Difference between revisions of "20220630 Culture 6"

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*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301
 
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301
  
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==英语笔译 周哲 Zhou Zhe 202170081613==
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==英语笔译 刘珍 Liu Zhen 202170081588==
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<center>'''Confucian Teaching Thoughts'''</center>
 
  
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<center>周哲 Zhou Zhe</center>
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<center>'''Chinese Guqin '''</center>
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<center>Liu Zhen</center>
  
 
===Abstract===
 
===Abstract===
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The rise of the philosophic schools began with the practice of private teaching. So far as modern scholarship can determine, Confucius was the first person in Chinese history thus to teach large numbers of students in a private capacity, by whom he was accompanied during his travels in different states. According to tradition, he had several thousand students, of whom several tens became famous thinkers and scholars. The former number is undoubtedly a gross exaggeration, but there is no question that he was a very influential teacher, and what is more important and unique, China’s first private teacher. His ideas are best known through the Lun Yü or Confucian Analects, a collection of his scattered sayings which was compiled by some of his disciples.
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Qin, also known as Chinese harp/lute, peptachord, jade harp, lyre, now called Guqin(a seven-stringed plucked instrument), it is one of the oldest stringed plucked instrument in the history of traditional Chinese folk musical instruments. For thousands of years, the literature on Guqin retention is very profound. Each era has a representative literature of Qin manufacturing, Qin player, Qin music, theory, skills, as well as the special Chinese traditional music culture phenomenon, the remains are abundant. Until today, Guqin still occupies a special position in the Chinese traditional culture. However, with the development and change of society, people's cognition has changed a lot; As the infiltration and integration of western music culture, the new music has become the mainstream of Chinese music culture, while Guqin art as a representative of traditional Chinese culture was marginalized in modern culture. With the change of social environment, the survival condition of Guqin has been changed, the crisis of the survival and development of Guqin art under commercialization, he integration of eastern and western music culture, the disappearance of the traditional literati stratum and the differentiation of the social roles of Guqin player highlights the survive and thrive problem of contemporary Guqin art. From three aspects: the historical overview, current situation and contemporary significance of Guqin art, this article made an on-the-spot investigation on how to inherit and develop Guqin art in today's social environment.
  
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===Key words===
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===Key Words===
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Confucian teaching thoughts; kindness; The Analects of Confucius
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Guqin; Development; Inheritance; Significance
  
 
===Introduction===
 
===Introduction===
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Ancient Chinese education is part of the brilliant and diverse ancient Chinese culture, the foundation on which it has been sustained and developed, and the driving force behind its constant innovation. It was passed down from generation to generation through ancient Chinese education. The school education, social education, family education and education in all kinds of craftsmanship were the guarantee of the continuity and development of all kinds of ancient Chinese culture, without which it would have been difficult to create, perpetuate and develop ancient Chinese material and spiritual civilization.
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'''The Research Object
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'''
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During the Western Zhou dynasty, there was not only a national school but also a country school, which gradually formed a systematic education based on ritual, music, archery, royalty, calligraphy and mathematics. During the Spring and Autumn and Warring States periods, private schools began to develop as a new form of educational organization, and a number of masters emerged, such as Confucius, Mo Zi, Mencius and Xun Zi, who shone with their wisdom.
 
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Ancient Chinese education is a humanistic one. It takes the cultivation of a gentleman as the sole purpose and focuses on teaching people virtue and wisdom rather than mere knowledge. It attaches particular importance to moral education and virtue cultivation, emphasizing moral integrity, ethics and lofty spirituality, advocating the development of ambition, and highlighting a sense of moral responsibility. It also promotes the spirit and broad-mindedness. China has gradually formed a long-term and profound educational tradition, starting from Confucius and Mencius, Lao Zi and Chuang-Tzu, and down to Song and Ming philosophy, all paying special attention to self-cultivation by attaching great importance to inspiring students’ self-awareness and initiative, to be persistent in their determination, to refrain from excessive indulgence and to do self-examination and good deeds, and to be subtle and prevent the gradual corruption. In this way, a series of principles and methodologies of moral education and cultivation with unique Chinese characteristics have been gradually developed.
 
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===Characteristics of Confucian Teaching Thoughts===
 
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In general, ancient Chinese educational thought, broadly speaking, has the following distinctive features.
 
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First, there is the comprehensive view, that is, the big view of education. Ancient Chinese educators recognized early on that education is a subsystem of the larger system of society as a whole, and that many educational problems are essentially social problems that must be examined and solved in the context of the entire social system. In turn, the solution of educational problems would inevitably promote the development and progress of society as a whole. For example, Confucius attached great importance to education and regarded population, wealth and education as the three major elements of "statehood". From the idea of "The root of a state is in the family. Mencius", he attached importance to the education of family ethics and social morality "filial piety, brotherhood, loyalty and faith". He saw the important role of education in governing the state and stabilizing the social order. This idea of placing education at the forefront of governing the state and the people, and seeing the moral cultivation of the individual and the improvement of social morality as the basis for governing the state and stabilizing it, is very profound. The Book of Rites and Learning summarizes the role of education in sixteen words: "To build a state and rule the people, teaching is the first thing to do" and "To transform the people into customs, it must be learned". The role of education encompasses two interrelated aspects: one is to cultivate the various talents needed by the state, and the other is to form a good social moral style. This is a summary of the function of education as outlined and summarized by Chinese philosophers, which is still relevant today.
 
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The second is the dialectical view, that is, the unity of opposites. Ancient Chinese educators emphasized the need to give priority to moral education, while not neglecting the role of intellectual education. For example, Confucius said: "A wise man devotes his attention to what is essential in the foundation of life. When the foundation is laid, wisdom will come. ", "If he (a young man) has time and opportunity to spare, after the performance of those duties, he should then employ them in literary pursuits. " (Analects Xue Er); and at the same time he says: "First there is the mere love of morality: that alone, without culture, degenerates into fatuity."(Analects Yangguo), ""I cannot say," replied Confucius, "if he could be called a moral character."" Dong Zhongshu also said, "If one is benevolent but not wise, one loves but does not distinguish; if one is wise but not benevolent, one is wise but does not do." This is the ancient Chinese view of the unity of morality and wisdom: moral education and its practice come first, followed by intellectual education; moral education is carried out through intellectual education, and intellectual education mainly serves moral education; there is an interdependence and interpenetration between moral education and intellectual education, between "practicing oneself with shame" and "learning from literature" There is a relationship of interdependence and interpenetration between moral education and intellectual education, and between "acting with shame" and "learning from literature". The same is true of moral education. There is also a relationship of unity and opposition between the understanding of moral concepts, the establishment of moral beliefs and the practice of moral behavior. The relationship between teaching and learning, and between teacher and student, is both contradictory and unified, as revealed in everything from the Book of Learning to Han Yu's Teacher's Discourse.
 
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The third is the inner view, which emphasizes the inner moral function and self-awareness of the subject of inspiration. Ancient Chinese education inspires the inner self-consciousness of each person and puts forward a set of principles, requirements and methods of "being human", so that people can get the pleasure of "being human" from it. "It is a set of principles, requirements and methods of being human, from which one can derive the pleasure of being human and express the noble spiritual pursuit of human beings. Unlike Western Christianity and Indian Buddhism, ancient Chinese education is not "sinful education" but "joyful education"; it does not rely on religious beliefs and prayers, and does not advocate leaving society and the family, but emphasizes accumulating moral and good deeds in school, family and daily life, and strengthening self-cultivation. Instead of relying on religious beliefs and prayers, it does not advocate leaving society and family, but emphasizes accumulating moral and good deeds in school, family and daily life, strengthening self-cultivation, i.e., this shore is the other shore, "the highest and the middle way". Ancient Chinese educational thought emphasizes the ability to be self-aware of values in one's heart, to introspect, to reflect on oneself, to be prudent, to cultivate oneself, to perfect oneself, and to seek harmony between the human order and the cosmic order. Its quest for the source of value is inward rather than outward, not listening to the call of God or waiting for the revelation of Buddha. The emphasis on inspiring inner enlightenment and trusting in the inner power of the subject is a very important feature.
 
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===Ancient Chinese Confucianism in Teaching and Learning===
 
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Ancient Chinese educators have accumulated and summarized a wealth of teaching experience and have put forward many valuable ideas and insights into teaching theory, teaching principles and methods, and the requirements for teachers. These ideas not only arose in ancient times thousands of years ago is rare and valuable, but also today still shine with wisdom and are rich in enlightening educational significance. It is the essence of our traditional educational thinking and a major contribution to the world's treasure house of educational thought.
 
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1. Teaching according to the material, inspiration and guidance
 
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One of the best recognized traditional teaching ideas is "teaching to the students according to their abilities". Confucius remarked, "You look at how a man acts; consider his motives; find out his tastes. What the student does, what the student experiences, and what the student's interests are. For students not only "But now, when I want to judge of a man, I have to look at what he does in his life as well as listen to what he says.", but also "But when he has retired, on examining into his life and conversation I find he has been able to profit by what I have said to him." (Analects For the Government), i.e. examining the student's words and actions in private after class to get a full picture of the student's characteristics and reality. He knows the character traits of his students well, sometimes analyzing them in terms of their strengths, sometimes in terms of their weaknesses, and sometimes making comparative analyses of different students. He is able to target the different character traits of the students and follow their advice, instead of preaching in a uniform manner. Sometimes the students asked the same question, but he gave different answers. A disciple, the intrepid Chung Yu, asked if he might at once carry out into practice any truth which he had learnt. "No." answered Confucius. "You have the wishes of your parents and of your old people at home to consult. How can you take upon yourself to carry at once into practice what you have learnt?" Another disciple on another occasion asked the same question. Afterwards another disciple ventured to enquire of Confucius why he gave two totally different answers to the same question.
 
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"That is because," answered Confucius, "the one man is too diffident, I therefore said that to encourage him; the other man, however, is too forward; Therefore I said that to pull him back. Confucius also advocated different teaching according to the level of intelligence of the student: "Confucius remarked, "You may speak of high things to those who in natural qualities of mind are above average men. You may not speak to those who in natural qualities of mind are below average men."" (Analects Yongye)
 
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Mencius inherited and exerted Confucius' idea of teaching according to students' abilities and emphasized the variation of teaching methods. In conclusion, ancient Chinese educators believed that there were differences in students' personalities and that each student's natural endowments were different, so teaching methods should also vary from person to person. They opposed the use of a model to bind students, but advocated the development of each student's personality through education. In terms of teaching methods, ancient Chinese educators paid special attention to inspiration and guidance to develop the intellectual potential of each student. Confucius then went on to say: "In my method of teaching, I always wait for my student to make an effort himself to find his way I also make him find his own illustrations before I give him one of my own. bearing of a subject in one direction and found that my student cannot himself see its bearings into other directions, I do not then repeat my lesson." " (Analects Shu Zi)
 
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2. Learn from the past, learn and think
 
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The first words of the Analects are those of Confucius: "Confucius remarked, "It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired."" (Analects Xue Er) He also said, "Confucius remarked, "If a man will constantly go over what he has acquired and keep continually adding to it new acquirements, he may become a teacher of men.""(论语-为政) Zhu Xi explained in his Four Books Collected Commentaries, "The old one, what he has heard of the old; the new one, what he has The new one, the present one. The words learn to be able to practice the old heard at times, and every time there are new gains."
 
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Only by repeatedly learning and practicing can we firmly grasp what we have learned; only when we have become proficient in what we have learned and have integrated it, can we learn from the past and know the future, and explore the unknown from the known. This kind of thinking, which attaches importance to learning from the past without neglecting the exploration of new knowledge, is still inspiring today.
 
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On the issue of dealing with the relationship between learning and thinking, ancient Chinese educators mostly advocated the combination of learning and thinking and the importance of learning and thinking together. Confucius remarked, "Study without thinking is labor lost. Thinking without study is perilous." (Analects of Confucius Weizheng) He advocated that study and thinking should go hand in hand, but should be based on study. But it should be based on study: "Confucius on one occasion remarked, "I have spent a whole day without taking food and a whole night without sleep, occupied with It was of no use. I have found it better to acquire knowledge from books."" (Analects Wei Ling Gong) He also emphasized the need to think on the basis of study: "Confucius remarked, "A man who does not constantly say to himself, 'What is the right thing to do?' I can do nothing for such a man."
 
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" (Analects Wei Ling Gong). Xunzi inherited this idea from Confucius. He also said, "I have tried to think all day long, but I am not as good as what I have learned in a moment." He also asked that, on the basis of learning, one should "ponder in order to pass on" (Xunzi Persuading Learning), that is, to integrate what one has learned through thinking activities.
 
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3. Make Steady progress Incrementally
 
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Ancient Chinese educators generally valued the principle of gradual teaching. The students of Confucius praised him for his "good enticement in a gradual manner" (Analects of Confucius Zihan). On the one hand, he believed that teaching was a process of natural development, and that it should be self-improving, not lax or interrupted; on the other hand, it should not be impatient or prostrated. He said, "The gentleman's ambition is not to attain the Way without becoming a chapter." He compares the order of advancement in learning to flowing water, "not without a surplus of subjects", and "he who advances sharply, retires quickly" (Mencius On the Exhaustion of the Mind). Mencius also used the natural growth of seedlings as a metaphor for the process of education. On the one hand, he advocated plowing with all one's might and opposed indulgence; on the other hand, he opposed weeping seedlings to help them grow and rushing to success.
 
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The "way of learning" proposed in the Book of Learning is also against "dilly-dallying". It says: "Those who are good at asking questions are like attacking hard wood, and those who are easy first are followed by their programs, and when they have been long, they say (get off) each other to solve them. Those who are not good at asking are the opposite. He who is good at asking questions is like a bell; if he knocks on a small one, he will make a small sound; if he knocks on a large one, he will make a large sound; if he is subdued, he will make his sound. Those who do not answer questions well do the opposite. This is the way to advance in learning. "This is the principle of gradual progress in teaching.
 
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Zhang Zai believes that the teaching process "should not be slow, but should not be hasty. Because the difficulty of the material and the development of the student's body and mind are "gradual", which requires teaching must also adhere to the principle of "gradual", not dilly-dallying and teaching. Zhu Xi even more clearly put forward the "step by step and progressive, familiar with the reading and fine thinking" teaching ideas. He said: "gentleman teach people in order, first pass to the small near, and then teach to the large far", "such as mountain climbing, people more to the high place, do not know since the low place do not pay attention to, the end of the reason to the high place". He stressed that teaching should be insisted on from near and far, from easy to difficult, from shallow to deep, from concrete to abstract, from known to unknown. Zhu Xi also said: "the sages teach people, the lower learning up to, in an orderly manner, so engaged in the middle of it, and the important, about and not alone, no delusion over the sloppy drawbacks. Today's scholars of the word are mostly opposed to this, so its high fell into the empty illusion, the low drowned in hearing and seeing, and despairingly do not know where they will return to. He thinks that if one does not first engage in lower learning but deludes oneself to reach the top, one is prostrated, and then one is reduced to empty illusion; if one engages in lower learning but does not seek to reach the top, one is drowned in hearing and seeing. In the former case, one is impatient to advance without following a sequence, and in the latter case, one is not advancing despite following a sequence, both of which will waste energy and fail to achieve the goal. He believed that only by learning in a gradual and orderly manner and according to one's ability could one make steady progress.
 
  
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In conclusion, ancient Chinese educators have realized that the accumulation of knowledge and the growth of intelligence is a gradual process, and it is impossible to finish it all in one go. They emphasized that teaching should pay attention to stages and rhythm, and should follow the natural course of events, which is in line with objective laws.
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Qin, also known as Yao Qin, Silk, jade qin, seven-stringed qin, is now known as Guqin. It is one of the oldest stringed plucking instruments in China's traditional national Musical Instruments. It has a long history of about 3,000 years. There are legends such as Fu Xi Shennong making qin, Huang Di Tang Yao making qin, etc. From five strings, King Wen and King Wu each added one string and finally made it seven strings. For thousands of years, qin has been the top of the "four arts", as well as a tool for the literati to cultivate their morality and realize the road. UNESCO listed it as one of the first oral and intangible cultural heritage of humanity representative works in 2003, namely for its artistic value, historical status
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Full affirmation of.
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Guqin art is an important part of Chinese traditional culture. From ancient times to the present, the legendary Fuxi, Yao and Shun, to the emperors, literati and music officials of all dynasties have promoted the development of guqin music art with their superb performance skills, literature and art, as well as traditional philosophy and aesthetic thoughts. In the long growth process of guqin art, it gradually created a series of unique systems of philosophy, aesthetics, musicology, notation, playing techniques and so on.
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There are extensive literatures about guqin, from the Spring and Autumn and Warring States periods to the development periods of the Wei, Jin and Southern and Northern Dynasties, to the prosperity periods of the Tang, Song and Yuan dynasties, and to the popularity periods of the Ming and Qing Dynasties. In each era, there are representative historical documents on qin making, qin music, qin musicians, qin theory and qin art, as well as special phenomena of Traditional Chinese music culture.
  
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4. Kindness helps save mistakes
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'''The Research Status'''
  
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The idea of teaching for long goodness and saving mistakes was put forward in the Book of Rites Book of Learning. The Book of Learning says: "There are four failures of the scholar, which the teacher must know. When a man learns, he may lose much, or he may lose little, or he may lose easy, or he may lose stop. These four are not the same as the heart. He who knows his heart can then save it from its failures. He who teaches is also the one who grows good and saves his failures." This is to say, in the learning process, some students are greedy for more and more, too complicated and do not seek to understand; some students are too narrow in knowledge, holding on to the residue of the queue; some students are not focused on learning, shallow taste; some students are stagnant, afraid of difficulties and retreat. These four types of problems reflect the different psychological states of students towards learning, teachers only understand these psychological states, in order to help students overcome these problems in a targeted manner. Teachers must grasp the specific situation, take advantage of the situation, and be good at both promoting students' strengths and overcoming their weaknesses.
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Since the 1950s, in order to integrate the art of guqin with modern culture, the academic circle has carried out a series of appropriate explorations. It is mainly manifested in the following aspects: the work of music, the creation of Musical Instruments, the establishment of playing disciplines, the theoretical research of Musical Instruments and so on. We have made achievements in literature review and textual examination on the system, history, song, theory and score of qin, and quite a few achievements have even become the foundation stone of contemporary and contemporary research on the art of guqin. In particular, he has made remarkable contributions to the study of qin music and qin song, qin man and qin school, as well as music score and playing score. In this section of Chinese zither research, modern and modern scholars have made effective efforts in digging, collecting, sorting, preserving and inheriting the zither music, and conducted a comprehensive and systematic academic exploration of the literature on all aspects of the study of guqin art in all dynasties and dynasties. Among them, zha Fuxi, Wu Jinglue, Yu Shaoze, Guan Pinghu, Gu Meizang, Wu Zhao, Wang Di and other famous musicians published their works. These researches and explorations have greatly stimulated the development and inheritance of guqin art by summarizing historical experience and combining historical background, and their historical value should be fully affirmed. As a bridge connecting the tradition of guqin art with modern culture, they have value and significance that cannot be underestimated.
  
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Many and few, easy and difficult are not fixed, and gains and losses can be transformed into each other. Wang Fuzhi said in the Book of Rites, Volume 18: "Although many, few, easy, and stop have their own faults, the many are convenient for the extensive, the few are easy to specialize, the easy are brave to act, and the stop is safe in its order, and each has its own good; to save its faults, it is good at carrying on." Although many, few, easy and stop have their own faults, they also contain certain positive factors. Teachers should observe their students comprehensively, understand the dialectic of teaching, and, according to the "difficulty of learning" and the "beauty and evil" of their "qualifications", explore, cultivate, and This is to make up for the shortcomings of the students, and to save them from their mistakes. This is the idea of making up for the shortcomings, and of saving the shortcomings from the good.
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'''Research Purpose and Significance'''
  
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The Book of Rites and Learning also explicitly puts forward the idea of teaching each other. It says: "Although there are excellent dishes, we do not know their purpose if we do not eat them. Even though there is a supreme way, we do not know its goodness without learning. It is because learning is then knowing the inadequacy, teaching is then knowing the difficulty. Knowing inadequacy, one can then reflect on oneself; knowing difficulty, one can then strengthen oneself. Therefore, it is said: teaching each other also. The "Tuijin" says: "Learn and learn half. This is what it means!" Here is a profound exposition of the contradictory relationship between "teaching" and "learning" and the interdependence and mutual promotion of each other. Teaching benefits from learning, and learning improves day by day because of teaching. Teaching can help learning, and in turn, learning can help teaching, which is called "teaching and learning". "Teaching and learning" implies not only a unified relationship between teaching and learning, but also a mutually reinforcing and complementary relationship between teachers and students on an equal footing.
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At a time when the historical and cultural value of guqin has been constantly recognized, this ancient musical instrument has left its instrument, music and theory from an academic perspective. Contemporary scholars from musicology, history, sociology, anthropology and other aspects of the academic research and many academic achievements. Especially in music history, music aesthetics and music theory and other aspects of the research results are relatively rich. In the current situation where traditional culture is fading, it is of certain academic value and practical significance to study and explore the art of guqin deeply.
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Scholars focus more on textual research, analysis and exploration from the perspective of qin itself. Therefore, contemporary theories of qin have made great achievements in such fields as qin making, qin players, qin music, qin history, qin theory and qin school, while thematic studies on the contemporary significance and value of guqin are a little weak. Based on the existing research results of guqin art, the author breaks through the limitations of the ontology research of guqin music, further insights into the social and cultural living conditions of contemporary guqin music, and reveals its cultural and spiritual connotations at a deeper level. On the basis of inheriting traditional culture, correctly grasping the current situation of contemporary social culture, and then elucidating the enlightenment of guqin related theories to contemporary cultural society, as well as thinking about aesthetic and musical cultural identity in the context of contemporary culture, will be more conducive to the inheritance, development and innovation of guqin art. It is hoped that through the research of this project, some necessary research materials and academic experience will be accumulated for the enrichment and further development of the research system of guqin art.
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In addition to the above academic and social significance, the research and writing process of this project is the best way to deeply understand guqin music culture. The author expects to further organize and study the epitaxial data of this project, and further study and understand the historical data of qin science, the spiritual connotation of qin music and traditional culture, so as to complete this project with excellence and realize the innovation and value of this project. In the future study, scientific research and work, we will effectively make some specific achievements for the inheritance and development of guqin art.
  
