students' views and understanding of love and marriage have undergone great changes, and many new phenomena have appeared in any previous period.
-==Liu Qianyi 刘倩仪 - Traditional Cuisine: Tangyuan==
-Tangyuan, also called Yuanxiao, is a traditional Chinese dessert made from glutinous rice flour, usually served at the Lantern Festival.Tangyuan is sticky, sweet and round in shape.They are made with glutinous rice flour as the outside and the filling is made of sesame, peanuts, red beans even fruits.In Chinese, the pronunciation of Tangyuan is similar to "tuanyuan", which has the meaning of reunion, happiness and completeness in Chinese. Its history can date back to the Song Dynasty.
-==Liu Yixin 刘亦欣 - Animals：Golden Monkey==
-==Ma Feifei 马菲菲 - Chinese Economy: rich businessmen==
-Outside of Internet success stories such as Alibaba’s Jack Ma or Baidu’s Robin Li, China has few if any widely internationally known rich businessmen. Here are some brief introduction to the rich businessmen in China.
-==Ou Xinyu 欧欣榆 - Politics: Increasing national seclusion and isolation of contemporary China ==
-==Wang Rou 汪柔 - The Chinese tradition of worship==
-==Wei Jingting 魏静婷 - Opera: Huangmei opera ==
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-==Xu Zhiyuan 徐致远 - The “reference” of Chinese Music==
-==Yan Ni 燕妮 - Chinese Folk Art:Lion Dancing==
-==Yang Lei 杨磊 - Science and Technology: Mobile Games（手游）==
-==You Xinning 由馨凝 - Clothing: Vintage Clothing ==
-==Yu Jinbo 喻锦博 - Aesthetic ideals and social customs:Faggotry Culture in China:taking Da Sima(金轮) as an example==
-==Yu Ziqi 禹紫琪 - Aesthetic ideals and social customs: The Culture of Flowers==
-China enjoys great abundance in resources of flowers. Early in ancient times, Chinese people noted that the value of flowers was diversified, and utilized flowers in various ways. Flowers could be used as ingredients for cuisine, herbal medicine, and decorative items. Moreover, the image of flowers always appeared in poems, proses and articles, highly praised by Chinese literary men for the beauty, fragrance as well as spirits. Throughout history, flowers are of both pragmatic and spiritual significance in Chinese culture.
-==Yuan Ling 袁灵 - National Belief: the Chinese Dream==
-In November of 2012, soon after the conclusion of the 18th National Congress of the Communist Party of China (CPC), President Xi Jinping put forward, for the first time, the idea of the Chinese Dream on a visit to “The Road towards National Rejuvenation” exhibition at the National Museum of China. The Chinese dream meant for him the “great renewal of the Chinese nation.” and “is a dream of the whole nation, as well as of every individual,” he said. Since then, use of the phrase has become widespread in official announcements and as the embodiment of the leadership's political ideology under Xi Jinping. Xi said that young people should “dare to dream, work assiduously to fulfill the dreams and contribute to the revitalization of the nation.” There are various connotations and interpretations of the term.
-==Zhou Sirui 周思睿 - Science and Technology: BuyTogether（PDD)==
-Buytogether(PDD), also called Pinduoduo in chinese,is a mainstream E-Commerce application of mobile Internet in China,and a third-party social E-Commerce platform focusing on C2M(Customer-to-Manufacturer) grouping shopping. It was founded in September 2015. Users can buy goods at a lower price by buying them with their friends, families and neighbors together.
-Buytogether aims to enable people to buy better goods at lower prices and gain more benefits and fun by gathering the strength of more people .The social concept formed through communicating and sharing has formed its unique idea in social E-Commerce .
-==Zou Xiangrui 邹享睿 -Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People ==