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5. Teach by example, respect teachers and love students
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===Historical Overview of Guqin Art===
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'''2.1 Artistic Characteristics'''
  
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Ancient Chinese educators, based on their experience in educational practice, put forward various requirements for teachers, and leading by example and teaching by example is one of the important ones.
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The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings.
  
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Confucius said, "If one's body is right, one does not follow orders; if one's body is not right, one does not obey orders." "If you can't correct yourself, how can you correct others?" (Analects of Confucius Zilu) Here he emphasized the importance of "teaching by example", correcting oneself and others. He also said, "If you do not speak to a man who can speak to him, you will lose him; if you do not speak to him, you will lose him. Those who know do not lose people and do not lose words." (The Analects of Confucius Wei Ling Gong) He advocated the use of both "teaching with words" and "teaching without words" in teaching, using "teaching with words" if it is possible to use "teaching with words", and using "teaching with words" if it is not possible to use "teaching with words", that is, influencing and educating students through hints or one's own daily behavior. There is a certain psychological basis here. Confucius said, "I want to have no words", and he believed in the power of "teaching without words".
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The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings.
  
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Xunzi proposed: "There are four teacher techniques, and Bo Xi is not with it. A strict teacher who is scrupulous can be a teacher; a teacher who is a senior citizen who believes can be a teacher; a teacher who recites and does not offend can be a teacher; and a teacher who knows the subtleties and discusses can be a teacher." (Xunzi Zhi Shi) He believed that a teacher must have four conditions (not including extensive knowledge): first, the teacher must have dignity and be able to make people respect him; second, the teacher must have high prestige and rich teaching experience; third, the teacher must have the ability to teach in an organized and systematic way and not violate the teacher's instructions; fourth, he must know the subtle theories and be able to explain them clearly. The Book of Learning also sets strict requirements for teachers, considering high moral character and academic excellence as essential for teaching and education, as well as the mastery of correct teaching methods and principles.
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The reverse side of the surface is called the bottom of the instrument. The bottom is exactly the same as the surface of the instrument, and the part that falls under the "Yueshan" on the surface is called "Zhen Chi" or "xian Groove". There are "wild goose foot" in the back part of the qin, and a large and small slender groove hole on the bottom of the qin, namely "dragon Pond" and "Feng Marsh".
  
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Yuan Hong, a Jin dynasty scholar, said in "The Records of the Later Han Dynasty The Chronicle of Emperor Ling": "A teacher of scripture is easy to meet, but a teacher of men is difficult to meet." It can be seen that the standard of "human teacher" is not only to impart knowledge, but also to be a teacher of others. This is the excellent traditional educational thinking of ancient China.
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String is the material basis for the existence of stringed instruments, and the string is the main vocal body of the instrument. There are seven strings, arranged from the outside to the inside according to the height of the scattered notes of each string. The lowest and highest notes are called the first string and the seventh string respectively. The strings used are the thickest and thinnest, and the seventh string is close to the player. As for the method of making strings, the ancient silk string manufacturing technology has formed a quite mature technological system and theory. According to literature records, the ancient string-making method is very elegant from the selection of strings to the production process, the selection of materials from the type of silk to the origin, the weather, heat and other factors during the process are very strict, and the necessary winding and drying of strings in the process are also very flexible and maneuverable. According to the selection of materials and the different era, the production procedures of the dynasties have different degrees of difference. However, since the 1920s, with the progress of The Times and the introduction of modern industrial technology in the West, the ancient Chinese traditional and ancient silk string making method has been on the verge of being lost, replaced by steel and nylon strings. In the process of modern qin chopping, the selection of strings has changed, the timbre and quality of qin have changed to different degrees, and the artistic style and spiritual connotation of ancient traditional qin music have also changed.
  
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Ancient Chinese educators also advocated that students respect their teachers and teachers love their students, establishing a good teacher-student relationship. Confucius loved his students and cared about their moral and academic improvement, as well as their lives and health. He was happy to see the progress of his students; he often helped them when they were poor; he visited them when they were sick; and he was very sad when they died. He established a deep friendship with his students. Confucius said; "If you love, can you not work? If you are loyal, can you not teach?" (Analects of Confucius Xianwen) He also said: "Two or three sons think that I am hidden? I have nothing to hide from you. I have no line and I do not share with the two or three sons. (Analects of Confucius Shu-i) Confucius had "no selfishness and no concealment" for his students, and he had unlimited expectations: "The future generation can be feared, how can we know that the future generation will not be the present?" (Analects of Confucius Zihan). He also believed that when a righteous cause needed to be taken up, the younger generation should be bold enough to go forward and take responsibility, even in front of their own teachers, without having to be humble, "when benevolence does not let the teacher go" (Analects Wei Ling Gong). The students of Confucius admired Confucius for his high morality, profound knowledge, and good teaching. Yan Yuan said, "If you look up to a person who is high, you will learn from him. If you look ahead, you will not be able to follow. The master was good at enticing people, and he taught me with literature and rituals, and I could not stop. Since I have exhausted my talent, as if there is a stand-alone Zhuoer. Although I want to follow him, the last thing I want to do is to do so." (Analects of Confucius Zihan) After the death of Confucius, the students built a house next to his tomb and kept mourning for three years, weeping bitterly when they parted. Tzu Kung could not bear to leave, so he stayed alone for another three years. He said, "The inaccessibility of Confucius is like the inaccessibility of heaven. (The Analects of Confucius Zihan) The student expressed his infinite nostalgia and admiration for Confucius.
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'''2.2 Qin Song and qin song'''
  
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Mozi also emphasized respect for teachers and love for students in his educational practice, and Mozi's teachers and students were able to live and die together and share the hardships. Mozi and his students "took fur and brown as their clothes, took crawling as their clothing, and never rested day and night, taking self-hardship as their ultimate goal" (Zhuangzi The World). The students followed Mozi "to the fire and to the edge of the sword, not to be deterred from dying", and this teacher-student relationship was gradually built up through life and death and common suffering.
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Guqin song is an indispensable and important part of the research field of guqin, as well as a special form of expression in the art of guqin. So far, there are about 600 musical scores of guqin songs. The most famous collection of ancient qin songs is Boya Xinfa, written by Yang Lun, a representative of the qin Song school, which was published before 1609. It experienced a historical process of ups and downs from the budding period of pre-Qin dynasty to the peak period of Tang and Song Dynasty and then to the decline period of Ming and Qing Dynasties. It was not until the forties and fifties that the art of qinge was again attached great importance to by famous musicians such as Wu Jinglue, Zha Fuxi and Zhang Ziqian. They have done a lot of digging, sorting and research on the art of qinge, which has played a positive role in the revitalization and revival of the art of qinge.
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Qin song refers to singing while playing the qin, which can be sung by one person alone or accompanied by others. It was called "string song" in ancient times. Qinge songs are varied in tone and varied in topic selection. There is a direct relationship between literary creation and qinge songs creation in different historical periods, and there are qinge songs works with artistic characteristics in different historical periods.
  
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Xunzi to whether the "valued teacher heavy Fu" to the height of the rise and fall of the country to understand, and advocate students over teachers. He said: "When a country will rise, the teacher will be valued but not the teacher; ...... when a country will fall, the teacher will be despised but not the teacher." (Xunzi Ontario) He believed that students not only have the relationship of inheritance of knowledge and learning to their teachers, but also bear the responsibility of surpassing the wisdom of their predecessors and advancing the academic level. He said in figurative language: "Learning cannot be done. Green, taken from the blue and green in the blue; ice, water for which and cold in the water." This shows that there is no end to learning, and that it is the law of academic development that "the blue is better than the blue".
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With the change of dynasties, the development of guqin music itself tends to be mature. With the enhancement of the artistry of guqin music and the enrichment of guqin playing techniques, guqin solo has been able to meet the needs of musical emotion and artistic expression, and luthiers pay more attention to guqin solo, causing the decline of guqin song art for a time. However, the existence of qin song art should not be ignored, its existence value lies in that it is the original appearance of Chinese traditional classical art songs, for the study of Chinese contemporary national vocal music in ancient art songs singing skills, has a certain degree of continuity and development. For the development and inheritance of qinge art, the countermeasures for the contemporary development of qinge art include: exploring, sorting and creating more qinge works, expanding the performance forms of qinge, and constantly innovating with the help of modern media to strengthen the publicity of qinge art.
  
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Some educators of the Song Dynasty were also models of respect for teachers and love for students. Hu Aigong, on the one hand, advocated "strict teacher-disciple manners"; on the other hand, he also advocated deep affection and cordial relationship between teachers and students. He treated all students as his sons and brothers, and they respected him as their father and brother. Roy Cheng was so kind and friendly that students often felt "like sitting in the spring breeze and harmony" when they got along with him. Cheng Yi, on the other hand, is stern and rigid, some students see him sitting in meditation and dare not be alarmed, waiting in the door until the snow is more than a foot deep, leaving a "Cheng door standing snow" of the good story. Zhu Xi once criticized the shortcomings of the indifferent relationship between teachers and students in government schools, "teachers and students see each other, indifferent as people walking on the road". He carried forward the spirit of Confucius "teach people tirelessly", follow the good advice, tireless, have deep feelings for students. His pupil Huang You said in his "Acts of Zhu Zi": "Zhu Zi's lectures on the classics, through the ancient and modern world, were often given until midnight. Although the disease is detached, to the students asked to discern, it is removed from the body of the disease, a day without lectures, is tense often thought worried." Reflects the sentiments of a great teacher. Zhu Xi's requirements for students is strict, but not passive precautions, but positive guidance, do not focus on the form of the provisions of the provisions, but rather to inspire students to consciously comply. Enthusiastic teaching, the method proper, in order to deepen the teacher-student friendship, close teacher-student relationship. These experiences of Zhu Xi, which contain universal laws, reflect the fine tradition of respecting teachers and loving students in the history of ancient Chinese education, and are often praised and drawn upon by later generations.
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Of our country's existing text spectrum music of violin tateishi tone. "orchid is the oldest in the world of music, the song of Confucius to travel, will not be accepted and thought, on the way to see orchid between weeds, can not help but think of oneself condition caused by the inner sadness, orchid is a symbol of elegant and noble quality, but neglected to forget, Their ideas for the good of the world are also disregarded. This is a kind of ancient people often borrow things wing, lyric way of borrowing scene. The rigorous structure of the music is not only reflected in the close relationship between the four sections, but also in the strong logic between the sections and phrases within each section.
  
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===Conclusion===
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The similarities and differences in the content of qin qu determine the different musical structure and musical artistic expression techniques. According to the content of the performance needs, which the music melody of the link between the past and the future, contrast, presentation, development, reproduction, variation, mold forward, expansion and other techniques are needed. Moreover, the theme melody in the vast majority of Musical Instruments often changes twice or more, that is, on the basis of the original theme melody, according to the advancement of the music content, and then leads the music to the climax. Therefore, the music used to have a continuous, integrated, natural sense of advancement.
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Compared with foreign education, ancient Chinese education has these characteristics: it is not mechanical and dull, but flexible and varies from person to person and from time to time; it is not subdivided and detailed, but comprehensive and integrated; it is not merely teaching knowledge and technology, but the unity of morality and wisdom; it is not detached from teachers and students and disconnected from education and life practice, but teaching and learning together and integrating education into life practice; it is not pivoted on the system of knowledge, but on It is not a pivot on the system of knowledge, but on life, and aims at the building and cultivation of the human style from generation to generation.
 
  
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===References===
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=== Innovation of Guqin Art===
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*Mao Lirui(1985-1988), Shen Gouqun, eds. General History of Chinese Education. Shandong; Shandong Education Press
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'''3.1 Improvement of Qin'''
  
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*Sun Peiqing(1992), ed. History of Chinese Education, Shanghai: East China Normal University Press
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Chinese guqin production technology has a long history, there are myths and legends with anthropological value, such as Fu Xi and Shen Nong making guqin and Shun making five-stringed guqin. There are many descriptions in historical documents such as Taigu Yi Yin and Qin Shu Daquan. Due to the special social atmosphere of the 20th century and the existence of a large number of ancient guqin, the scale of new guqin production was restrained to a certain extent, resulting in the reduction of the craftsmen and the loss of craftsmanship.
  
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*Wang Bingzhao, Guo Qijia, Liu Huahua, He Xiaoxia, Gao Qi(1994). A Concise History of Education in China (Revised). Beijing; Beijing Normal University Press
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Demand for pianos is also growing. So the process of qin was gradually restored, musical instrument factories, pianists, folk workshops and so on have resumed the production of new qin.
  
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*Guo Qijia(1998). Ancient Chinese Schools. Beijing: The Commercial Press
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The specific process of piano production includes six important steps, such as sample production, material selection, panel production, base plate production, piano fitting and dressing. In addition, the line sawing, grooving belly, accessories production, painting, installation accessories and strings and other auxiliary processes are particularly important. The following points should be avoided when the qin is chopped :(1) the emblem should be appropriate in size, rather small than large. (2) Yueshan should not be too thick. (3) The slope of dragon gum should be larger than yue Shan. (4) Goose foot should not be too high. (5) The material of Qin Zhen should not be too thick or thin. Choose a kind of style that likes namely when model making, delimit wood proportion correctly. About selecting material, model is optimal with the old fir of hundred years above, next paulownia
  
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==
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Can also be used; When making accessories, Yueshan, jiao Tail, dragon gum, goose foot and other parts need more hard wood such as rosewood, red sandalwood and other materials; The music emblems are made of clam shell, jade, gold, porcelain and jade. As for the production of strings, the ancient silk string manufacturing technology is very mature. Due to the loss of production technology and the introduction of western modern science and technology chemical industry and string making technology, the ancient silk string manufacturing technology is on the verge of extinction, so nylon strings are used in modern times. The newly made guqin should meet the following conditions :(1) the string energy should be lowered, and the string should not be too high from the surface of the qin. (2) The piano surface should not be too flat. (3) Chord spacing should not be too wide or too narrow. (4) The effective chord length of the qin is the length from the pass of Yueshan mountain to the gum of the tail dragon, with 110 cm to 111 cm as the positive system. (5) The surface paint of the piano should be smooth. (6) Timbre and quality of piano. (7) Accuracy of emblem position. One of the most famous guitar artists in the field of contemporary Chinese guitar is Mr. Wang Peng, a professional guitarist. His rationalism piano technique in inheriting predecessors on the basis of continuous innovation, to create more than 70 kinds of guqin style, his rationalism jean exquisite workmanship, pure tone color, modelling is novel, he founded "fang jun day" in the third batch of Beijing municipal intangible cultural heritage list, he will be with the identity of the intangible cultural heritage inheritance people make this has continued for thousands of years of art.
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<center>'''Eco-awareness in Traditional Chinese Culture'''</center>
 
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<center>Zhu Lijuan</center>
 
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===Abstract===
 
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The traditional culture of the Chinese nation is brilliant,which contains many profound ideas of ecological civilization and ecological development. These thoughts not only provided the moral foundation for the continuous development of Chinese civilization for five thousand years, but also provided the theoretical premise for the sustainable development of modern ecology and ecological civilization construction. Confucianism, Taoism and Buddhism occupy a very prominent position in Chinese traditional culture and have the greatest influence on later generations. This paper mainly discusses the ecological thoughts of Confucianism, Taoism and Buddhism, so as to provide value guidance for properly handling the relationship between man and nature.
 
  
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===Key words===
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=== Contemporary Significance of Guqin Art===
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Ecological thoughts;Confucianism;Taoism;Buddhism
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'''4.1 Guqin art in the Context of Contemporary Society and Culture'''
  
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===Subtitle 1===
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Since the 20th century, China has experienced a great change, from the social system, politics, economic system, culture, morality and other aspects have experienced a series of earth-shaking changes and unprecedented violent impact. As a traditional Chinese culture, the art of guqin has undergone the most drastic transformation. Up to now, the development of guqin art has changed quietly. Contemporary Guqin art is in a very critical period, and it has come to a stage of self-examination and reflection.
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1. Harmony between man and nature.
 
  
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The core of ecological thought in Chinese traditional culture：Integration of nature and human. The ecological thoughts in ancient China gestate in the traditional culture. Confronted with the ecological problems which bothers the whole mankind, people surprisingly discover that the Chinese ancient philosophy has provided enormous enlightening accomplishments for the problem, or it contains the creative principles to cope with such contradictions and conflicts when we are pondering and searching for the solutions to the crisis, which is the wisdom of "Correspondence between Heaven and Human." "Correspondence between Man and Nature" is an elementary proposition of Chinese traditional philosophy. It is not only a basic spirit of China's traditional culture, but also is the optimal plane pursued by Chinese culture.On the one hand, the word "heaven" refers to "the vast nature," and it also refers to "the highest principle" and "the highest power." On the other hand, the word "unity" attaches importance to the process of a harmonious and unified status, which refers to the state of harmony between man and nature.
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Firstly, the change of social environment leads to the change of the living state of guqin art. The creation of Musical Instruments before the Song and Yuan dynasties was far more fruitful than that between the end of Ming dynasty and modern times, and the artistic styles of musical compositions were quite different. Especially, since the end of Qing Dynasty, the inheritance of Musical Instruments was almost cut off, and even the traditional string-making technology, which had been passed on for thousands of years, was gradually lost. So far, there are few inheritors of traditional string-making. During the War of Resistance against Japanese aggression, the social turmoil, guqin literature lost, which is more unfavorable to the development and inheritance of guqin art.
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The ideology of "Integration between man and nature" lasted for more than 2,000 years, which was publicized, explained and developed by most ancient philosophers and became the basic style of Chinese culture and even Oriental culture. According to Ji Xianlin, a master of oriental culture, "harmony of heaven and mankind" is an elementary form of China's culture and this ideology is concentrated expression for the philosophy in oriental culture. This thought has established the foundation of ancient China philosophy, and it has exerted far-reaching influence on development of traditional culture. It is not only worth carrying forward, but also related to the future of mankind. "Harmony between man and nature" is regarded as a consistent ideological tradition in Confucianism. Confucius as "Yi Zhuan," once said,"Anciently, when the sages made the Yi, it was with the design that (its figures) should be in conformity with the principles underlying the natures (of men and things), and the ordinances (for them) appointed (by Heaven). With this view they exhibited (in them) the way of heaven, calling (the lines) yin and yang; the way of earth, calling (them) the weak (or soft) and the strong (or hard); and the way of men, under the names of benevolence and righteousness. (According to the book Yi Zhuan, there is a contribution made by Confucius: He regarded heaven, earth and man as three resources and regarded them as natural laws, which were finally used to establish an orderly world system. )
 
  
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In addition, the contribution made by Mencius lies in his mode of mind and nature, completely showing your mind so that you know your nature and heaven. For Meng Zi, people do not need to know their mind or heart, but only show or appear completely in your spirit so that they can recognize human nature and the heaven.  Dong Zhongshu believes that There is a natural order to things. Only by following such guidelines in order to achieve the integration between man and nature. Zhang Zai accepted the idea of the universal nature of heaven, and for the first time combined these two parts. As mentioned tree types of knowledge from Zhang Zai: the knowledge from seeing and hearing;the knowledge based on virtue;the knowledge from sincerity. Xunzi believes that Heaven has its seasons; Earth its resources; and Man his government. This, of course, is why it is said that they "can form a Triad." When man abandons what he should use to form the Triad yet longs for the benefits that result from the Triad, he suffers from delusion! The concept of "harmony between man and nature" is also expressed in Xunzi's viewpoint, which expresses the ecological concept of harmony between man and nature.
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Secondly, in the process of economic and cultural globalization, the introduction of western music culture has a certain degree of influence on the development of guqin art. In addition to western culture, the prevalence of modern media and mass culture in China are also different forms of globalization.  At the beginning of the 20th century, with the infiltration of Western music culture, new schools across China began to teach a large number of music classes
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European and American tunes, these original songs are recorded in simple notation. With the promotion of enlightenment music educators represented by Li Shu-tong, Zeng Zhi-min, Shen Xin-gong, the school songs are spread in the way of selecting songs and filling lyrics. The emergence of school music also represents the beginning of China's modern music history. At this time, western music system and music education system, Chinese new music has gradually become the mainstream of China's music culture. Chinese people have undergone profound changes in music concept, education system, music theory, aesthetic way, music form and value system. Modern music colleges and universities take western music education system as the main body and refer to western music system. However, the collection, collation, research and learning of Traditional Chinese music are relatively backward, so the students trained are mainly western music technology and western music thinking mode. Under the environment implanted by the Western education system, guqin art lost its original mode of self-entertainment of literati and was forced to change to the stage art of mass culture.
  
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Similarly, Taoism advocates "Harmony between heaven and man." Laozi first expressed the ideology of "Correspondence between man and nature". He proposed that Man law the law of the heavens, France Road, Imitation of Nature. Zhuangzi also believes that not to receive (as evils) the inflictions of Heaven is easy; not to receive (as benefits) the favours of men is difficult. There is no beginning which was not an end. The Human and the Heavenly may be one and the same. Based on Taoist view, harmony between man and nature is the key for all things in nature to maintain its differences, but also to realize a comprehensive and coordinating relationship between humna and nature. Any destruction of nature will lead to the destruction of the relationship between man and nature, which is opposed by Taoism.  
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Finally, the trend of modern commercialization is not conducive to the development and inheritance of guqin art. When food, clothing, shelter and transportation are no longer a problem, there must be some spiritual needs, to find some purpose for survival and entertainment. These spiritual requirements, just like for survival, material needs, there is demand. Supply is naturally created to meet these needs, and naturally becomes a commodity to be bought and sold. Especially after the success of applying for world Heritage status, some merchants in the "Guqin fever" misrepresented children, jacked up the price of guqin, and took advantage of guqin fraud and other commercial speculation activities. These phenomena, which are not conducive to the development of guqin art, make it lose its original cultural value. The adverse atmosphere caused by the impact of commodity economy and driven by interests needs to be timely restrained and guided by the establishment and improvement of relevant systematic laws and regulations.
  
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To sum up, the thought of "harmony between man and nature" is the main line of thought running through the main schools in ancient China. "Harmony between man and nature" contains different levels of content, and different philosophical schools and philosophers have different views on it. For example, Taoism pays more attention to "nature" and Confucianism pays more attention to "humanity". However, the basic meaning of this thought is the internal unity of man and nature. The concept of "harmony between man and nature" has undergone a long process of development and it  complex in its content. however, it embodies the profound understanding of the relationship between man and nature in traditional China culture. Therefore, the concept of "harmony between man and nature" is the core of ecological thought in traditional Chinese culture.
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'''4.2 Modern inheritance and significance of Guqin art'''
  
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===Subtitle 2===
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The final development of Huaqin culture is largely related to the long tradition of "music education" and "poetry education" of Confucian culture, and is also closely related to the active participation and promotion of Confucian scholars in the upper social status. As Confucian culture occupies the mainstream position of Chinese culture, it maintains and promotes the concepts of self-cultivation, family harmony, governance and world peace. Since the Zhou Dynasty, Duke Zhou's "making ritual and music" has played a further systematic role in ancient Chinese ritual and music civilization, and has been incorporated into the system culture, making it more rational into the norms of people's behavior, so as to achieve an organic integration. Due to ancient Confucian scholar have mostly with three cardinal guides the p5 ethic morality as the center, such as the "writing carry doctrine" on the early music domain is invisible expanded by jean missionary, jean is combined with music education closely, music education is one of the modern people understand the premise of the Chinese piano culture, the internal concept of piano, gradually mature.
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2.Taoism thought of the nature law.
 
  
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Taoism is one of the main schools in the history of ancient Chinese philosophy, which contains rich ecological thoughts. F. Capra, a contemporary humanistic physicist, once said, "As far as I am concerned, among the traditional schools of philosophy that contend with a hundred schools of thought, Taoism provides the deepest and most perfect ecological wisdom. It emphasizes that in the process of natural circulation, all phenomena and potential of individual and society are basically the same." With Laozi and Zhuangzi as the representatives, Taoist philosophy systematically discusses the relationship between heaven and man. The believes in nature is the quintessence of Taoism, and this concept has established the strong foundation for a rich ecological thought.
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The inheritance of modern guqin art is mainly carried out in three ways: college teaching inheritance, guqin association inheritance and modern guqin museum inheritance. First, the school's teaching heritage. The professional direction of guqin performance has been established for more than 50 years. The earliest time that Guqin entered the school can be traced back to the early 20th century. CAI Yuanpei invited Wang Lu and Yang Shibai, the guqin players sent by Zhucheng, to teach in Peking University. Modern guqin education not only cultivates a large number of guqin talents, but also forms a certain scale of professional teaching and performance teams. Modern music education can make use of audio-visual multimedia, physical performance and other means to teach in the design of teaching programs, and the understanding of classical music and celebrity music allusions can also be taught in the way of appreciation through pictures and networks.
  
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In Taoism, "Tao" is the beginning and nature for the whole world. The basic, eternal principle of the universe that transcends reality and is the source of being, non-being, and change. Laozi proposed that Tao gives birth to one, and one gives birth to two, and two gives birth to three and three gives birth to all things. What's more, he also pointed out the myriad things under the heavens are born of being, being is born of non being. That is to say, the Too of Tao-ism is the unitary "that" from which springs the production and change of all things in the universe.In other words, people and everything in the universe, everything and on everything, the reason things are unified into the same to my heart.The relationship between "one" and "ten thousand" is not only the relationship between mother and son, but also the relationship between unity and diversity. As the foundation of the existence of all things, "one" represents "nature", where "nature" represents the whole nature. In other words, all things are an integral part of nature, and man is also a thing in all things, that is, a part of nature.
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Second, the inheritance of the qin club. Under the current social and cultural background, traditional folk qin clubs are gradually transforming into professional institutions, similar to the current Yuqin Club. Taking the famous West Lake Qin Club as an example, the inheritance mode of Qin music is gradually becoming popular, expanding and transforming the function of Qin music in the public and commodity environment, and exploring the operation mode of qin music in the commodity market.
  
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It was the first time that Laozi explicitly put forward the "nature" in the history of philosophy in China, where he discussed the relationship between man and nature. "Man laws the land, the land laws the sky, the sky laws the Tao, and the Tao laws the nature. There were three means of the nature in Taoism: one was the natural in nature, the second was spontaneousness and own so, the third was nature in the life meaning.That is to say, human beings should take "Tao" as the law, because it is the basis of the existence of all things in the world. According to Lao Tzu, everything in nature, including human life, is the result of creation of nature, which is naturally generated and has no master, which is the basic meaning of "Tao follows nature. In Taoism, man is a part of nature.The movement and change of all things in nature are regular.Tao, heaven, earth and man all exist naturally. They exist and move according to the nature of nature, and are constantly changing. Laozi believes that human behavior should conform to nature and follow the operation law of all things in nature. "Knowing often means knowing, not knowing often, making mistakes and being fierce". That is to say, it is wise to act according to the laws of all natural things. If you don't act rashly according to the laws of all natural things, you will inevitably lead to danger. Taoism believes that since man was born in the process of "Tao" giving birth to all things, man should follow the example of heaven and earth, adopt an attitude of conforming to nature to all natural things, and "dare to do things to assist the nature of all things", that is, "inaction". "Natural inaction" is the direct embodiment of "Tao follows nature". Taoist "inaction" does not mean inaction, but does not deliberately act recklessly or force arbitrarily. Therefore, Laozi emphasized that we should do things in an inaction manner, so as to achieve the effects of "doing nothing" and "doing nothing" in nature and human life.
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Third, the inheritance of modern piano museums. The appearance of the guqin pavilion first appeared in the early 20th century, especially after it was selected as the Intangible Cultural Heritage in 2003, with the rise of the "guqin fever", the guqin pavilion blossomed all over the country. The rise of modern guqin museums has not only met the increasing social demand, but also played a certain degree of inheritance function in the mining, sorting, research and training of guqin art.
  
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In a word, "Tao follows nature", as Taoist thought and Taoist doctrine, contains rich ecological thoughts, which has important ecological significance in today's deteriorating ecological environment.
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=== Contemporary Cultural Significance and Value of Guqin Art===
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'''5.1 The Significance of Guqin Art in the Inheritance of National Traditional Culture'''
  
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===Subtitle 3===
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China has a 5,000-year history of cultural inheritance and development. The art of guqin is a culture created by the Chinese nation in China, and the cultural connotation and artistic value of guqin has lasted for thousands of years, which is the artistic essence of China's national culture. Guqin music culture is not only formed by the accumulation of the specific geographical environment, political and economic structure, aesthetic ideology, traditional philosophical thoughts and cosmology of the Chinese nation, but also passed down to the present after being recognized by the vast majority of the Chinese nation.
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3. Anthropocentrism.
 
  
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Confucian culture represents the mainstream of Chinese traditional culture, in which the ecological thought about the relationship between man and nature is a very important aspect. Confucianism has always valued man's position in all natural things, but it does not have rich and clear ecological thoughts similar to Taoism. Confucian ecological thoughts are often combined with their theory of caring for heaven, earth and man, thus forming a unique mixture of ecological thoughts with both anthropocentrism and natural centrism. Some outstanding thinkers of ancient Chinese Confucian school put forward many precious ecological thoughts from the study of interpersonal relationship, and formed a relatively complete ecological ideological system. They advocate that man is a part of nature, and man is similar to all things in nature, so man should adopt a obedient and friendly attitude towards nature, and seek harmony between man and nature as the ultimate goal.
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First, the art of guqin is the embodiment of Chinese civilization and the spiritual pillar of safeguarding national interests. As a product of Chinese social consciousness, the development and inheritance of traditional guqin music culture can not only enhance national self-esteem, pride, patriotic consciousness and feelings, but also help improve the consciousness of national subject. Therefore, carrying forward the traditional cultural spirit of guqin music is conducive to enhancing national cohesion.
  
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Man is a part of nature and a product of nature, which occupies a very special position in nature. It can be said that the most important role of man in nature is "counselor's education". The Doctrine of the Mean expounded the unity of man and nature earlier: "Only the sincerity of the world is to do its best; If you can do your best, you can do your best; If you can do your best, you can do your best; If you can do your best, you can cultivate the towering land; If you can cultivate the towering land, you can participate with heaven and earth. "(Chapter 22) That is to say, only by adhering to the principle of sincerity can we give full play to our good nature; Only by giving full play to one's good nature can one influence others and give full play to their good nature; Only by giving full play to the good nature of all people can we give full play to the good nature of all things; Give full play to the good nature of all things, and you can participate in the cultivation of all things in heaven and earth. People are in contact with everything in nature anytime and anywhere, and treat things with honesty, which is the fundamental attitude to deal with the relationship between people and things. To treat things with sincerity means to respect, sympathize with, love and understand all things, and promote the growth and development of all things by the way of cultivating heaven and earth, instead of using, controlling and destroying all things as external things unrelated to life.
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Second, the correct ideas in traditional culture, such as values, moral standards and moral aspirations, can to some extent solve the problems of interpersonal relationship, morality and value in the commodity society. Therefore, the development and inheritance of traditional guqin music culture can not only resist and supervise individualism, money worship and other undesirable moral concepts, but also promote traditional cultural spirit, which is more conducive to the construction of socialist spiritual civilization with Chinese characteristics.
  
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Mencius expounded the relationship between man and nature with the moral category of "sincerity". He pointed out: "Honest body has a good way, don't know about good, don't be honest with its body. It is a sincere person, and the way of heaven is also; He who thinks honestly is the way of man. ". ("Mencius Li Lou") That is to say, he has taken "sincerity" as the theoretical goal of the unity of man and nature. How can people achieve sincerity to achieve the realm of sincerity? Mencius pointed out: "Those who do their best know their nature. If you know its nature, you will know the sky. Save your heart and raise your sex, so things are also ". (Mencius devotes himself to it) is a process of "devoting himself to it", "intellectuality" and "knowing heaven". Mencius' theory of devotion, understanding and knowing heaven advocates achieving the goal of sincerity and realizing the harmony and unity between man and heaven through moral cultivation. Therefore, Mencius put forward that "everything is prepared for me", that is to say, the fundamental principles of everything in the world exist in people's nature, and they only need to be brought into full play. The Doctrine of the Mean also emphasizes the importance of human cultivation, and holds that as long as human efforts are made, the highest point of human nature can be reached and the work of cultural education can be realized. Therefore, the Doctrine of the Mean points out: "Secondly, music can be sincere, sincerity is shape, shape is writing, writing is clear, Ming is moving, movement is changing, change is changing, and only sincerity in the world can be changed. "(Chapter 23) The process from" music "to" energy "is not only a process of self-improvement of human nature, but also a process of dealing with the relationship between man and all things; It is not only a process of achieving" energy ", but also a process of" counselor's education ". Xunzi also proposed: "When the day comes, the land has its wealth, people have their governance, and husbands are called able to participate. "(Xunzi's Theory of Heaven) That is to say, people in heaven and earth have their own functions. Only by understanding the differences between people in heaven and earth can we achieve the realm of" participating with heaven and earth ".
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Thirdly, on the basis of inheriting the traditional music culture, we should also make it communicate, collide and integrate with the world human culture, so as to provide a strong space for its healthy development.
  
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When people reach the realm of "sincerity", they will naturally be able to cultivate all things, which is called "counselor". The Doctrine of the Mean says: "So sincere interest-free. Endless is long, long is micro, micro is far away, far is thick, and thick is clever. Beat thick, so the load is also; Clever, so the cover is also; Far away, so things are also. Strive for thick land, smart sky, long and boundless. In this way, you can't see the chapter, change without moving, and do nothing. "(Chapter 26) That is to say, only when heaven and earth are thick and long-standing can they cover all things; Only when the way of heaven and earth is sincere and interest-free can everything be produced. When people reach the realm of "sincerity", they can achieve everything like heaven and earth, and help to cultivate heaven and earth, which is the greatness of human nature.
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'''5.2 Difficulties in the development and inheritance of contemporary Guqin art'''
  
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===Subtitle 4===
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As a typical representative of Chinese folk music tradition, guqin art has received much attention from people of insight in today's major cultural transition. How to look at and inherit the guqin tradition and how to develop it in today's society has always been the common concern of the qin and music circles. However, the art of guqin has encountered difficulties in the course of its development and inheritance.
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4.Buddhist:equality of all beings.
 
  
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Buddhism, as one of the world famous religions, has a long history, is extensive and profound, and has abundant documents, including many valuable ecological thoughts. After Indian Buddhism was introduced into China, Chinese Buddhists combined the essence of Indian Buddhism theory with the theory of Chinese traditional philosophy and re-elucidated and innovated philosophical thoughts. Chinese Buddhism contains a large number of ideological portrayal of natural ecology and spiritual ecology, and contains rich ecological theories, which is an important link and resource between Chinese traditional culture and ecology.
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First, how to correctly handle and grasp the dialectical relationship between tradition and modernity. In the 21st century, guqin circles have different opinions on the development and inheritance of guqin. Apart from conflicting feelings, they also have different understandings on how to position guqin. Since the formation of Chinese culture, before Confucius, guqin has played both the function and role of music and cultural cultivation, and has been passed down continuously for three or four thousand years. Therefore, guqin, as a cultural tradition and humanistic cultivation, can not be ignored. Therefore, before inheriting the "traditional heritage", we must study and study it deeply, distinguish the essence and non-essence, excellent and dross through the test of time and practice, and carry on the traditional inheritance while spreading new development.
  
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Equality of all beings is a basic concept of Buddhism. As an important concept of Buddhism, "sentient beings" expresses the core idea of Buddhism about the symbiotic relationship between human beings and other living bodies, human beings and nature. Buddhism divides everything in nature into two categories: Things with emotion and life, such as people and animals, were originally called "sentient beings" and later called "sentient beings"; Things without emotion, such as vegetation, tiles, mountains and rivers, etc., are called "ruthless beings". With the advancement of history and the influence of Chinese traditional culture, the content of "sentient beings" has continuously expanded its extension, and has been promoted from the initial "sentient beings" to cover both sentient and ruthless universe. Buddhist "equality" can be divided into four levels: Equality between all beings and Buddha, equality between people, equality between people and animals, equality between affection and ruthlessness. That is to say, all things in the universe, namely Buddha, man, animals, plants and inorganic matter, are equal.
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Second, the neglect of piano research. In the 20th century, the Chinese Music Research Institute led by Mr. Cha Fuxi made important contributions to the rescue work of sorting out old guqin materials, preserving ancient music records, and researching music records. However, these work has been stalled for a long time now, and it is urgent to continue. The Chinese Music Research Institute lacks a large number of guqin art researchers due to the reorganization of the organization and the disunity between the concept of cultural officials and professional piano players.
  
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In Chinese Buddhism, Tiantai Sect, Huayan Sect and Zen Sect all believe that all sentient beings have Buddha nature. Zen believes that not only sentient beings have Buddha nature, but also low-level life such as ruthless vegetation has Buddha nature. Ji Zang pointed out in Volume 3 of Mahayana Metaphysics: "According to the right, according to the right, all living beings have Buddha nature, then vegetation has Buddha nature. Therefore, not only all living beings have Buddha nature, but also vegetation has Buddha nature...... Therefore, if all living beings become Buddhas, all vegetation will become Buddhas. "That is to say, all phenomena in nature are in the causal relationship of interdependence and mutual restriction, and all life is an organic part of nature. Without nature, life cannot exist. The so-called "green bamboo is full of Dharma body; Gloomy yellow flowers are nothing more than Prajna", that is to say, flowers, trees, birds and animals all have Buddha nature, so we must care for every grass and tree in nature and build an interdependent, harmonious and free environment.
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Third, the popularity is low. Guqin art itself is not a strong popularity, in ancient times is often the nobility or the palace of elegant music, and the lack of full understanding of traditional culture, modern guqin performance is also seen in public, do not pay enough attention to social communication leads to the low degree of guqin art foundation, it is difficult to get the great attention of the public, also make the guqin art into a dilemma of marginalization.
  
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Buddhism believes that life is very precious to human beings and all animals and plants that can't talk. Human beings become masters of nature because of their superb thinking ability, but they can't harm other things. As small as dust, as large as the universe, and all living beings are in the same life flow, and "all living beings have Buddha nature", all things may reach the highest level and comprehend Buddha nature. Buddhism's concern for life is most concentrated in the compassion of all living beings. Compassion is the foundation of Buddhism and Taoism. "Compassion is the greatest in all Buddhism" (Great Wisdom Theory). In Buddhism's view, "harmony with happiness" is called "kindness", and "pulling out bitterness" is called "sadness". It teaches people to be merciful to all life. "Great kindness is happy with all sentient beings, and great compassion pulls out all sentient beings' sufferings" (Great Wisdom Theory). The former means giving happiness to all people and creatures, while the latter means pulling out the pain of all life.
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Fourth, the unprofessionalization of practitioners. After the application of guqin art to the World Heritage List was successful, a new phenomenon emerged in the field of guqin, with a growing number of proud guqin museums. Although the rise of modern guqin museums has met the increasing social needs, it has a certain degree of inheritance function in the exploration, sorting, research and training of guqin art.
  
 
===Conclusion===
 
===Conclusion===
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Therefore, we can sum up the traditional culture of the ecological thinking inherent in the characteristics possessed.
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With its long history, rich heritage, high cultural status and value, and many subjects to be studied, guqin has become an eye-catching representative instrument in national instrumental music. The change of social environment, the integration of Western music culture and the trend of modern commercialization are all unfavorable to the development and inheritance of guqin art to a certain extent.
  
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First of all, traditional Chinese philosophy is a philosophy of "life." To Confucius, Heaven is the source of all living things. He regards the"creation of life" as the "Heavenly Way" and the "Heavenly Destination." The Book of Changes (Yijing), following Confucius’viewpoint, explains. "The continuous creation of life ischange." and "The great virtue of Heaven and Earth is creating life." Mencius (c. 372-289 BC), a great Confucian scholar who lived just over 100 years after Confucius, said, "(One should) love one's family, love the people, and love allliving things in the world." Confucian thinkers of later generations carried onthe idea of "Heaven and Earth giving birth to all life," and thus emphasized love for and kindness toward all living things. For example, many prominent Confucian scholars of the Song Dynasty (960-1279) echoed their master's view on life. Zhou Dunyi (1017-1073) said, "Heaven creates life through yang and nurtures life through yin." ChengYi ( 1033-1107) said, "The nature oflife is love." Zhang Zai (1020-1077)said, "All people in the world are my brothers and all beings in the world are my companions." Cheng Hao (1032-1085) said, "Those with love regard themselves as the same as other living things in the world." We can see from their thoughts that Confucian love starts from loving one's family and other people, to loving all living things in the world. Humans and other living things are of the same kind and are equal with each other.
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Guqin art development up to now, has the vital significance in the contemporary social and cultural life and value, this article through to the history of the guqin art situation, development and innovation, of gu qin art in the contemporary music education in the value, the value of modern value and music therapy, provide material for the contemporary music creation, such as value, The paper analyzes and explores the significance of guqin art in the inheritance and development of Chinese traditional music culture, arouses thoughts on the inheritance and development of guqin art in the contemporary era, and puts forward relevant suggestions by analyzing the dilemma of guqin art in the contemporary development. Firstly, as an important traditional Chinese culture, the Chinese national spirit contained in guqin art is of great value. Inheriting, developing and carrying forward the excellent traditional culture of our nation plays an irreplaceable role in creating and developing the new socialist culture with Chinese characteristics. Chinese traditional music culture education is almost in the situation of breaking down in contemporary music education. The traditional education thought reflected by guqin art has enlightenments and values for contemporary music education.
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In a letter to his family, Zheng Banqiao( 1693-1765), a great painter of the Qing Dynasty ( 1616-1911 ), wrote that he loved all living things in the world, be it an ant or an insect. This, he said, was the "will of Heaven," and that human beings should understand Heaven's will. He was strongly opposed to "keeping birds in a cage, saying, "It is unreasonable to keep them in a cage just to please myself, to oppress their nature to suit my nature!"  Even ferocious animals like wolves and tigers should only be driven away so they cannot harm people. People have no right to kill them at will. He went on to say that, if people really love birds, they should plant more trees as their home. When people rise in the morning and hear the birds singing, both would be happy. He described such a happy scene as, "(All living things) each live by their respective nature." Only in this way could human beings share real happiness with their fellow beings.
 
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Secondly,related to eco-ethics and eco-philosophy is the eco-aesthetics of traditional Chinese culture. Ancient Chinese thinkers regarded nature, with human beings included in it, as the world of life. All living things in the world have their own life and state of being. "Life and its state of being is most worthy of appreciation," said Cheng Hao. From such appreciation, people could draw the greatest spiritual delight, according to such philosophers. Confucian scholars in the Song and Ming dynasties all enjoyed observing "the state of being of living things." ZhouDunyi, for example, allowed the grass to grow in front of his window without cutting it. When asked why, he explained that the natural growth of grass was in line with his idea of living things. He "observed the creation of life and the state of being of living things in the world" through the grass. The state of being of the grass was similar to the state of being of people, and the experience of this resemblance gave him great pleasure. Cheng Hao "felt great joy from observing living things." He would often appreciate the fish he kept, and enjoyed watching newly hatched chicks. To him, the lively and lovely chicks best represented the "state of being."
 
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Finally, Love for all living things in the world and appreciation for their state of beingcan often be found in ancient works of art and literature. Dong Qichang (1555-1636), a famous painter of the late Ming Dynasty, explained that, most artists enjoyed a long life because everything they observed was full of life. Dong You (birth and death dates unknown), collector and connoisseur of the Song Dynasty, emphasized that artists should depict the state of life, which exists in nature. Therefore, artists should observe and learn from nature. Wang Gai (1654-1710) of the Qing Dynasty summarized the secret of painting fish as: depicting their liveliness as they swim in water. He compared the happiness of fish in their natural world to the happiness of humans in their natural world. Chinese artists never paint dead animals. The birds, fish, insects, and flowers are all full of vitality under their brush.
 
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The same is true China ancient Chinese literature.The poems of Tang and Song Dynasties show the beauty of flowers, birds, trees and people.Such as "swallows fly in the mud, mandarin ducks sleep in the warm sand.""I'm a friend of the mountain birds and flowers. "(Du Fu)"Men and birds are not in disorder, and animals are mutually close."(Wang Wei)"A pine and a bamboo are true friends, and a mountain bird and a mountain flower are good brothers."(xin qiji) some poems filled with gratitude to the nature, such as du fu "peach":"Gao Qiu always gives the poor people real life, and his eyes are still full of flowers when he is old."That is to say, the nature (here is the peach tree) not only for people to life necessary food items, and give a person with aesthetic enjoyment.This is a very profound thought.In the qing dynasty great writer pu songling's novel "liao zhai zhi yi" also runs through the consciousness of the people and the universe.The beauty of "liao zhai zhi yi," is the beauty of man and all things.The poetry of "liao zhai zhi yi," is one of the people and all things of poetry.In this literary work, flowers and trees, birds and animals insect fish can translate into a beautiful girl, and love with people.For example, the two girls in "Xiangyu" are the peony and winter resistance of the Qing Palace at the foot of Laoshan Mountain, one is Xiangyu and the other is crimson snow."The winter is two feet long, the peony is more than ten feet tall, and the flowers are bright like brocade."The breeze and the qing dynasty palace reading Huang Sheng love each other, crimson snow and Huang Sheng for friends.Only to infamy, there is a tourist saw white peony, love, just dig it move home.White peony so dead.Huang Sheng is very sad, as "crying flower poem" 50, every day to the peony growth chanting.Then Jiang Xue almost died. The Taoist priest of Xiagong Palace wanted to cut down the tree to build a new house. Fortunately, Huang Sheng stopped him. Later, the peony grew again. Huang Sheng dreamed of Xiangyu. Xiangyu asked Huang Sheng to water her with a glass of water every day. From then on, Huang Sheng added more and more irrigation. The flower bud grew fatter and fatter. The next year, a flower bloomed. The flower was as big as a plate. There was a little beauty sitting in the pistil. "In a flash, it floated down, and the Xiangyu also." From then on, the three of them lived a happy life. Later, Huang Sheng became seriously ill. He said to the old monk: "In the future, there will be red buds growing under the peony, and I will be the one who puts out five leaves." In the second year after Huang's death, there will be fat buds protruding from the fruit. The old Taoist priest irrigated it diligently. For three years, it was several feet tall, but it did not bloom. After the old Taoist priest died, his disciples did not care for it and cut it off when they saw it did not bloom. As a result, the white peony soon withered and died. Then, Nai Dong also died. These image worlds created by Pu Songling are full of love for the life between heaven and earth. It shows that man and all things belong to a big life world, that man and all things-one, life and death together, solidarity. This is what people now call "ecological beauty,""ecological beauty" is "man and all things one" beauty.
 
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This kind of ecological consciousness in China traditional culture embodies the universal values of all mankind today, which is full of modern implication. To sum up, Chinese traditional culture contains rich and profound ecological thoughts. These thoughts have always been respected by scholars at all times and in all countries, so it is of great practical significance to explore and carry forward Chinese traditional ecological thoughts for the construction of ecological civilization in China.
 
  
 
===References===
 
===References===
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*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
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Li Xiangting李祥霆.(2014). 古琴综议[A Comprehensive Discussion on Guqin][M]. 中国人民大学出版社[China Renmin University Press].
  
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==英语口译 段小蝶 Duan Xiaodie 202170081615==
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Zhang Bin张斌.(2014). 宋代古琴文化考论[A Study on Guqin Culture in Song Dynasty][M]. 南京大学出版社[Nanjing University Press].
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<center>'''Chinese Dietetic Culture'''</center>
 
  
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<center>Duan Xiaodie</center>
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Zhu Changwen.朱长文(2010). 琴史[A History of Qin][M]. 北京:中华书局[Beijing: Zhonghua Book Company].
  
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===Abstract===
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Wu Zhao.吴钊(2006).传统与现代——中国古琴艺术面临的挑战[Tradition and Modernity -- Challenges Facing Chinese Guqin Art][J].人民音乐[People's Music], 2005(6)，22-24.
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Dietetic culture refers to the selection and utilization of raw materials before making food, the skills and science used in the process of food production and food consumption, as well as the respective traditional customs and philosophies formed on the basis of diet.It is the sum of all human food activities.China food culture is described as a wonderful flower, because it can combine color, fragrance, taste, shape and utensil together, which can make people enjoy food to get infinite satisfaction of taste, vision and feeling, thus forming the Chinese food culture characteristic with delicious food as the core and spiritual pleasure as the purpose.This paper first discusses the uniqueness of China food culture from taste, vision and feeling, and then shows the profound and profound Chinese food culture by combining the inextricable links between A Bite of China and food culture.
 
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This paper aims to reveal the important influence of food culture on people's lives, thoughts and ideas by analyzing the carrier, special media and characteristics of the content of A Bite of China.The documentary regards food as the "medium" of communication, and finds something related to this "medium" through such a universal and common "medium" and can make the audience focus on discussing. The ordinary and simple home-cooked ingredients described in A Bite of China not only stir up the taste buds of the tongue, but also stir up the emotional identity of the Chinese people. The peace, warmth, diligence and simplicity it conveys make people feel deeply grateful to their mothers, Deep longing and attachment to the hometown. This documentary first captured people's stomachs with delicious food, and then moved the hearts of thousands of viewers with strong feelings and cultural identity. It applied aesthetics to cultural communication, allowing the broad audience to re-understand China food culture, conveying the Chinese people's ideology about food, home, nature and society, and spreading Chinese traditional culture through "soft channels." It is of great practical significance to the shaping of China's national image.
 
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===Key words===
 
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Dietetic Culture; A Bite of China; Transmission
 
  
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===The Definition of Chinese Dietetic Culture===
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Zhan Qiaoling. 詹桥玲(2005).琴歌的历史与现状[History and Present Situation of Qinge][J]. 中国音乐学[Chinese Musicology], 2005(4)，99-101.
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China is one of the four ancient civilizations, with the accolade of being an ancient civilization of 5,000 years, and its food culture is profound and profound, with a long history. In the long history of thousands of years, Chinese food culture has complemented and harmonized with the development of the whole Chinese history, it is both a culture and an art, and it has become an important part of China's valuable traditional culture.
 
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Food occupies a very important place in people's material life, because it can satisfy the most basic needs of human survival, and it is under the condition that this need is satisfied that all human activities are carried out. It is the basis for human activity. Diet is also the prerequisite and foundation on which spiritual civilization is based, and it is an important part of what constitutes the unique Chinese food culture. The basic nature and importance of food and drink determines the importance of food culture in the entire material culture of mankind. Food culture refers to the selection, utilization and processing of raw materials in the process of making food, the skills and sciences used in the process of consumption, and the respective traditional customs, thoughts and philosophies formed on the basis of food. It is the sum of all human food activities. In a broad sense, Chinese food culture refers to the sum of all the material and spiritual behaviors produced by the Chinese people in the process of food production and consumption. In layman's terms, what people eat, how to eat, the purpose (meaning) of eating, concepts, interests, etiquette, etc., are all included in the scope of food culture.
 
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Social development has progressed to today, food for people is no longer simply to fill their stomachs and meet the needs of survival activities, but has become an important aspect of people to enjoy life and seek pleasure. People have evolved from the primitive filling of the stomach to the pursuit of taste and visual enjoyment of life, putting forward higher requirements for food. Under such a driving force, food production has developed continuously, resulting in a wide variety of dishes and unique cooking techniques; at the same time, corresponding food habits, food concepts and ritual systems have also been formed. These have become a vivid portrayal of the richness of Chinese food culture.
 
  
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===Three salient features of Chinese food culture===
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Zhang Huaying.章华英(2013).文人阶层消亡与当代古琴人文精神之缺失[The disappearance of Literati Class and the Absence of Contemporary Guqin Humanistic Spirit][J]. 艺术评论[Art Review],2013(9)，26-29.
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As the saying goes, "People are food-oriented." Food sources, food customs and food rituals have made the taste of food and created the classics of Chinese food culture. There is a proverb in the United States that goes like this, "Heaven is: American wages, Russian wives, British houses, Chinese food." And in the writing of the New York Times, Chinese food culture is described as a wonder because it can integrate color, aroma, taste, shape and utensils well, so that people can get the comprehensive enjoyment of taste, sight and feeling, which constitutes the characteristics of Chinese food culture with deliciousness as the core and spiritual pleasure as the purpose. Chinese food culture has blossomed in the world's food history because of its own unique charm.
 
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1.Taste Satisfaction
 
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At the beginning of its development, the Chinese culinary culture has particularly promoted the "original taste", from the selection of materials to the production of food, focusing on the natural taste, the pursuit of food is the taste of beauty. However, on the other hand, Chinese people are constantly researching and innovating in food preparation methods, which is very flexible, and this is not contradictory to the pursuit of "original flavor". In this collision of original taste and flexibility, sour, sweet, bitter, spicy and salty are blended to create more different flavors. The key to the charm of Chinese food lies in the exquisite taste of this harmony. This is also the reason why there are This is the key to the charm of Chinese food, which is the exquisite taste of this harmony. This This has brought great satisfaction to the palate of the Chinese people, who believe that "food is the essence of the people". This harmonious This harmonious taste satisfaction is mainly due to the wide range of food ingredients and the diversity of preparation methods.
 
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(1) Wide range of food selections
 
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China's unique latitude and longitude have created a unique geographical landscape, with plains, plateaus and basins, as well as mountains, hills and wetlands, and a coastline that stretches for tens of thousands of miles. Few countries in the world are as vast as China, spanning tropical, subtropical, warm temperate, mid-temperate and cold temperate zones. The natural geography of multiple terrains and climates provides innately superior conditions for the growth of plants and animals. As early as the Ming Dynasty, the famous Italian missionary Matteo Ricci once described China in this way: Because this country has a vast territory from south to north and from east to west, no other country or place in the world can find such a rich variety of plants and animals in the domain of one country alone. And our ancestors cultivated more food resources after a long life practice, making the sources of food even more extensive, which provided a solid material basis for our dietary activities. In China, the five grains have always been a concept in flux. About 2,000 years ago, the five grains were ranked as rice, millet, cereals, wheat and beans. Today, the top three grains produced in China are rice, wheat and corn. In China, people in different regions enjoy a rich variety of staple foods because of the diverse natural geographical variations. Here is an example of our daily staple food. In addition to wheat and rice as staple foods, many parts of the country are accompanied by sorghum, corn, buckwheat, millet, sweet potatoes, and potatoes. Corresponding to this noodle dishes, such as noodles, steamed buns, dough sticks and a variety of ingredients boiled porridge, cakes, etc. is also colorful and varied, the world is only China has such a wealth of food.
 
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(2) Variety of preparation methods
 
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For the Chinese, who are rich in species and ingredients, food preparation methods can be described as flexible and varied, with traditional cooking methods alone including steaming, boiling, stewing, stir-frying, frying, braising, exploding, as well as stewing, stir-frying, marinating, etc. There are more than ten kinds of cooking methods. Due to the differences in production and customs, as well as differences in tastes and eating habits, colorful and varied local cuisines have been formed, such as the eight major cuisines represented by Sichuan, Cantonese, Hunan, Zhejiang, Lu, Min, Hui and Su. The various cuisines also have their own characteristics in terms of production methods: Sichuan cuisine is known for its varied flavors, spicy, thick and wide flavors, and is known for its "hundred dishes and hundred flavors"; Cantonese cuisine attaches importance to "five nourishing" and "six flavors ", and the dishes are made according to seasonal changes, with summer The dishes are light in autumn and rich in winter. Because of its origin in China's fish and rice country, the ingredients are mostly fish, shrimp and vegetables, with fresh and tender ingredients and delicate dishes. The ingredients are tender and exquisite, often using a unique method of burning and boiling, preserving the original flavor of the food; Lu cuisine, on the other hand, focuses on set fire Quick stir-fry, commonly used cooking methods are explosion, stir-fry, simmering, burning, steak, etc., most of the food made by these methods Min cuisine is mainly composed of local dishes from Fujian, Quanzhou and Xiamen, so the ingredients are mostly seafood. Fujian cuisine is mainly composed of local dishes from Fujian, Quanzhou and Xiamen, so the ingredients are mostly seafood, and it is characterized by dishes with more soup, and the most prominent production methods are simmering and drenched; Hui cuisine is famous for cooking mountain and wild Hui cuisine is famous for cooking mountain and wild food, mostly using the method of roasting, stewing and smoking, of which smoked dishes are the most characteristic; Su cuisine is a collection of the longest, including Huaiyang cuisine, Nanjing cuisine, Su Xi cuisine and Xuzhou cuisine, only products also pay attention to freshness, with stewing, stewing, braising as the main The main feature is stewing, stewing and braising, and the original flavor is emphasized. In addition, there are many other famous Chinese cuisines, such as Beijing cuisine and Henan cuisine, which are not on the list of the eight major cuisines, and they are also flexible in their preparation methods and have outstanding flavors. Together with the eight major cuisines and their various preparation methods, they have become another highlight of Chinese food culture. In terms of the difference between Chinese and Western food, Western Western food culture is mostly about eating for eating, and the preparation methods are naturally simple and convenient; while Chinese food is more Chinese food is more "taste" in eating, so dishes are finely prepared and need to be savored to appreciate the taste. With their hard work and wisdom, the Chinese have made the best use of various ingredients and created their own cuisine to meet the needs of different regions and cultures. and cultures, creating their own flavors.
 
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2.Visual Enjoyment
 
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China's food is evolving with the progress of history and society, not only is the cooking technology exquisite, but also pays special attention to the aesthetics of the dishes. This beauty is not only the pursuit of food color, aroma and taste, but also the harmony of shape, utensils and dishes. This visual satisfaction is a perfect unity of form and content in the unique Chinese culinary activity, which brings people taste satisfaction, aesthetic pleasure and spiritual enjoyment.
 
−
(1)Beauty in color
 
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Color, in food production, refers to both the natural color of ingredients and the harmony presented by various ingredients in combination with each other and in combination. In Chinese cuisine, it is important to match the ingredients with color, that is, to use the natural color of meat, vegetables, aquatic products and even some fruits to mix colors. Vegetables are particularly colorful, for example, green leeks, spinach, celery; red peppers, carrots, tomatoes; yellow cauliflower, asparagus, ginger; black fungus; white radish, wild rice, silver fungus and so on. Color matching is very important, the presence or absence of this procedure, although it does not directly affect the taste and texture of dishes, but to some extent may affect people's appetite, eating psychology and aesthetic feelings, especially in the banquet side dishes, there must be red, yellow, green, white the four colors of the dish, so as to show the rich and colorful. From the color of the dishes, we can not only see the beauty of the ingredients, but also see the chefs who process and produce these ingredients with the right control of the fire and excellent cooking skills, and finally see the beauty of the color harmony presented in front of people The beauty of the color palette that is presented to people.
 
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(2)Beauty in form
 
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Form is a requirement for the food shape to reflect the effect of food based on the beauty of raw materials, color and taste. Chinese people in the evaluation of food, in addition to color, aroma, taste, there is a very important indicator, that is, "shape", chic food can not only meet the taste enjoyment, but also can bring visual beauty. The beauty of the shape of the dish is often expressed in the fine knife work, the chef will be based on the needs of food production, the ingredients will be cut into shreds, blocks, slices, segments, dice, mushrooms, etc., they are the same thickness, similar size, uniform thickness, equal length, not dragging each other, clean and crisp. The technical mastery of knife-working has contributed to the unique aesthetic shape of Chinese dishes, along with the original intention of taste and beauty, making Chinese cuisine a veritable "kung fu cuisine".
 
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(3)Beauty in food ware
 
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Ware, mainly refers to food utensils, especially dishes container-based tableware. The ancients used to say that food is better than beautiful utensils, the Chinese people are very careful about the selection and use of dishes tableware. Since ancient times, the Chinese have been using the fine production, beautiful, with reasonable tableware as a kind of beauty. If the container of the dish is ornamental, it will increase the aesthetics of the dish in shape. The taste of the tableware has a great role in setting off the taste of the dish. A graceful, exquisite ingredients of the dish with beautiful and elegant containers, will look more noble, exquisite; conversely, the same ingredients, the same shape of the dish, placed in the production of rough, or plastic, white iron material containers, naturally, taste is not as good as before. Chinese food in the choice of tableware pay special attention to the ornamental container, according to the ingredients, the shape of the choice of appropriate containers. The utensils of Chinese cuisine are not only common round plates and long plates, but also other utensils of different shapes and forms. Chinese dishes in the selection and use of tableware, mainly follow the following principles: First, the size of tableware and the amount of dishes to adapt, a Generally, the plate is not more than the loading line, the bowl is not more than seven minutes full; Second, the shape of tableware and the shape of the ingredients to adapt to, soup dishes, fish and meat should be plate. bowl, fish and meat should be plate, especially the fish more oval long plate; Third, the tableware color and color of the dishes to adapt to the Generally the simplest tableware color with follow the "shallow with shallow" standard, but also some light-colored ingredients need dark color tableware supplement, dark ingredients need light-colored tableware set off, shades of matching make light-colored dishes color not As for too thin, dark dishes are not too dull tone. For example, the jade shrimp, people usually choose a glossy clean white porcelain plate to set off the bright colors of jade green and shrimp red; chicken oil winter melon, people will tend to choose the color For example, for the jade shrimp, people usually choose a polished white porcelain plate to offset the bright color of jade green and shrimp red; for the chicken oil and winter melon, people tend to choose a dark colored ceramic pot to consider the brightness of the chicken soup and make up for the light white of the winter melon. Tableware and dishes, the two The harmony of the two makes Chinese food glow in a fascinating way.
 
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3.Emotional Attachment
 
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As early as the Western Zhou Dynasty, the idea of "eating old virtues" emerged in China, meaning that future generations could inherit the ideas of their predecessors and enjoy the virtues left by them. Later, during the Warring States period, the idea of "so or not to say and drink people to and" emerged, arguing that diet should not only meet people's physiological needs, but also play a psychological coordination role, to be able to "drink and" is to achieve the highest level of diet. In modern times, Sun Yat-sen, the forerunner of the Chinese nation, praised Xuanwei ham with the phrase "drink and eat virtues" when he gave it an inscription. Later generations interpreted "drinking and eating virtue" to mean that after giving a person something to eat (or drink), the person should feel comfortable, enjoyable, and happy, enjoying the The latter interpreted "drinking and eating virtue " to mean that after giving food to people, the eater should feel comfortable, enjoyable, and happy, and enjoy the virtue of the ancestors. In short, it means that drinking should be harmonious and eating should be moral. This is the ancient interpretation of eating This is the ancient interpretation of eating.
 
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In modern society, people often say, "The seven things that open the door, rice, oil, salt, soy sauce, vinegar and tea, which This shows the importance of "food" in people's daily life. The Chinese people have always attached importance to emotional communication, especially through food. Especially the custom of achieving emotional communication through food has been inherited for thousands of years, which has made Chinese food This has led to an important function of Chinese food - the transmission of emotions. For example, during traditional festivals such as New Year, Mid-Autumn Festival, Chongyang, and other major festivals such as marriage, people will eat and drink food. On the other hand, the death of a loved one is also celebrated at the dinner table. On the other hand, after the funeral of a loved one, there will be "relief wine" and a banquet for friends and relatives to express their gratitude. It is through "eating" that the Chinese to regulate interpersonal relationships, to achieve joy and harmony, and to continue the purpose of morality and ethics. In this regard In this respect, the social function of Chinese food activities is unparalleled by other countries and nations. Of course, in this process Of course, what is indispensable in this process is the complete Chinese food etiquette. As the ancient saying goes, "Where rituals are concerned, they begin with food and drink. Since ancient times, there have been rituals of eating, feasting, and hospitality in China. Those positive, sensual, programmed formalized and detailed rituals have been used throughout Chinese food activities and are constantly improving themselves, and are an integral part of Chinese They are also an integral part of Chinese food culture. Nowadays, the act of "eating" has become more than just a way to satisfy daily physical needs; in fact, it has has become a special way for people to express and communicate their emotions, a daily social activity. People Through eating activities, people express their emotions, exchange information with each other, and regulate their psychology. The function of emotional satisfaction is given. The three different perspectives of taste, vision and sensation form the organic whole of Chinese food culture and make it vivid. Chinese food culture has become vivid and full. Taste is the basis of food, vision is the complement of food, and sensation is the basis of taste and vision. The senses are the synthesis of taste and vision. They do not exist in isolation, but complement and depend on each other. They are not isolated, but complementary and interdependent. The satisfaction of taste and vision leads to emotional attachment and satisfaction, and the Chinese food culture is Chinese food culture has been inherited and developed through the satisfaction of taste, vision and emotion.
 
  
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===Differences between Chinese and Western Food Cultures===
+
Zhang Haitao.张海涛(2011). 古琴艺术当代发展思考[Thoughts on the Contemporary Development of Guqin Art][J]. 民族艺术研究[Ethnic Art Research], (02):52-57.
−
Chinese and western countries have different geographical environment, national character, combined with the different philosophy of people's belief, the different degree of historical development has created their own unique cultural background and cultural content, thus further produced in the diet culture distinct difference.
 
−
(1)Differences in food preparation
 
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For most people, no matter where they come from, the most basic purpose of diet is to sustain life, but the way to achieve this goal is different.Chinese and western food culture in the production of the differences are mainly reflected in: Randomness and standardization, delicious and nutritional, respectively and integration.
 
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Chinese people emphasize randomness in cooking techniques and cooking processes. They don't mechanically pursue the accuracy of weight of ingredients, addition of seasonings and proportion collocation, but rely on the experience of producers to grasp the results.This kind of randomness can be seen everywhere. The same dish in the same cuisine will appear different with the change of place, time and people, which is why we will order the same dish in different restaurants and restaurants to taste different reasons.In addition, the same dish from the same chef will also have different matching of side dishes and seasonings due to different seasons, environments and diners 'identities.This randomness in the preparation of China food makes cooking interesting, and at the same time, it also creates a variety of styles and tastes in Chinese dishes.And westerners due to scientific rigorous character influence, in the process of food production, excessive pursuit of standardization.They strictly follow the requirements of the amount of ingredients, the amount of seasoning added, and the cooking time during the operation. The result is that the same dish has a surprisingly similar effect from the inside out every time it is formed.Even in many western homes, are ready to have a kitchen dedicated timer, scales, scale cup, etc.These make western countries relatively conservative and stable in terms of dish varieties, tastes and tastes.Although Chinese people pay attention to visual art and emotional sustenance in the process of eating, people regard the pursuit of "delicious" as the highest essence of diet.This pursuit can be seen from the daily life of people.For example, when people entertain guests at home, often say a word is: I don't know if it's good for you
 
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The taste. So far little or no heard someone say something like this: Today's food nutritional value is not high, the heat supply is not enough. The Westerners will be nutrition and energy in an important position, they respect the food nutrition science. Their food requirements first nutrition, nutrition and energy supply, is the taste of food, and most of the time, because to achieve food nutrition retention and take the so-called scientific cooking method has made the food taste greatly reduced.
 
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One of the most remarkable characteristics of Chinese cooking is the harmony of five flavors. From ingredients to seasonings, all of them reach the highest state of "harmony." I am afraid that only Chinese people have such a eating style and habit as the big pot stewed dishes commonly seen by people. All kinds of ingredients are matched with each other, all kinds of nutrients complement each other, and the auxiliary effect of seasonings. Westerners, on the other hand, focus on the natural properties and nutritional value of the ingredients and pursue the original taste of the food, which can be seen from the naming of Western dishes. For example, the beef with potatoes, which means literally, is a completely different thing from the China beef with potatoes.
 
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(2)Differences in Eating Habits
 
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The differences in eating habits between Chinese and Western food cultures cannot be ignored, that is, the obvious difference between "cooked food" and "raw food."Chinese people enjoy food and pursue delicacy, which to a certain extent determines that Chinese cuisine is mainly "cooked food."There are dozens of cooking techniques in China, and these rich and varied cooking techniques make the "cooked food" of Chinese food culture give full play and continue.In the West, due to the influence of standardization and nutrition, the "raw food" is advocated to avoid the loss of nutrition and calories in the food.They believe that cooking will destroy the nutritional structure of food to a certain extent, while natural and original food can preserve the nutrition and calories of ingredients.Westerners first look at nutrition, then look at calories, and finally consider the taste and shape of food.
 
−
(3)Differences in Eating Styles
 
−
Differences in food preparation methods and eating habits will inevitably lead to differences in eating patterns.In this regard, the most obvious food culture in China and the West is the "shared meal system" and "separate meal system."The most popular way of eating in China is to sit around a table and share food.This kind of "group sharing" is a common way in China, whether at banquets or at home. People exchange feelings, communicate family ties and coordinate interpersonal relationships through this kind of "meal sharing system" of sharing food. Even today, the buffet spread from western countries to China has gradually evolved into another form of "dinner gathering" by Chinese people. The eating style of westerners is the "separate meal system" known as "exclusive" style, which is different from the living habits of westerners. Cultural heritage is inseparable. Buffet is the way of eating born of such food culture. This way of eating is to meet the relaxed, free and independent dining style of Westerners. People do not need to fix a certain dining position or a certain dining object, and can choose according to their own preferences. This is a world of difference from the "shared dining system" of group enjoyment China.
 
  
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===Philosophical Thoughts Contained in China Food Culture===
+
===Terms and Expressions===
−
(1)The Nature View of the Unity of Heaven and Man
+
the "Yellow Emperor": 黄帝
−
Confucius, the founder of the pre-Qin Confucian school, once said: "Gentlemen are harmonious but different." "Harmony" is unity and concord. It is abstract and intrinsic. The "difference" is concrete, external. Only by allowing "difference" can we achieve the realm of "harmony". The ultimate goal of harmony and difference is to live in harmony. Dialectical materialism believes that harmony is the dialectical unity of opposing things under certain conditions, and it is the relationship between different things that complement each other and develop together. In the vast expanse of China, nature has given people different choices, creating different eating habits and lifestyles. Simple Chinese are grateful for the gifts of nature and pass on this gratitude in their own ways. The gifts of nature and people's gratitude have created a situation in which people and nature coexist in harmony.
 
−
(2)Advocating the Concept of Family Reunion
 
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China literary creation from ancient times to the present, whether tragedy or comedy, mostly ends with a happy ending. Even if it is not realized when he is alive, the author will convey this beautiful wish in other ways.In the China traditional folk culture, the most characteristic and charming characterization is advocating reunion.Reunion is people's best wishes for ordinary life. To some extent, it has become the spiritual pillar of the Chinese people.In ancient China, many poets expressed their hope for family reunion through poems and songs, saying,"There is no wine in the wine bottle for the New Year, and the tears of homesickness are full of towels.""I know that it is hard to be a guest, but it is not as good as being poor at home,""The sound of firecrackers makes the spring breeze send warmth to Tu Su,""I wish people will last long, and we will share the cicada's joy for thousands of miles,""I am a stranger in a foreign land alone, and I miss my relatives every time during the festival," etc. These verses have been passed down to this day along with the festival emotion, and they constantly show the Chinese people's admiration and desire for their hometown and family reunion.This kind of psychology of looking forward to reunion, not only reflected in the literary works, but also reflected in people's real life.Chinese people always cannot do without food when dealing with the issue of family reunion, so the word "reunion dinner" appears in the festival of family reunion.No matter what the purpose of the Chinese dining activities, no matter how many people eat, basically there is only one form, that is to sit at the table.This form of gathering dinner directly conveys a kind of national psychology of the Chinese nation, that is,"happy reunion." Reunion dinner is not just a regular eating form, but exists as a secular ceremony full of deeper emotional connotation. For most traditional and conservative Chinese people, this collective activity of sitting around the table for dinner is a harmonious way for family members to enhance their feelings and talk to each other.
 
−
Nowadays, China is marching on the road of globalization, informatization and marketization, and the fragmented family existence mode is popular. The family unit is getting smaller and smaller, and the special family (dink, divorce, single, etc.) are also increasing. The traditional Chinese image of several generations living under the same roof and sharing a family relationship has become an emotional luxury. People are becoming more and more free and independent. One of the few emotional expectations is that there will be a few days of family reunion in a year. Reunion is the eternal theme of the Spring Festival. People experience the warmth brought by family reunion during such a festival. It is also this spiritual emotion that maintains the unique emotional genes of the nation. From generation to generation, this is also one of the reasons why the Chinese nation is endless.
 
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(3)A Harmonious Outlook on Life
 
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China food culture, while blending into the aesthetic taste and artistic ideal of Chinese people, also places a lot of philosophical thoughts.The concept of "food is the most important thing for the people, taste is the first, five flavors are harmonious, and taste is the king" is very consistent with the traditional China philosophy.In addition to the taste of the tongue and the smell of the nose, in China culture, the perception and definition of "taste" both originate from diet and transcend diet.That is to say, it is not only our tongue and nose but also the Chinese heart that can truly feel the "taste."Chinese people talk about five flavors, which are not only related to diet, but also to life and life. The "five flavors harmony" of sour, sweet, bitter, spicy and salty is not only about the beauty of harmony in diet, but also about the life conditions of ordinary people in their ordinary lives. In Chinese words, there are many idioms that use five flavors to describe life, such as: Bitter to do sweet, share the joys and sorrows; painstaking, attack Ruacid, alone, hardships; People use "sweet" to express their happiness and joy. Use "sour,""bitter" to describe the frustrations and hardships of life;"Hot" to convey their enthusiasm and vitality, and so on.
 
  
−
===Conclusion===
+
tablature：指法谱
−
China food culture contains elements such as family feelings and cultural confidence, and the exchange of food culture is also an inevitable and important activity in the process of cross-cultural communication. Therefore, we should stick to, develop and inherit the traditional China food culture, and carry out cross-cultural communication. In order to achieve effective cross-cultural communication, to achieve cultural exchange blend, the Chinese people have the responsibility and obligation to actively spread China food culture, enhance the national cultural soft power, build a socialist country's new image.
 
  
−
===References===
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the Palace Museum ：故宫博物馆
  
−
*Zhang Zuqun.张祖群.试论中国饮食文化的三个表达维度[On the Three Dimensions of Chinese Food Culture].地方文化研究辑刊 Local Culture Studies,2021(01): 226-236.,2021(01):226-236.
+
the Voyager Golden Record：旅行者金唱片
  
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*Zhu Xiaoli.朱晓丽.中国饮食文化的跨文化传播——评《用英语介绍中国美食》[Cross-cultural Communication of China Food Culture-A Review of Introduction to Chinese Food in English].新闻爱好者News Enthusiasts,2021(05):113-114.DOI:10.16017/j.cnki.xwahz.2021.05.034.
+
geographical isolation：地理隔绝
  
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*Li Mingchen, Dai Tao.李明晨,戴涛.中国饮食文化的三重境界[The Triple Realm of Chinese Food Culture].学习与实践Learning and Practice,2019(03):130 133.DOI:10.19624/j.cnki.cn42-1005/c.2019.03.015.
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tempo：节奏、拍子
  
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*Yao Weijun.姚伟钧.中国饮食文化传播与“走出去”的路径[Chinese Food Culture Communication and the Path of "Going Out"].文化发展论丛Cultural Development Essays,2016(01):49-65.
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Organology：乐器学
  
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*Hu Mengnan.胡梦楠.论中国饮食文化的传播与认同[On the Spread and Recognition of Chinese Food Culture].郑州大学Zhengzhou University,2014.
+
===Questions===
 +
1.What can guqin also be called?
  
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==英语口译 方楚晗 Fang Chuhan 202170081616==
+
2. According to legend, who were involved in the creation of guqin?
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<center>'''Bullet Screen (Danmu) in Chinese Online Video Sites'''</center>
 
  
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<center>Fang Chuhan</center>
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3. What has caused qin pai (琴派) over the centuries?
  
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===Abstract===
+
4.Who is the writer of Qin Fu 【琴賦】?
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“Bullet screen”, or “Danmu” in Chinese, is an emerging new feature on online video sites in China and Japan, which allows real-time comments from viewers to fly across the screen like bullets. Mostly used for virtual nods and zingers, this “social viewing” feature is phenomenally popular with the younger crowd. As a new form of video commentary in the new media era, Danmu has set off a trend in China and Japan. The process of Danmu culture from birth to popularity is very rapid, and now it has become one of the most popular online comment media. Danmu obtains popularity among young audiences, in that it establishes social media co-viewing, creates a sense of belonging, allows self-expression and facilitates social connectedness. Additionally, Danmu gives creators a way to show a sense of existence, particularly through helpful, cautionary, and spoiler remarks. The widespread and clear use of literacy is credited with Danmu's appeal in China. It is more significantly attributed to linguistic and cultural preconditions: the written Chinese language is characterized by a high information density and robust parafoveal preview effects; the Chinese culture is characterized by a high level of polychronicity and collectivism, as well as obvious social and peer pressure.
 
  
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===Key words===
+
5.What is the earliest example of the modern shorthand tablature?
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Bullet screen, Chinese online videos, information density, parafoveal preview effects, polychronicity, collectivism
 
  
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===Introduction===
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===Answers===
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In China, Bilibili (https://www.bilibili.com), known as ‘B Zhan,’ (‘B site’) was established in 2009 and is one of the most prestigious and rapidly expanding online video-sharing entertainment platforms(Li, 2019). Generation Z (abbreviated as ‘Gen Z’ or iGen), the second generation of Millennials who were born in the 1990s and 2000s, have become attracted by Bilibili on the domestic market (Walker, 2020). Data reveals that Gen Z users make up over 80% of Bilibili's user base (Parklu 2019), and their indulgence in Bilibili can be summed up by their daily average time spent there of 81 minutes (China Internet Watch 2019), which vastly outpaces that of TikTok and other rivals. On the latter, the typical user only spends about 45 minutes per day (Holmes 2019). Their preoccupation with the Japanese ACG (anime, comics, and games) subculture is a notable characteristic of the Gen Z (Wang, 2014). ACG-based website Bilibili, which is run by self-described anime lover and serial entrepreneur Chen Rui, 42, has carved out a competitive niche to take on Internet behemoths like Baidu, Alibaba, and Tencent, which control China's massive online video industry (Perez, 2020; Zhang, 2020). Even though it is ACG-based, Bilibili bills itself as ‘a full-spectrum online entertainment world,’ offering everything from mobile games to video clips and live broadcasting. It has also gone beyond its well-known user-generated short-format content to include professionally produced content as well as full-length movies and documentaries (Bilibili, 2021). The most popular feature of Bilibili is its ability to allow users to post scrolling Danmu superimposed directly onto footage. These can be either timed to playback times or left by previous viewers and tagged with specific time points of video clips (Cao, 2019). There are options to filter or disable Danmu, which is essential in situations when viewers find Danmu swooping across the screen irritating or when they are inundated with numerous Danmu. Both senders and viewers can customize the text size, color, transparency, and movement speed of Danmu.  
+
1.It can also be called qixianqin 「七絃琴」 ("seven-stringed instrument").
  
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===History of Danmu===
+
2.The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation.
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Even if Bilibili is generally credited with popularizing Danmu, the leading Japanese video-sharing website, Niconico (nicovideo.jp), is the innovator of such text-over-screen technology. ACG fan communities, traditions, and culture are integrally related to Niconico through media mix initiatives (Qin 2014). Niconico users can create subcultural and local networks that support cutting-edge media mix formats by altering and generating material. Furthermore, Niconico promotes ‘N-level invention’ by integrating secondary materials, also known as dynamic creativity and collaborative innovations (Li 2017). In order to enable ‘polyphonic representation’ and multitasking user engagement, Niconico launched a feature called danmaku in 2006. It projected dynamic, contextualized, and quasi-bullet-curtain comments scrolling across the screen (Li, 2017).
 
  
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Since its introduction to China in 2008, danmaku has been used to refer to both the system and specific comments and is known in Chinese as Danmu (Cao, 2019). Acfun, often known as the ‘A site,’ is a popular Chinese website that is based on Niconico and features the Danmu function. It is the founder of the "B site's" inspiration (Ye, 2018). Danmu quickly became popular after entering the Chinese video market; according to Bilibili alone, there were 1 billion and 1.4 billion pieces of Danmu in 2018 and 2019, respectively (Zu, 2018; Bilibili, 2019).
+
3. Geographical isolation in China resulted in the development of many distinct qin schools known as qin pai (琴派) over the centuries.
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Due to the fact that the traditional, Danmu-free visualization has been losing its ability to draw in and keep users, a variety of popular online video services, including Tudou and Youku, have also incorporated this collaborative video annotation system. As a result, by 2014, almost all video-streaming platforms in China integrated the Danmu function to engage users, marking the significant evolution of Danmu from a specific subcultural entity into a predominate standard design for the online video culture in modern China (Li, 2017). These globalized platforms start to accept user-produced transnational and cross-linguistic media products in addition to user-produced Danmu, rather than website owners (Zhang & Cassany, 2019b).
 
  
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Gen Z in China has made watching movies enriched with Danmu into a well-established habit and subculture. Danmu is occasionally more well-liked than the videos themselves due to its association with amusement, information, and sociability. It even acts as a persuasion tool for viewers to watch particular works (Zhang, 2016).
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4.Xi Kang 嵇康: Sage of the Bamboo Grove, musician and poet, writer of Qin Fu 【琴賦】.
  
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===Social Functions of Danmu===
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5.The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石調幽蘭》 (Solitary Orchid in Stone Tablet Mode).
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Danmu is considered as user-generated content because it was created by people and is made available to the public via web platforms. The uses and gratifications theory states that the gratifications from user-generated media include: 1) consumption of the content for information seeking and entertainment; 2) participation for social interaction and community development; and 3) creation of new content for self-expression and self-actualization (Shao, 2009). The social functions of Danmu and the motivations of its producers and consumers are in following three aspects, focusing on the latter two.
 
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First, Danmu meets the interests and informational needs of its viewers. To be more precise, Danmu meets a hedonic need for entertainment, relaxation, stimulation, and escaping from reality as well as a utilitarian demand for information (Han & Lee, 2014). Information-seeking is a common subgenre of interactive Danmu, and as this activity is constrained by time and location, Chinese Danmu users have developed a list of well-established fixed phrases that are both succinct and polite for this purpose. It is noteworthy that answers to these kinds of bullet questions are frequently given, and some viewers even provide information on their own initiative and without being asked, demonstrating their intelligence, thoroughness, and deductive reasoning, as well as their sense of humor if their texts are light-hearted. Furthermore, Danmu has created and fostered a dynamic, diversified participatory culture in China (Chen 2018), creating a social platform for free expression and potential democratic engagement.
 
  
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Second, in order to promote community development, Danmu also promotes social engagement and communication between producers and consumers. By developing social media co-viewing, Danmu satisfies users' social needs and fosters a sense of community.
+
==英语笔译 龙翰良 Long Hanliang 202170081589==
 +
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>
  
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Through a well-known phenomenon called "pseudo-synchronicity," which satisfies users' need for companionship and helps them deal with loneliness, Danmu creates social media co-viewing. Following the playing of videos, messages sent out throughout several viewings aggregate all audiences from all viewings into a single cohort. Despite different times and locations, the movement and synchronization of Danmu allows viewers to experience the exhilaration brought on by the synchronicity of words and screens as well as co-viewing with peers (Chen et al., 2015). Accordingly, as long as the broadcast is not live, the text-over-screen effect can maintain crowd dynamics in terms of opinions and/or sentiments without the actual presence of crowds (Johnson, 2013; Chen et al., 2015; Li, 2017; Cao, 2019). This is because online communities, as ideological figures, exist more in a mental space than in actual reality (Zwick & Bradshaw, 2016). Additionally, Danmu's synchronic feature provides unique satisfactions in terms of empathy and social connection among peers that differ from those attained from conventional post-viewing commentary videos (Chen et al., 2015, 2017). Young people's sense of community is fostered in this way via Danmu, which may be a result of peer pressure (Cheng et al., 2014).
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<center>Long Hanliang</center>
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As a consequence, Danmu encourages communication between producers and consumers. Danmu posters and viewers engage in spontaneous interactions with the goals of engagement being to communicate meaning, spread communication, and build networks. The Danmu system, in particular, allows users to communicate more directly and experience real-time sharing.
 
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There is no doubting that a Danmu text should not be viewed as a message, according to Cao (2019), because it does not explicitly target a particular addressee and does not demand a response, even though it may elicit responses and resonances. A Danmu text has the characteristics of a "idiolect," or a person's unique way of expressing ideas without intending to engage in conversation with the recipient (Jakobson 1987: 104). So bullet screen involves semiotic idiolects that aren't always discursive.
 
  
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However, a sizeable amount of Danmu texts are actually written with the intention of communicating, as shown by the three types of Danmu: information-seeking, gratitude-expressing, and discussion-provoking. First, as was previously indicated, viewers who are looking for information about videos and relevant history may turn to fellow viewers for assistance, which does not address any particular person but expects a response. Second, Danmu can be used to convey gratitude to specific people, particularly uploaders and unpaid, volunteer subtitlers. Third, viewers may leave comments with the intention of igniting debates about the stories, scenes, props, and acting abilities. They may also do this by asking questions like "Am I the only one who finds the costume an eyesore?" and "Am I the only one who finds my IQ has been insulted?" in an effort to find commonalities. Most of the time, posters get answers along the lines of "The person in front of me, you're not alone."
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===Abstract===
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Third, Danmu facilitates self-expression and constructs a sense of existence.
 
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Spoilers are the most enduring paradigm for the self-expression function of Danmu. Spoilers can ruin the suspense and ruin viewers' enjoyment from the perspective of how this paratext is received and consumed, although they typically have a small and positive influence. There are two types of spoilers: non-toxic ones that are unintentional, formedative, socially acceptable, or politically correct, and toxic ones that are intentional, motivated by pleasure or retaliation. The act of spoiling, which entails both the creation and distribution of spoilers, serves as a kind of interpersonal communication based on the sharing of knowledge as well as a means of sociability and empowerment, yet it has the potential to lead to social and cultural conflicts. In contrast to standard comment sections that might limit spoiler exposure through spoiler notifications for those who desire to avoid discovering plots or endings beforehand, Danmu spoilers are embedded and superimposed on videos, making them ineluctable. Therefore, if Danmu producers are completely aware of the unfavorable nature of spoilers yet nevertheless purposefully divulge crucial story points, they may be acting out of joy or out of retaliation. Furthermore, spoiler posters are unafraid of retaliation because all Danmu comments are sent anonymously, even without the display of pseudonyms. The degree of toxicity of Danmu spoilers may not always be severe, though, because spoiler writers may be seen as needing attention and a sense of identity due to their social inadequacy in real-world settings.
 
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Qianfang gaoneng, which means ‘strong energy warning ahead,’ is another Danmu that is used frequently for self-expression. It was included as one of the top 10 Danmu buzzwords on Bilibili in 2018 (Zu, 2018). The purpose of qianfang gaoneng is to create a sense of companionship by warning co-viewers of impending "surprising, terrifying, or disturbing" content. I hypothesize that in addition to serving this goal, those who write alert remarks also hope to demonstrate their knowledge from prior viewings and perhaps even their sense of accomplishment as veterans. Alert Danmu serves as a kind of relieved spoiler in several ways.
 
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Expression-focused Danmu comments can be used to express viewers' opinions on videos and to make jokes on the substance of videos or other relevant subjects like casting, subtitle translation, image quality, other Danmu texts, etc. Additionally, fan bases of celebrities use the Danmu as a platform or even a battleground to promote or extol their idols, and they frequently use fandom neologisms that show an upward transmission direction and the possibility to reach the common vocabulary by being used in traditional media. It is important to note that, as a subculture of cyberspace, Danmu comments frequently contain Internet buzzwords that, in addition to constructing communicative activity and subjectivity in China, also proliferate in English dictionaries as a symbol of the internationalization of the Chinese language (He, 2015). Danmu users can support the growth of online communities by using neologisms that are only used by particular fandoms and on the Internet.
 
  
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When it comes to Danmu's ability to increase a person's sense of existence, it gives people who feel restricted by societal roles in daily life the opportunity to contribute, which fosters a sense of personal efficacy (Shao, 2009). The spectacle of Danmu, assimilates the wealth discrepancies and the differences in capacity to engage on the flattened surface of the screen, deflecting attention from true social gaps. In this way, social inequity is aestheticized and how individuals relate to it is anesthetized by Danmu's text-screen synchronization.
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At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)
  
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It is noteworthy that in addition to posting free bullet points on outstanding Chinese interactive streaming platforms that offer live streaming entertainment, users can also pay for and send virtual gifts to recognize excellent performances and/or foster rapport with hosts because their preferred hosts can turn the virtual gifts into actual money (Cao, 2019). Costly gifts create a power imbalance between hosts and givers that enhances their engagement. Additionally, motivated by the gift-giving model and/or financial incentives, hosts personalize their performances and establish rapport with crowds, providing contributors a sense of power that they typically lack in real-life settings (Fan & Zhang, 2018). Especially noticeable among young, low-income urban netizens, who lack a sense of superiority in social life, is this audience psychology.
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As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)
  
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Regarding Danmu, even though it's not money, it gives creators a way to show that they have a sense of being. Given that 75% of Bilibili's users are under 24 (Liu, 2015), it is nearly impossible for this user base to feel strongly in control of or solve social inequity at this time. As a result, many turn to Danmu for online prominence and self-expression. In conclusion, Danmu's social functions—aside from providing information and entertainment—lie in its ability to allow young Chinese netizens to communicate with peers within the same social groupings, helping to develop group identification and promote social connectivity. By developing avenues for self-expression and conversation, Danmu has produced a sense of existence and visibility in a virtual environment, creating a sense of belonging for the Gen Z through social media co-viewing.
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This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)
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===Prerequisites for the Popularity of Danmu===
 
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Chinese internet users create and incorporate a wide variety of writing scripts and semiotic resources into their nonstandard, multilingual literacy practices and discourses due to character limits that are appropriate for the screen, including standard Mandarin and various dialects, traditional characters and Romanized Chinese, foreign languages and their transliterations, emoticons and Arabic numbers, etc (Zhang, 2017). The adoption of kaomoji writing, a Japanese emoticon style that represents facial expressions and/or activities by integrating Latin letters, punctuation, and Japanese characters, is another way that Danmu users' multilingual repertoire is displayed.
 
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Both language and cultural preconditions are said to have contributed to Danmu's success in modern-day China. The Chinese written language is distinguished by a high information density and parafoveal preview effects, to be more precise. Chinese culture is distinguished by its polychronicity, as well as by the overt social pressure and peer pressure brought on by a collectivistic attitude.
 
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First, Chinese language is distinguished by a high information density, making it easier to read. One or two characters/syllables make about 90% of Chinese words, while single-character (mono-syllabic) words are especially common in everyday speech, making up 2/3 of the total number of words. Chinese characters are the primary semantic units since the Chinese language's core structural unit is character-based rather than word-based (Xu 2001). A wide perceptual spread of one character to the left and three to four characters to the right of fixation is also demonstrated by Chinese readers, which is consistent with the fact that Chinese characters have a high information density. As a result, Chinese is more information densely packed than its equivalents in alphabetic writing systems, making Danmu conceivable and widespread in China but not in other nations that have adopted alphabetic writing systems.
 
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Second, in contrast to their peers reading alphabetic scripts, Chinese readers exhibit strong parafoveal preview effects. When readers move their eyes, the visual information provided to their brains is obtained not only from the currently fixated word in the fovea but also from nonfixated words in the parafovea. This effect is known as the preview benefit (Drieghe et al., 2017). Reading Chinese has a tangible benefit from parafoveal semantic information, and parafoveal processing predominates more in Chinese than in alphabetic scripts (Bai et al., 2009; 2011). Despite the fact that parafoveal processing efficiency is worse when reading aloud than when reading silently (Ashby et al., 2012), it is believed that since Danmu comments often have audio, the preview benefit is less likely to be compromised. In other words, Chinese Danmu has a unique success in China because it can be processed more quickly than alphabetic scripts.
 
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The acceptance of Danmu is influenced by the fact that it is commonly regarded to be a typical polychronic time system in Chinese culture. Previous studies have shown that Chinese individuals have a lax attention to deadlines, punctuality, and schedules, as well as a tendency to combine activities, which is classified as polychronic time orientation. Chinese people tend to be preoccupied with other people and social experience since they are endowed with polychromic-oriented ideals.
 
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Chinese people place a greater priority on relationships and leisure activities than their monochromatic counterparts, even at the expense of disruption or distraction. The synchronicity of text and video forces viewers to "multitask," and prior research has shown that viewers who prefer Danmu-enriched videos tend to seek out more information and exhibit a higher level of polychronicity, or the preference for simultaneous involvement in two or multiple events. As a result, China's high polychronicity may be what motivates Danmu watching (Chen et al., 2015; Cao, 2019), as Danmu necessitates multitasking, facilitates interpersonal connection, and improves social rapport. The lack of popularity of Danmu with audiences from monochromatic cultures supports this theory.
 
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Social and peer pressure are more pronounced features of China's collectivistic culture, which hastens the spread of Danmu. Due to their collectivistic orientation, Asians are typically more prone to social influence than their individualistic counterparts, as groups are seen as having the power to bind and obligate individuals and interpersonal communication is more common in collectivistic cultures (Du et al., 2015). Since people in cultures that emphasize a collectivistic self-concept view themselves from the perspective of relationships with others rather than from the perspective of personal characteristics or self-achievement, persons in collective societies are more entwined with groups. Significantly, collectivists rely on social media more than individualists do in relationship-focused collectivistic settings. Danmu satisfies Chinese people's desire for social contact through co-viewing on social media. The Confucian ethos of social harmony and relationship-focused collectivism also have an impact on Chinese culture, which is why Chinese people place a higher importance on appearance than those from individualistic cultural backgrounds (Fang, 1999). Chinese conceptions of the face have several facets, including layers that represent individuals, relationships, and groups (Li, 2017). Failure to employ Danmu could be seen as a loss of face and rapport with peers within the same social communities since it is viewed as an embodiment of group face or identity.
 
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Furthermore, young Chinese people are particularly susceptible to peer pressure, even when compared to their counterparts from other Asian nations with comparable collectivistic orientation, as the one-child policy determines that having no siblings increases the correlation between young Chinese and their peers and, consequently, their vulnerability to peer influence. In terms of Danmu use, the vast majority of Bilibili users (78%) are between the ages of 18 and 35, which corresponds to the 35-year one-child policy that was abolished in January 2016 (Bilibili, 2021). These people strive to develop both a collective identity, which is the self in relation to others, and a social identity formed from participation in a social group combined with the values and emotional meaning associated to the membership. This group of young people ensures that they can perceive themselves as members of specific groups and distinguish themselves from members of out-groups in this way. Young Chinese people are therefore more susceptible to peer influence, which explains why they are eager to adopt Danmu that has infiltrated their social circles.
 
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===Conclusion===
 
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Danmu was initially regarded as a niche subculture in China, but because to its quick change, it is now unnecessary for internet video platforms, particularly those that target the Gen Z.
 
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Young Chinese audiences' preference for Danmu is attributed to a number of factors, including: 1) co-viewing, which reduces loneliness through the illusion of synchronicity; 2) a sense of belonging, which may be related to peer pressure; and 3) self-expression, which may foster a sense of personal efficacy. Additionally, viewers can convey a sense of existence, typically through comments that include news, warnings, or spoilers. Another reason for Danmu's appeal is that it helps people connect with one another and communicate more easily while also defining their sense of group identity.
 
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Danmu has achieved extraordinary popularity in China's internet video culture, yet without the necessary linguistic and cultural conditions, its success would not be feasible.
 
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Chinese is an efficient and succinct language, which is perfect for the brief Danmu text that appears on screens. To be more precise, Chinese is distinguished by a high information density since characters pack information more densely than alphabetic expressions do. Chinese readers also have a broad perceptual span and noticeable parafoveal preview effects, which differs from their counterparts reading alphabetic scripts and allows them to read characters more quickly.
 
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The spread of Danmu among young internet users is also accelerated by Chinese culture, which is a typical collectivistic culture. Chinese people exhibit a high degree of polychronicity, which indicates that they have a propensity for multitasking, obsession with people, and social experiences. The polychronic time orientation of the Chinese culture is a necessary prerequisite for Danmu's embracement since Danmu's synchronization of text and video necessitates multitasking and improves interpersonal connection and social rapport. Chinese culture also stands out for its overt use of peer pressure and social pressure. Chinese individuals emphasize face more than their colleagues from individualistic backgrounds, and they are more affected by their peers from the same social networks. This tendency is made worse by the one-child policy, which makes children more open to peer pressure because they don't have siblings. Danmu establishes accepted norms among Gen Z video viewers, driven by social and peer pressure.
 
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Of course, Chinese internet users' creation of an unique multilingual literacy practice that uses a variety of writing scripts and semiotic resources also contributes to Danmu's appeal.
 
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===Terms===
 
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Bullet screen / Danmu 弹幕
 
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Bilibili 哔哩哔哩，B站，中国年轻世代高度聚集的文化社区和视频平台
 
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TikTok 抖音，字节跳动公司旗下短视频社交平台
 
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Niconico NIWANGO公司2006年所提供的线上影片分享网站，常被简称为Niconico、N站或Nico等
 
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Generation Z/Gen Z/iGen  Z一代（20世纪九十年代或21世纪出生的人类）
 
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information density 信息密集度
 
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polychronicity 多元性时间观
 
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collectivism 集体主义
 
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parafoveal preview effects 副中央凹预视效应
 
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peer pressure 同伴压力
 
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===Questions===
 
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1.Who is the creator of text-over-screen technology? (C)
 
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A.Bilibili
 
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B.Tik Tok
 
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C.Niconico
 
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D.ACG fan communities
 
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2.What are the social functions of Danmu? (A,B,C)
 
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A.It accommodates audiences’ need for information and entertainment.
 
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B.It enables social interaction and communication between producers and consumers, so as to facilitate community development.
 
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C.It facilitates self-expression and constructs a sense of existence.
 
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D.It boost the turnover of Chinese online video sites.
 
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3.What are the prerequisites for the popularity of Danmu? (A, C, D)
 
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A.Chinese language is distinguished by a high information density.
 
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B.Danmu in Chinese online video sites has a long history.
 
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C.Chinese readers exhibit strong parafoveal preview effects.
 
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D.China’s collectivistic culture is more conspicuously featured by social and peer pressure.
 
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===References===
 
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[1]Ashby, Jane, Jinmian Yang, Khris H. C. Evans and Keith Rayner. 2012. Eye movements and the perceptual span in silent and oral reading. Attention, Perception & Psychophysics 74: 634-640.
 
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[2]Bai, Xue-Jun, Xiao-Yu Hu and Guo-Li Yan. 2009. Parafoveal-on-foveal Effects in Chinese Reading: The Influence of Semantic Transparencies of word n on word n-1 Processing. Acta Psychologica Sinica 41(05): 377-386.
 
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[3]Bai, Xue-Jun, Juan Liu, Chuan-Li Zang, Man-Man Zhang, Xiao-Feng, Guo and Guo-Li Yan. 2011. The Advance of Parafoveal Preview Effects in Chinese Reading. Advances in Psychological Science 19.12: 1721-1729.
 
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[4]Bilibili. 2019. B zhan 2019 niandu danmu chulu! Baolu nianling de shihou daole [B site’s 2019 annual danmu is ready! It’s time to see how old you are]. Bilibili. 04 December 2019.
 
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[5]Bilibili. 2021. Guanyu women [About us]. Bilibili. https://www.bilibili.com/blackboard/aboutUs. html.
 
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[6]Cao, Xuenan. 2019. Bullet Screens (Danmu): Texting, Online Streaming, and the Spectacle of Social Inequality on Chinese Social Networks. Theory, Culture & Society 0(0): 1-21.
 
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[7]China Internet Watch. 2019. Gen-Z video platform Bilibili MAU exceeded 101 million in Q1 2019. China Internet Watch. 27 May 2019.
 
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[8]Chen, Yue Qin Gao and Pei-Luen Patrick Rau. 2015. Understanding Gratifications of Watching Danmaku Videos–Videoswith Overlaid Comments. Cross‐Cultural Design Methods, Practice and Impact: 153-163.
 
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[9]Chen, Yue Qin Gao and Pei-Luen Patrick Rau. 2017. Watching a movie alone yet together: understanding reasons for watching Danmaku videos. International Journal of Human Computer Interaction 33.9: 731-743.
 
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[10]Chen, Zhen Troy. 2018. Poetic prosumption of animation, comic, game and novel in a postsocialist China: A case of a popular video- sharing social media Bilibili as heterotopia. Journal of Consumer Culture 0(0): 1-21.
 
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[11]Cheng, Yang, Jingwei Liang and Louis Leung. 2014. Social network service use on mobile devices: An examination of gratifications, civic attitudes and civic engagement in China. New Media & Society 17 (7): 1096-1116.
 
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[12]Drieghe, Denis, Gemma Fitzsimmons and Simon P. Liversedge. 2017. Parafoveal preview effects in reading unspaced text. Journal of experimental psychology. Human perception and performance 43 (10):1701-1716.
 
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[13]Du, Hongfei, Xiaoming Li, Danhua Lin and Cheuk Chi Tam. 2015. Collectivistic Orientation, Acculturative Stress, Cultural Self-Efficacy, and Depression: A Longitudinal Study Among Chinese Internal Migrants. Community Mental Health Journal 51: 239-248.
 
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[14]Fan, Jun and Qing Zhang. 2018. The impact of interactivity on virtual gifts giving intent– Based on live-streaming platforms. Advances in Social Science, Education and Humanities Research 237: 759-766.
 
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[15]Fang, Tony. 1999. Chinese Business Negotiating Style. Thousand Oaks: Sage Publications.
 
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[16]Han, Eunyoung and Sang-Woo Lee. 2014. Motivations for the complementary use of text-based media during linear TV viewing: An exploratory study. Computers in Human Behavior 32: 235-243.
 
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[17]He, Keyao. 2015. Chinese words surge in English dictionaries. The Telegraph. 18 May 2015.
 
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[18]Holmes. Ryan. 2019. Is TikTok a time bomb? Fast Company. 28 August 2018.
 
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[19]Jakobson, Roman. 1987. Language in Literature. Cambridge, MA: The Belknap Press of Harvard University Press.
 
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[20]Li, Jing. 2019. Bilibili jijiang yinglai shi zhounian [Bilibili is to celebrate its 10th birthday]. Guangming Daily. 20 June 2020.
 
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[21]Li, Jinying. 2017. The Interface Affect of a Contact Zone: Danmaku on Video-Streaming Platforms. Asiascape: Digital Asia 4: 233-256.
 
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[22]Li, Qing Kinnison. 2017. Power, integrity, and mask-An attempt to disentangle the Chinese face concept. Journal of Pragmatics 114: 32-48.
 
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[23]Parklu. 2019. Why Brands Should Not Overlook Bilibili to Target China's Gen-Z. Luxury Society. 10 July 2019.
 
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[24]Perez, Bien. 2020. Sony invests US$400 million in Chinese streaming video platform Bilibili. South China Morning Post. 09 April 2020.
 
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[25]Qin, Amy. 2014. Theaters in China Screen Movies, and Viewers’ Text Messages. New York Times. 25 August 2014.
 
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[26]Shao, Guosong. 2009. Understanding the appeal of user-generated media: a uses and gratification perspective. Internet Research 19(1): 7-25.
 
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[27]Walker, Catherine. 2020. ‘Generation Z’ and ‘second generation’: an agenda for learning from cross-cultural negotiations of the climate crisis in the lives of second generation immigrants. Children’s Geographies. DOI: 10.1080/14733285.2020.1817334.
 
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[28]Wang, Meng. 2014. Discussion on Japan’s Animation Culture and Its Influence. 2014 International Conference on Economic Management and Social Science. Atlantis Press.
 
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[29]Xu, T. Q. 2001. Fundamental structural principles of Chinese semantic syntax in terms of Chinese Characters. Applied Linguistics 1: 3-13.
 
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[30]Ye, Josh. 2018. Bilibili, China’s biggest anime site, covers the screen in user comments. South China Morning Post. 18 September.
 
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[31]Zhang, Leticia Tian and Daniel Cassany. 2020. Making sense of danmu: Coherence in massive anonymous chats on Bilibili.com. Discourse Studies: 1-20.
 
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[32]Zhang, Wuji. 2016. Buke zudang de danmu wenhua [The invincible danmu culture]. Financial Times. 02 March 2016.
 
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[33]Zhang, Yi. 2017. Heteroglossic Chinese Online Literacy Practices On Micro‐Blogging and Video‐ Sharing Sites. PhD thesis. University of South Florida.
 
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[34]Zu, Wei. 2018. B zhan gongbu 2018 niandu danmu, ‘zhenshi’ zui shou huanying [B site published its 2018 annual danmu, ‘real’ is the most popular one. People.cn. 29 December 2018.
 
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[35]Zwick, Detlev and Alan Bradshaw. 2016. Biopolitical marketing and social media brand communities. Theory, Culture & Society 33(5): 91-115.
 
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==英语口译 胡雯雯 Hu Wenwen 202170081617==
 
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<center>'''Chinese Baijiu Culture'''</center>
 
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<center>Hu Wenwen</center>
 
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===Abstract===
 
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Chinese Baijiu can be compared with wine in France, but it is made of rice. We have a long history of Chinese Baijiu, which develops with our own culture. And more importantly, we have cultivated a kind of special culture about Baijiu on the table.
 
  
 
===Key words===
 
===Key words===
  
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===Introduction===
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Chinese culture; Teaching Chinese as a second language; Cultural Exchange
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Baijiu is one of the main beverages in Chinese people's life. China has a long history of baijiu making, with a wide variety of famous bajiu spreading with a good reputation at home and abroad. Yellow rice wine is one of the earliest baijiu in the world. About 3000 years ago, in the Shang and Zhou dynasties, the Chinese people created the liquor koji double fermentation method and began to brew a large amount of rice wine. Chinese Baijiu has permeated the entire 5000 year history of Chinese civilization. It plays an important role of literary and artistic creation, cultural entertainment, food and cooking, health care and other aspects in Chinese people's life.
 
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Chinese Baijiu culture is an important part of Chinese food culture. Wine is one of the most ancient foods of mankind. Its history almost began with the history of human culture. Since the emergence of baijiu, as a material culture, baijiu has a variety of forms. Its development process is synchronized with the history of economic development. Baijiu is not only a kind of food, but also has spiritual and cultural value. As a kind of spiritual culture, it is embodied in many aspects, such as social and political life, literature and art, and even people's attitude towards life, aesthetic taste and so on. In this sense, drinking is not just drinking but also drinking culture.
 
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As to drinking etiquette, Chinese people pay attention to people with whom they drink . It depends on who they drink with and what they want, to be more specific,  the atmosphere of drinking; drinking etiquette reflects the respect for drinkers. Who is the host ? Who is the guest?  What about the fixed seats and toast sequence for them respectively. When toasting, you should start from the host. If the host doesn't finish, others are not qualified to propose a toast. If you mess up the order, you will be punished. The toast must start from the most distinguished guest. Your container must be full when toasting, which also shows respect for the person you drink with. The younger generation should take the initiative to toast the elders, which is the same for the juniors and superiors, and we also regard‘ bottom-up’ as a sign of respect.
 
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When we talk about purpose of drinking，Chinese baijiu is often used as a tool. People drink for pursuing something they hope for other than alcohol itself. Green plum baijiu is used to prove who is a hero; Beimoting is used to eliminate all the worries within you; The Seven Sages singing wildly in the bamboo forest and drink to seek refuge in spirit. In the eyes of Chinese people, baijiu is more used as a tool for communication. Therefore, there is a lack of scientific and systematic theoretical analysis and evaluation of baijiu itself in Chinese baijiu culture, and more attention is paid to the wonderful effect brought by drinking baijiu.
 
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===Literature Review===
 
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===Methods and Theories===
 
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===Subtitle 1===
 
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正文. (Wang 2021:423)
 
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===Subtitle 2===
 
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===Subtitle 3===
 
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===Subtitle 4===
 
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===Conclusion===
 
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===References===
 
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*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
 
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==英语口译 黄天琪 Huang Tianqi 202170081618==
 
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<center>'''Marriage Culture in China'''</center>
 
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<center>Huang Tianqi</center>
 
  
 
===Introduction===
 
===Introduction===
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Marriage is something related to all of us. It is the start of family and kinship. Most of our life will be spent within a marriage. And an unhappy marriage will ruin many things. This starts by lowering the quality of our life, threatening the quality of our children’s life, and then forming a family without happiness and warmth. Eventually, this will have a bad impact on the harmony of the society. Judging from all these, we can see that how important marriage is to our life and society. Besides, marriage represents not only a union between couples, but also a union of two families. In the past, marriage was often arranged by parents, while today’s young people prefer to choose spouse that they love by themselves. However, it is still common that parents hold sway over the marriage of their children. Marriage culture is a part of social culture, which can reflect people’s mentality and views towards marriage in a particular period.(Li Tao 2014:1) In the following, marriage system, wedding customs, and dissolution of marriage will be covered.
 
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===Marriage System===
 
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From the earliest group marriage to monogamy, marriage system has become increasingly rigorous, which is conducive to ensuring family stability and social peace. China went through primitive society, slave society, feudal society, modern society, and it is now contemporary society. The characteristics of marriage system in each period are distinctive. From the evolution of our marriage system we can see that each change has been in line with the change in the political and economic system. The marriage system is a guarantee of social stability, and the main evolutionary history includes the following periods.
 
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====Group Marriage====
 
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Under this marriage system, a group of men and a group of women are married to each other. The specific forms of the group marriage are not necessarily the same between different regions and races, and even differ greatly. The process of its development has not been simultaneous throughout history. Group marriage showed itself in China as a natural and chaotic situation where people lived in groups without social obligations. At that time, no constraints were imposed on the interaction between men and women. There were no clear and fixed spouse, no restrictions on elders and children, and no concept of parents or siblings.
 
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====Consanguineous Marriage====
 
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With the development of human history, people gradually differentiated themselves from each other and formed different groups or tribes. Soon, blood relation became the identification standard. At that time, parents and children have blood relation were not allowed to marry each other, while siblings could. This is what we called consanguineous marriage. This kind of marriage were recorded in ancient Chinese literatures as legends. For example, Fengsu Tongyi describe that Fuxi and his sister Nüwa married each other and lived together.
 
−
 
−
====Sub-Consanguineous Marriage====
 
−
 
−
The main difference between sub-consanguineous marriage and consanguineous marriage is that consanguineous marriage only prohibited intermarriage between the parents and their children, while sub-consanguineous marriage also prohibited marriage between siblings of the same generation. The most important feature of the sub-consanguineous marriage system is that brothers can share a wife and sisters can share a husband, but the "wife" or "husband" must be someone from another clan. Sub-consanguineous marriage facilitated the natural selection of marriage partners, which is significant for improving the quantity and quality of the population.
 
−
 
−
====Dual marriage====
 
−
 
−
Dual marriage refers to the marriage between adult men and women from different clans in a long or short period of time, which is not stable. Under this marriage system, the spouses are not married for love, but for personal interests and needs. People usually obtain a spouse through exchanges of goods or forceful competition.
 
−
 
−
====Monogamy====
 
−
 
−
Monogamy means that when two people are married to each other, they can only maintain this marriage with each other for the rest of their lives, or at any period in their lives. Under this system, no one may have two or more spouses at the same time, and people’s marriage is more stable and can last longer. Monogamy is the result of the development of material and spiritual civilization. This marriage system is also more progressive and reasonable.(Hu Xi 2016:222)
 
−
 
−
===Wedding Customs===
 
−
Wedding customs is an important part of marriage culture. The original wedding customs, limited by economic and cultural conditions at that time, is not complex. It takes a long time for wedding customs to become complex from simple and to form a set of complicated etiquette. Arranged marriage and mercenary marriage appeared when patriarchy was formed. A mercenary marriage arranged by parents is usually mediated by a matchmaker, and parents of both bride and bridegroom will negotiate about betrothal gifts and other things. The bridegroom’s family must give the bride a certain number of gifts and money so that they can get engaged and married, Besides, their marriage is usually arranged by their parents when they were under age. In the late stage of the primitive society, the wedding in the form of arranged and mercenary marriage had not yet formed the tedious etiquette, complex procedures and systemic weddings like the “six rites”. As people attached more and more importance to marriage, a set of etiquette for the process of completing a marriage relationship gradually formed, which is often called "six rites", including six steps: Nacai (proposal), Wenming, Naji (name and birthday matching), Nazheng (gift giving), Qingqi(choosing the wedding date), and Qinying (the wedding ceremony).
 
−
 
−
1.Nacai
 
  
−
It is the man’s family who would find a matchmaker to propose a marriage for woman’s family permission on behalf of the man. If the woman’s family agree, the man would prepare gifts and bring them to the woman’s family for proposal.
+
As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)
  
−
2.Wenming
+
The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)
  
−
Wenming refers to that the man's family ask the matchmaker to ask the woman's name and birth date. There are two purposes: one is to prevent consanguineous marriages with the same surname; the other is to use the birth dates of the man and the woman to divine whether they are matched or not.
+
Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)
  
−
3.Naji
+
===Overall Design===
 +
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)
  
−
If the division shows that they are a good match for each other, then the man’s family will inform the woman’s family and decide to let them get married.
+
To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)
  
−
4.Nazheng
+
Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)
  
−
Once their match has been confirmed, the man’s family will send betrothal gifts to the woman’s family. These gifts usually are items such as gold, jewelry, wine, tea, and foods with good symbolism.
+
This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)
  
−
5.Qingqi
+
Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)
  
−
After the man’s family choose the day of wedding, they will inform the women’s family and ask for their agreement.
+
Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)
  
−
6.Qinying
+
The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)
  
−
The last process of the “six rites” is that the groom goes to the bride's house to marry her. One or two days before marriage, the woman will send her dowry to the man's home, and the woman’s family ask someone to make bed.
+
Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)
  
−
With the development of society, many new customs appear, while some of the old ones are abandoned. Now, different places prefer different customs, even two adjacent towns could have different wedding customs. However, there are some customs shared by the majority, such as hiring matchmaker, giving betrothal gifts to the bride's family, and holding wedding ceremony.
+
Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)
  
−
===Dissolution of Marriage===
+
For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)
−
When we talk about marriage, there are two parties: husband and wife. Naturally, any major thing that is related to marriage should be decided by these two parties. However, it is not the case when it refers to the dissolution of marriage in ancient China. At that time, people listed out seven conditions under which the husband could unilaterally dissolve the marriage with his wife. These seven conditions are as following:
 
  
−
1.Being unfilial to parents
+
For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)
  
−
It means being unfilial to her husband’s parents. The reason is that this is immoral. In traditional Chinese society, after a woman marries to a man, her husband’s parents have a much higher status than her own parents, so being unfilial to the husband’s parents is considered a big thing.
+
Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)
  
−
2. Failing to bear son
+
Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
 +
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)
  
−
It refers to the wife’s inability to give birth to a boy. In traditional Chinese society, carrying on the family line was the primary purpose of a marriage, and the failure of the wife to give birth to a son would make a marriage lose its fundamental meaning. However, with the prevalence of polygamy in ancient society, there was a decline in the number of women who were abandoned because they failed to bear boys.
+
The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)
  
−
3. Adultery
+
The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)
  
−
It means that the wife has extramarital affair. Adultery may cause confusion about the origin or generation of children born by the wife, thereby disturbing the family's blood ties.
+
The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)
  
−
4. Jealousy
+
===Test Assessment===
 +
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)
  
−
It refers to the wife is very jealous. People at that time believed that it is not conducive to the harmony within the family, the wife’s jealousy will cause internal contradictions in the family, resulting in chaos in traditional family relations that is featured by the rule that the wife depends on her husband to gain merit.
+
Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)
  
−
5.Having foul disease
+
The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)
  
−
It refers to that the wife is too ill to attend ancestor worship activity. According to Chinese tradition, ancestor worship is an important activity of every family, and it is believed that the wife suffering from severe disease will have a bad influence on the effect of the activity, thus not conducive to the prosperity of the family.
+
The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)
  
−
6.Being garrulous
+
Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)
  
−
It refers to the wife who talks too much or gossips about others. In traditional Chinese families, women, especially those of low seniority, are considered not to express their opinions, and a wife, as a member of the family who comes in from outside the family, may interfere with family harmony if she talks too much.
+
The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)
  
−
7.Larceny
+
In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)
  
−
It means if the wife steals things, then the husband can dissolve the marriage with her whether she agree or not.
+
1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)
  
−
Generally speaking, most of the seven conditions favor the interests of the husband’s family. As long as it is not in the interests of the husband’s family, the husband or the husband’s family can dissolve the marriage, whether the reason is the wife’s inappropriate behavior or physical problems.
+
2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)
  
−
In Tang dynasty, a law that related to forced divorce was launched. This law stipulates that if the husband, wife or a relative of the husband or the wife commits an act of assault, scolding, killing, wounding or rape against a relative of the other party, the couple is considered to have severed their intimate relationship and the government would force them to divorce, no matter whether both parties agree or not. This law was not equal, which was clearly in favor of the husband’s family, imposing stricter requirements on the wife and giving greater power to the husband. This reflected that the Tang law protect the husband’s rights, and aim to establish a feudal family order in which the husband is the wife’s superior and the woman is inferior to man.
+
3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
 +
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)
  
−
However, in Tang dynasty, there was also a harmony divorce system, which was a kind of legal system which allows husband and wife to divorce voluntarily through agreement in feudal society of China. The harmony divorce system in the Tang Dynasty is a great innovation of the marriage and family system in China's feudal society. The establishment of the harmony divorce breaks through the traditional rites and laws, and elevates marriage from the obligation to carry on the family line of man and woman to the emotional union of the two parties.
+
Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)
  
−
Currently, there are two ways of divorce stipulated by China's Marriage Law:
+
As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)
−
 
 
−
First, divorce by mutual consent. This is a method of dissolving a marriage "peacefully" and is very popular. Divorce by mutual consent is subject to conditions that the man and the woman are completely voluntary and have dealt appropriately with issues such as the maintenance of children, the division of common property, and the repayment of common debts after the divorce. Couples who meet the above conditions can apply for registration of divorce at the marriage registration office where one of them is domiciled. After receiving the Divorce Certificate, the relationship between the couple is then dissolved.
 
−
 
 
−
Second, divorce by adjudication. In other words, if one party requests a divorce but the other party does not agree, or if both parties agree to a divorce but cannot reach an agreement on child maintenance or property issues, the people's court will settle the matter according to litigation procedures.
 
−
 
 
−
===Conclusion===
 
−
In the past, the major purpose of a marriage is to carry on the family line, while personal emotions have little to do with marriage. From the choice of spouse to the conclusion of the marriage, even its dissolution, are subject to the constraints of parents. The same is true of both the husband and the wife. Family interests are put above any other things in marriage. At that time, women have low social and family status, and many regulations of marriage are especially targeted at women. Then, with the development of society and the emerging of new ideas, many new customs, regulations, and laws have been established so as to adapt to modern society. Besides, gender equality has been promoted, so women now have a higher status in society and family. At present, the foundation of a marriage is normally the love between the couple. Both women and man have a greater say in their own marriage. Marriage is not some personal thing that relates to only two people. Instead, it has a bearing on social stability. Just like Mr. Fei Xiaotong says, “marriage is a result of social force. There is no place on earth that takes marriage as a personal thing between a couple.” (Zhang Ting 2013:12)
 
  
−
===References===
+
===Means and methods===
−
*李涛.21世纪初年(2001～2012)中国婚姻文化嬗变研究[J].婚姻·家庭·性别研究,2014(00):1-125.
 
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*孙晓.中国传统婚姻制度与观念的演变[J].人民论坛,2021(16):110-112.
 
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*胡曦.论中国一夫一妻制[J].法制博览,2016(13):222.
 
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*韩暖.浅析中国古代婚姻文化[J].时代文学(上半月),2015(12):238.
 
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*游路遥.20世纪中国婚姻法流变[D].福建师范大学,2016.
 
−
*张婷. 中国古今婚姻制度比较[D].河北经贸大学,2013.
 
  
−
===Terms and expressions===
+
Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)
−
Group Marriage 群婚
 
  
−
Consanguineous Marriage 血缘婚
+
After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)
  
−
Fengsu Tongyi 《风俗通义》
+
Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)
  
−
Fuxi 伏羲
+
We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)
  
−
Nüwa 女娲
+
One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)
  
−
Arranged marriage and mercenary marriage 包办和买卖婚姻
+
For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)
  
−
Sub-Consanguineous Marriage 亚血缘婚
+
First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)
  
−
Arranged marriage and mercenary marriage 包办和买卖婚姻
+
For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)
  
−
The wife depends on her husband to gain merit 夫为妻纲
+
This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)
  
−
===Questions===
+
The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)
−
1.During group marriage period, strict constraints were imposed on the interaction between men and women.
 
  
−
2.What is the main difference between sub-consanguineous marriage and consanguineous marriage?
+
There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)
  
−
3.What are the purposes of Wenming?
+
The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)
  
−
4.In ancient China, under what conditions could the husband unilaterally dissolve the marriage with his wife?
+
However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)
  
−
5.If a couple agree to a divorce but cannot reach an agreement on child maintenance or property issues, what measure could they take?
+
Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)
−
===Answers===
 
−
1.False.
 
  
−
2.Consanguineous marriage only prohibited intermarriage between the parents and their children, while sub-consanguineous marriage also prohibited marriage between siblings of the same generation.
+
===Textbook Compilation===
 +
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)
  
−
3.There are two purposes: one is to prevent consanguineous marriages with the same surname; the other is to use the birth dates of the man and the woman to divine whether they are matched or not.
+
(1) Practicality
  
−
4.Being unfilial to parents/Failing to bear son/Adultery/Jealousy/Having foul disease/Being garrulous/Larceny.
+
Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)
  
−
5.They can ask help from the people's court and divorce by adjudication.
+
The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)
  
−
==英语口译 兰绮 Lan Qi 202170081619==
+
It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)
  
−
<center>'''Chinese Panda Diplomacy'''</center>
+
The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)
  
−
<center>Lan Qi</center>
+
(2) Knowledge
  
−
===Introduction===
+
The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)
  
−
Gift-giving is a common courtesy in diplomatic activities. And this kind of diplomatic culture has a profound history. Via exchanging gifts, a cordial and friendly bond can be built upon two countries. Diplomatic gifts are not only limited to some still-life items, but also can be some living creatures, such as animals. China has a history of presenting panda as a diplomatic gift to forge diplomatic relations with other countries, which is known as Chinese Panda Diplomacy. Panda, listed as an endangered species in 2008 and a vulnerable species in 2016, is endemic to China. It’s the national animal or say, national treasure of China. It is recorded that panda diplomacy can date back to the later Tang Dynasty when Emperor Wu ever gave two pieces of skin of pandas as a gift for foreign envoys. And after the founding of People’s Republic of China, China has been carrying out diplomatic activities through giving panda as gifts, lend panda to other countries for traveling exhibitions or signing commercial leases of pandas to show friendliness. In the 26 years from 1957 to 1982, China gave a total of 23 pandas to 9 countries. Panda, as a national treasure of China, has served as a messenger of friendship abroad many times and has made indelible contributions to the development of friendly relations with foreign countries.
+
Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)
  
−
===Origin and History of Chinese Panda Diplomacy===
+
(3)Scientificity
  
−
====Panda as a gift====
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1. To teach standardized and common Chinese characters
  
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Animals play an important role in China's diplomatic activities. As early as the Yongle period of the Ming Dynasty, Zheng He brought back many "qilin" (giraffes) from the African continent on his way to the West, which was called "qilin diplomacy". These giraffes were transported to China as tribute from African countries, and although they were not "gifts" in the modern sense of diplomacy, they fully illustrate the phenomenon of using "animals" as a medium to express messages in national exchanges. At that time, the Ming Dynasty was strong and the African continent was still very primitive, so the "giraffes" represented the awe and dependence of a weak country on a strong country. In modern society, animals can be found everywhere in diplomacy. In the early years of New China, China befriended the Soviet Union under a "one-sided" foreign policy. Between 1954 and 1959, the Beijing Zoo exchanged animals with the Soviet Union's State Zoo, and in 1957, China gave the giant pandas Ping Ping and An An to the Soviet Union. This "animal diplomacy" reflected China's quest to consolidate the Soviet-led socialist camp in the 1950s and its desire to receive assistance and support from the Soviet Union as a means of countering the U.S. blockade.(Zhang Enming, 2018,66-70) Vietnam, which is in the same socialist camp as China, also gave two Asian elephants to China in 1953. These two elephants had participated in the Vietnam War, so in addition to the usual diplomatic rituals, the two elephants also implied Vietnam's gratitude for China's support in the war.There is also a close animal exchange between China and North Korea. Since 1959, African lions, South China tigers, and Korean leopards have been gifts exchanged between the two countries. Behind these gifts are the development strategies of the two countries and the complex game of international relations. Whether it is the "Korean leopard" of North Korea or the "Asian elephant" of Vietnam, the animals chosen in animal diplomacy are all national protected animals that can represent the image of the country and have certain profound connotations at the same time. In China's cultural context, the panda is naturally the most appropriate choice.
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The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)
  
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"Panda diplomacy" begins with Wu Zetian. In recorded history, on September 18th, in 685 AD, the first year under the reign of Wu Zetian, the Chang'an palace guards and two animal handlers clustered round two tall, spacious and red-colored cages and set off from Chang'an on a stagecoach, sailing eastward. They went to Yangzhou, boarded a sea ship, and accompanied the Japanese envoys to Japan. This time, Wu Zetian gave two "white bears" and 70 furs to Emperor Tenmu of Japan. The "white bears" here are actually giant pandas. Westerners first heard about giant pandas from the French missionary Arman David. David was the first Westerner to study the wildlife of China in 1869, when David traveled across the ocean to give a panda specimen as a gift to the French Natural History Museum. This was the first panda welcomed in the West. Although only a specimen, this masterpiece of the creator was the first panda in the West. driven by panda fever, many people began to travel to China in search of pandas. (Lin He,2010,6-17)
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The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)  
  
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Technically speaking, the first time giant panda served as the highest-level national gift was in 1941 when the Song sisters, Song Qingling and Song Meiling presented a pair of pandas to the United States as a token of appreciation for their relief of Chinese refugees.After the founding of New China, giant panda became an important gift for the country's diplomacy. In the modern era of friendship between China and foreign countries, pandas are treated like "heads of state" when they arrive as a national gift.(Xie Jianping,2021,93) China's most famous "panda diplomacy" dates back to 1972, when President Nixon's visit to China. Premier Zhou Enlai announced at a banquet to welcome President Nixon. Premier Zhou Enlai announced at a banquet to welcome President Nixon that giant pandas Lingling and Xinxin would be given to the United States. The "Panda Diplomacy" laid a solid brick for China to open its doors and go global.And in September 1972, when diplomatic relations were established between China and Japan, China decided to present two pandas. On November 4th , 1972, a grand ceremony was held in Ueno Park in Tokyo to accept the gift. At the ceremony, the Japanese director said, "This pair of pandas is the best gift from the Chinese people to the Japanese people, and November 4 is a symbol of friendship between the people of Japan and China." Between 1957 and 1982, China gave 23 giant pandas to 9 countries: the Soviet Union, North Korea, the United States, Japan, France, the United Kingdom, Mexico, Spain and Germany. Britain, Mexico, Spain and Germany.(Sun Jiahua, Xia Jun, 2005,51)By the 1970s, giant pandas were sent around the world by China, and "panda diplomacy" reached its peak.
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In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)
  
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Here is a list of the giant panda as a national gift.
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2. The organization of teaching content should conform to the law of language teaching
  
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{| class="wikitable"
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The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | '''Date of gift'''   
 
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| style="height:40px; width:200px; text-align:center;" | '''Giver'''   
 
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| style="height:40px; width:200px; text-align:center;" | '''Name of Giant Panda'''   
 
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| style="height:40px; width:200px; text-align:center;" | '''Recipient'''   
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | November 9,1941
 
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| style="height:40px; width:200px; text-align:center;" | Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Panda 
 
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| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | November 9,1941                  
 
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| style="height:40px; width:200px; text-align:center;" | Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Pandi  
 
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| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | May 1946                                    
 
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| style="height:40px; width:200px; text-align:center;" | Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Lianhe(Union)  
 
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| style="height:40px; width:200px; text-align:center;" | The United Kingdom
 
−
|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | 1957                                        
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Pingping
 
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| style="height:40px; width:200px; text-align:center;" | Soviet Union
 
−
|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | 1958                                                
 
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| style="height:40px; width:200px; text-align:center;" | The Beijing Zoo
 
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| style="height:40px; width:200px; text-align:center;" | Jiji
 
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| style="height:40px; width:200px; text-align:center;" | Austrian animal trader: Heini Demer
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | 1959                                                  
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Anan
 
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| style="height:40px; width:200px; text-align:center;" | Soviet Union
 
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|- style="vertical-align:top;"
 
−
| style="height:40px; width:200px; text-align:center;" | unknown                        
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China  
 
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| style="height:40px; width:200px; text-align:center;" | NO.1  
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
 
−
|- style="vertical-align:top;"
 
−
| style="height:40px; width:200px; text-align:center;" | unknown                               
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | NO.2
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
 
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|- style="vertical-align:top;"
 
−
| style="height:40px; width:200px; text-align:center;" | unknown                          
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Lingling  
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
 
−
|- style="vertical-align:top;"
 
−
| style="height:40px; width:200px; text-align:center;" | unknown                    
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
−
| style="height:40px; width:200px; text-align:center;" | Sanxing  
 
−
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
 
−
|- style="vertical-align:top;"
 
−
| style="height:40px; width:200px; text-align:center;" | unknown                          
 
−
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Dandan      
 
−
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
 
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|- style="vertical-align:top;"
 
−
| style="height:40px; width:200px; text-align:center;" | April 1972                        
 
−
| style="height:40px; width:200px; text-align:center;" | People's Republic of China  
 
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| style="height:40px; width:200px; text-align:center;" | Lingling  
 
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| style="height:40px; width:200px; text-align:center;" | The United States
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | April 1972                  
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Xingxing  
 
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| style="height:40px; width:200px; text-align:center;" | The United States
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | October 1972                                  
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Lanlan    
 
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| style="height:40px; width:200px; text-align:center;" | Japan 
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | October 1972                              
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Kangkang
 
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| style="height:40px; width:200px; text-align:center;" | Japan 
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | December 1973                                        
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Yanyan
 
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| style="height:40px; width:200px; text-align:center;" | France
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | December 1973                        
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Lili        
 
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| style="height:40px; width:200px; text-align:center;" | France
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | April 1974                            
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Jiajia  
 
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| style="height:40px; width:200px; text-align:center;" | The United Kingdom
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | April 1974                          
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Jingjing  
 
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| style="height:40px; width:200px; text-align:center;" | The United Kingdom
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | September 1975                      
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Yingying  
 
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| style="height:40px; width:200px; text-align:center;" | Mexico
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | September 1975                              
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Beibei    
 
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| style="height:40px; width:200px; text-align:center;" | Mexico
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | September 1978                                    
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Shaoshao  
 
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| style="height:40px; width:200px; text-align:center;" | Spain
 
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|- style="vertical-align:top;"
 
−
| style="height:40px; width:200px; text-align:center;" | September 1978                            
 
−
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
 
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| style="height:40px; width:200px; text-align:center;" | Qiangqiang
 
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| style="height:40px; width:200px; text-align:center;" | Spain
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | 1980                                
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China  
 
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| style="height:40px; width:200px; text-align:center;" | Huanhuan          
 
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| style="height:40px; width:200px; text-align:center;" | Japan
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | November 1980                                                                    
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China  
 
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| style="height:40px; width:200px; text-align:center;" | Tiantian              
 
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| style="height:40px; width:200px; text-align:center;" | West Germany
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | November 1980                                                                    
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China  
 
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| style="height:40px; width:200px; text-align:center;" | Baobao              
 
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| style="height:40px; width:200px; text-align:center;" | West Germany
 
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|- style="vertical-align:top;"
 
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| style="height:40px; width:200px; text-align:center;" | 1982                                                                                                                        
 
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| style="height:40px; width:200px; text-align:center;" | People's Republic of China  
 
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| style="height:40px; width:200px; text-align:center;" | Feifei                  
 
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| style="height:40px; width:200px; text-align:center;" | Janpan 
 
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|} (From: 熊猫外交_百度百科 (baidu.com) )
 
  
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Due to the deterioration of the panda's living environment and the fear that the very limited number of giant pandas in China was dwindling, China stopped the purely political mode of gift to foreign countries after 1982, and many countries have invited Chinese pandas to "visit" them in various ways, and China has also organized dozens of "Giant Panda Visiting Missions". During the Los Angeles Olympics, the International Olympic Committee invited a pair of Chinese pandas to go on display. During this period, however, China's gift of pandas was limited at home, such as Hong Kong and Taiwan. In fact, as early as 1988, the mainland had expressed its intention to send pandas to Taiwan. In March 2001, the mainland was ready to send pandas to Taiwan, and the then executive president, John Chang, said positively in the Legislative Yuan that "if it is in line with the Washington Convention, we certainly welcome it. However, there was no follow-up, and the panda's visit to Taiwan became an empty talk again. If we follow the model of the United States, Japan and other foreign countries and "lease" pandas to the mainland, Taiwan will not only need to set aside a huge budget of tens to millions of dollars each year to provide the mainland with funds for research and improvement of panda habitat, but the lease will be "country-to-country", which would turn into a lease from the mainland to Taiwan, and Taiwan would become a foreign country, which did not meet the political requirements.It was not until 2005 that the two sides of the Taiwan Strait decided to adopt an "animal exchange and breeding conservation program", whereby the Taipei Muzha Zoo and the Wolong Reserve in Sichuan would exchange animals between the two sides of the Taiwan Strait, avoiding the highly sensitive political controversy. However, the Taiwan authorities, led by Chen Shui-bian at the time, refused to accept the gift of pandas to Taiwan on the grounds that it had political significance. On Dec. 23, 2008, the mainland gifted giant pandas Tuan Tuan and Yuan Yuan to Taiwan finally arrived in Taipei without incident. From 1988 to 2008 2008, the pandas' journey to Taiwan took a total of 20 years.(Lin He,2010,6-17)
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The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)
  
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====Panda Touring and Leasing====
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The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)
  
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In 1982, in response to a global call to protect endangered animals, the government of the People's Republic of China announced that it would stop giving pandas abroad starting in 1982. This marked the end of "panda diplomacy" under the traditional political gift model. But a new model, panda leasing, emerged.
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(4)Interest
  
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During the 1984 Olympic Games in Los Angeles, China temporarily loaned two pandas, Yongyong and Ying Xin, from the Beijing Zoo to the Los Angeles Zoo for a three-month tour to show China's support for the Los Angeles Games. This was the beginning of the giant panda tour abroad. Since then, giant pandas from various zoos in China have been traveling abroad for as short as a few months or as long as a year.
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Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)
  
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Giant panda touring exhibitions are an activity that can be both politically charged and commercially beneficial. For example, the aforementioned tour at the Los Angeles Zoo during the Los Angeles Olympics was a largely diplomatic event, while the subsequent exhibition at the San Francisco Zoo was a distinctly commercial loan. The traveling exhibition brought considerable economic benefits to the zoos and other institutions where the giant pandas were housed, but it also affected the reproduction and development of the pandas to some extent.  
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Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)
  
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After the mid-1990s, various measures taken to address the problems caused by commercial leasing have greatly reduced the opportunities for giant pandas to go on tour abroad, essentially ending the trend of mainly adopting the touring approach to panda diplomacy. However, in rare and exceptional cases, there are still those who go abroad for short periods of time to conduct diplomatic activities. For example, when the International Olympic Committee held its 112th plenary session in Moscow, Russia, in 2001 to decide on the host country for the 2008 Olympic Games, China sent giant pandas Benben and Wenwen to Moscow as cultural ambassadors to support China's bid.
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In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)
  
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====Joint Research on Giant Panda====
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In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)
  
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In the early 1990s, a growing number of environmental groups resisted giant panda leasing. In 1994, two pandas from the Chengdu Research Base of Giant Panda Breeding went abroad for the first time as "research and exchange ambassadors" to the Shirahama Safari Park in Japan. Since then, many zoos around the world, including Wakayama in Japan, Seoul in Korea, and Atlanta and Washington in the United States, have begun long-term cooperative research with China. On September 12, 2007, the State Forestry Administration announced that "China would no longer give pandas to foreign countries, but could still conduct cooperative research with foreign countries. But apparently, the "panda diplomacy" did not come to an end. Instead, China's "panda dance" has gone further and further.
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===Classroom Teaching===
  
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On November 28, 2009, the Chinese giant panda Wang wang and Funini arrived in Australia. This was the first time that Chinese pandas set foot in Oceania. According to the 1975 Convention on International Trade in Endangered Species, foreign zoos can only acquire pandas on a lease basis, in the name of scientific research. At present, China has started cooperative research on giant panda breeding, physiology and other aspects with nine zoos in five countries. The number of giant pandas involved in cooperative research is 30. Among the 24 pandas that went abroad in the past, only five offspring are still alive, including one from Japan and Germany and three from Mexico. They are still transmitting the friendship of the Chinese people together with the pandas that have gone abroad on lease or in scientific cooperation.
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Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)
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(Lin He,2010,6-17)
 
  
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==="Giant Panda" as a medium and symbol in International Communication===
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This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)
  
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People are mediums because they can generate and transmit information. Animals, which have long been known to human culture at all levels, are also mediums. Although animals cannot directly produce human "verbal messages," they can convey a wealth of information through their biological characteristics and the cultural context they carry. Thus, the panda has been promoted from a symbolic "diplomatic gift" to a "diplomatic medium" with a diffuse message in diplomatic activities. The "panda medium" was born. Since the animal is the medium, the message conveyed by the "panda medium" itself is also worth interpreting. The "panda symbol", as an energetic reference, naturally evokes our imagination of the "panda" animal and the range of impressions and connotations it generates.
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The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)
  
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In terms of the emotions embedded in the form of communication, traditional linguistic symbols are often used in international communication activities to make serious and politically significant statements. Whether it is a logical formal document or a poetic letter, it is labeled as "politicized", with an emotional undertone of gaming and mediation behind it. The "panda symbol" is an effective way to reconcile the audience with emotions from multiple senses. When people watch videos of "cats and dogs" on social media, they are often so enthralled by the appearance and sound of the "cute" creatures that they let go of their guard and engage in pure emotion. The popular "panda" has also conquered audiences in such a communication process. It can be argued that China's international communication activities, in which the national ideology is embedded in the "panda symbol", are not only more subtle and secretive in form, but also more acceptable to the public. Such communication is often invisible and more profound.
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The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)
  
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From the audience's point of view, the content of international communication through the medium of language and writing requires a certain level of literacy. A "knowledge gap" is created on top of the language barrier, causing greater disruption to communication. The "panda medium" is able to build a bridge over the gap, and as the threshold for understanding the "panda symbol" is lowered, audiences with lower literacy levels are also included, further expanding the audience base for China's foreign communications.The image of "panda" is naive, gentle and lovely. In international communication, this animal image conveys the message of "peace" and "friendship". Today, in the face of Western "threat theory" and "suspicion theory", the "panda symbol" undoubtedly represents the value of China's peaceful rise. At the same time, the "black and white" color covering the panda is reminiscent of the Chinese "Taiji" symbol, which contains the Chinese idea of "harmony" and a deep cultural temperament. This symbolic feature is good for constructing a national image and eliminating stereotypes. In addition, as an endangered species, the panda has received worldwide attention for its conservation, and China's protection of the panda is well known. Out of its love for the panda as an animal itself, as well as universal ecological values, China's conservation work for the giant panda has been praised and recognized globally. This has further enhanced China's standing in the international community and won wide recognition among global citizens. The "panda symbol" provides opportunities for China's foreign communication activities. In China's international communication activities, the panda has crossed the language barrier, established a good national image, and earned China a reputation. The "panda medium" has opened up new ideas for the study of international communication channels.
+
Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)
  
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As an important medium in diplomatic activities, giant panda has the following four positive effects on China's international communication.  
+
In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)
  
−
1. Building a good national image
+
The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)
  
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For a country, a good national image not only enhances national cohesion, improves the country's recognition and credibility in the eyes of the public, but also helps the country to carry out international affairs in the international community. The "Giant Panda" can leave a deep first impression on the audience. It is so delightful that many people who do not know China can instantly fall in love with this "cute" animal and learn about China. The panda itself becomes a symbol of China in the minds of other citizens, which helps the international community to understand China as a "cute" and "peaceful" country, which plays an important role in building a positive national image.
+
It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)
  
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2. Creating communication topics
+
Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)
  
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The existence of the "panda medium" creates a middle ground for China's diplomatic activities with other countries and creates communication topics. Topics such as "panda conservation and research," "panda habits," and "newborn pandas" etc. can trigger discussions in the social media of different countries. When common topics occur, communication between countries becomes possible.
+
At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：
  
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3. Creating economic value
+
1. Respect each other among different cultures and adhere to the principle of cultural equality.
  
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Just like the "Kung Fu Panda" movies on Hollywood, the giant panda as a medium can give rise to related cultural industries and many cultural products. The development of cultural industries not only drives the popularity of cultural symbols in the world, but also increases the country's international communication power. The global popularity of Disney movies has not only created huge commercial value, but also impressed people with the success of the American movie business, as well as the understanding of American culture. The "giant panda" medium is expected to open up a new cultural industry through which Chinese culture can go global. This will create economic value while increasing cultural influence, which will be a double benefit. Of course, the development of cultural industries needs to be kept in moderation, and excessive commercial development will be counterproductive.(Zhao Lijun, 2017,15-19)
+
2. Disseminate the essence of culture and avoid clamoring for attention.
  
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===Problems in Panda Diplomacy===
+
3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)
  
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"Panda diplomacy" has indeed played an important role in China's diplomatic activities, but there are also many problems, making it to play its role as a diplomat.
+
In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)
  
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1. Political misinterpretation
+
===Training of TCSL Teachers===
  
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No matter how cute the panda is, the image of China behind it is not accepted and recognized by everyone. The "panda" cannot conquer everyone, so the practice of "panda diplomacy" has certain limitations. The sharp ideological struggle has led many political parties and political elites in many countries to perceive the cultural connotation of the "panda" symbol and interpret it as a cultural invasion. As a result, there are constant media reports reminding people that "pandas are after all carnivores" and "the bite force of a panda is no weaker than that of a brown bear". These statements are contrary to the image of the panda that China is trying to create and remind people of the other side of the "panda symbol". The "panda medium" itself does not have strong explanatory power or tendencies, so audiences' interpretations are often easily influenced by the rhetoric. When political bias intentionally misinterprets the panda image, it can also be portrayed as a beast with a bloody mouth. The connotation of the "panda symbol" at this point will bring negative communication effects.
+
With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
  
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2. Single content will cause aesthetic fatigue
+
At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
  
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The "panda symbols" on the Internet is still based on the daily life of pandas and lacks artistic processing and cultural connotation. Such a single content presentation is likely to cause aesthetic fatigue among audiences. Unlike various cats and dogs , pandas have a more fixed and single form, so it is difficult to refresh the image in the public's mind. Once the audience finds the "panda image" boring, it will be difficult to raise interest and the communication effect will be weakened.
+
Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)
  
−
3. Over-commercialization and dissipation of public interest
+
Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
  
−
The popularity of panda-related products stems from the public's love for the panda image on the one hand, and from smart marketing tactics on the other. The public's interest in the panda image is a direct motivation for them to buy peripheral products. When commercial companies take advantage of the "panda fever" to over-market, people are inevitably suspicious of the panda image and even question whether the cute panda image is originally a scam by the business. As a unique animal in China, overseas people associate "Chinese businessmen" with "panda marketing". When interest is dissipated, not only will the panda industry suffer, but the international influence of the "panda symbol" will also decline, which will directly affect China's international communication power.(Lan Jianfeng, 2020, 96-100)
+
1. modern Chinese knowledge
  
−
===Solutions===
+
Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
1. Refine the connotation of the symbol to reduce political misinterpretation
+
2. linguistic knowledge
  
−
In order to reduce the misinterpretation of the "panda symbol" by political forces, China should extract the core connotation of the "panda symbol" in its international communication behavior and amplify the connotation of "peace" and "cuteness" so that audiences will have a positive cognitive association with it.  
+
The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
2. Enrich the content of communication
+
3. cultural knowledge
  
−
In order to break the monotony of the "panda symbol", it is necessary to add more cultural connotations. We should combine other elements of Chinese culture with the panda and deepen the processing of cultural creation, not only to show panda's behavior in nature as a living creature, but also to raise it to the level of a cultural symbol so that the panda symbol can have a wider cultural value.
+
Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
3. Moderate exploitation of commercial value
+
In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
As a national treasure of China, the "panda" has a high commercial value, but if it is over-exploited without restrictions, it will lead to a negative impression of "panda products" and also make the symbol of "panda" be labeled as as "expensive". Therefore, the commercial development of panda products should follow the laws of economics. We should tap into both its  commercial value and cultural value.(Lan Jianfeng, 2020, 96-100)
+
4. foreign language knowledge
  
−
===Other Chinese Diplomacy Policies===
+
Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
====Ping Pong Diplomacy====
+
Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
Against the backdrop that U.S. President Richard Nixon took office and saught to counterbalance the power of the Soviet Union. The success of the People's Republic of China's two bombs and one star, with a nuclear deterrent far superior to that of the Republic of China on Taiwan, made it a target for the United States to draw in. On the other hand, as Beijing's relations with the Soviet Union deteriorated and the Soviet Union deployed large numbers of troops along the PRC border, the Beijing government also wanted to resume diplomacy with the United States in order to counterbalance the Soviet Union and gain a seat in the United Nations. But years of political and ideological divide left the two countries no reasonable opportunity to back on the right track of a diplomatic relation.  
+
In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
−
(Qiao Yucheng,2009,16)  
 
  
−
Ping-pong diplomacy refers to a series of visits between the Ping-pong teams of the People's Republic of China and the United States in April 1971, in which the People's Republic of China took the initiative to politicize sports,(Liu Junqian, Zhang Chunyu, 2012,11-15) calling it a "small ball to a big ball", and using ping-pong to break the ice in the strained diplomatic relations between the two countries. The incident has significantly cooled relations between the Republic of China and the United States.
+
Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
====Wolf warrior diplomacy====
+
Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
−
Wolf warrior diplomacy, a term for the assertive foreign policy pursued by the People's Republic of China since Xi Jinping's mid-to-late period as General Secretary of the Communist Party of China (CPC) Central Committee (David Bandurski,2020)(Kathrin Hille,2020). European and American countries considered Chinese diplomats during this period to be provocative, issuing a series of offensive statements. [11][12][16] The etymology comes from the movie "War Wolf" directed by Chinese actor Wu Jing, which derived the term "War Wolf" due to the strong Chinese nationalist sentiment of the movie. Since Donald Trump was elected as the president of the United States in late 2016, Trump has advocated an "America First" strategy [3] and started to spearhead the U.S.-China trade war more than a year later in 2018 [8] [13]. Since then, China has gradually hardened its diplomatic style [15], reducing the use of cautious diplomatic phrases such as "hope to act in a mutually beneficial manner" and gradually starting to frequently use aggressive diplomatic phrases such as "the responsibility lies with a certain party" and "a certain party will bear all the consequences". "The US side should not forget its wounds after the 9/11 incident" and "the Five-Eyed Coalition should be careful of being blinded" in a threatening tone. undiplomatic) terms, especially after the 2020 epidemic. This style of diplomacy began to be collectively described as "Wolf Warrior style" after the release of "Wolf Warrior 2" in July 2017, which was widely praised by the public, including the content of the movie itself and Wu Jing's own "I'm Chinese!" comments, which led to widespread discussions and controversies. diplomacy" [14].
+
Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
−
 
 
−
For the People's Republic of China, Foreign Ministry spokesperson Hua Chunying responded by saying that "China does not take the initiative to cause trouble, but it is not afraid of trouble and will not be coerced into blackmail. If some people call China's diplomacy "war wolf" diplomacy just because China has responded to bottomless attacks, smears and abuses and stated the truth, then in order to safeguard China's sovereignty, security and development interests, to maintain national honor and dignity, and to safeguard international fairness and justice, it is better to be a "war wolf" diplomacy. What is the harm of being a "war wolf"? The Chinese ambassador to the UK, Liu Xiaoming, did not deny this description, and said that China insists on taking a peaceful route, but because there are "wolves" in the world, China needs "war wolves" to defend its national dignity. The editorial of the Chinese official media Global Times stated that China has always emphasized common interests and only defends itself when it is attacked, later stating that "there is an image that China is more like the 'Kung Fu Panda'". Li Junhua, the Chinese ambassador to Italy, does not think that War Wolf is an appropriate label, and that "Kung Fu Panda" may be more appropriate. Some media also analyze that the War Wolf diplomacy is back to the ideology-based Cultural Revolution-style diplomacy of Mao's time, and some political scholars point out that under the strengthening of the country's foreign capacity and self-confidence, it should be in the greatest interest to maintain a combination of psychological tolerance and influence as a means of communication, but the War Wolf has deliberately shown a non-cooperative and strength-confrontation diplomatic posture in the face of stimuli, probably because acting to superiors to gain an advantage in personal promotion or based on the need to create legitimacy for domination among the population .
 
  
 +
Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
  
 
===Conclusion===
 
===Conclusion===
  
−
 
+
After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)
−
China has used different media in its international communication activities. "Panda diplomacy" allows the animal "panda" to be taken out of the picture and become a medium. The "panda medium" refers on the one hand to the panda animal, which is able to express messages through its own form and movements, and on the other hand to the abstract concept of "panda", behind which lies the "and culture" and "Meng" culture. The "panda medium" is also a reflection of the highest ideals we expect from the development of media technology in real life. The "panda symbol" is a strategically important element of international communication. The "panda symbol" constitutes the deeper meaning of the "panda medium" and is transmitted through the "panda medium". "The panda symbol overcomes the barrier of "language symbols" in international communication, and uses concrete images and the perception of the five senses to share more meanings and evoke more resonance. From the initial gift of giant pandas, to their subsequent lease, cooperation in research, and then to their visits as emissaries, pandas are in fact a microcosm of China's diplomacy's gradual progress toward confidence and maturity. "Panda diplomacy" is a way for China to exercise its soft power, and pandas have gradually become a metaphorical animal for China in the Western media.The Chinese themselves, too, have made the panda and this metaphor an important cultural promotion.(Fu Lan, 2019,61) As goodwill ambassadors, pandas have traveled around the world, playing a role that human diplomatic envoys cannot, and greatly improving relations between China and the rest of the world. "Panda diplomacy" is just a miniature experiment in China's international communication activities today. The "panda medium" and the "panda symbol" are also just a novel attempt in the foreign communication strategy. We look forward to seeing the "panda medium" play an even greater role in the international communication in the future, and we look forward to seeing more forms of "mediums" emerge, so that China's international communication power can continue to improve and the Chinese story can be told better.
 
  
 
===References===
 
===References===
  
−
[1]David Bandurski. Xi Jinping: Leader of the Wolf Pack. Global Asia. September 2020.  
+
Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.
  
−
[2]Kathrin Hille. ‘Wolf warrior’ diplomats reveal China’s ambitions. 金融时报. 2020-05-12.
+
Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.
  
−
[3]川普批中國「扼殺美國」 北京當局不認同 - 國際 - 自由時報電子報. news.ltn.com.tw. [2017-01-15].  
+
Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.
  
−
[4]浮澜.熊猫“外交官”[J].新湘评论,2019(04):61.
+
Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)
  
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[5]林禾,余里.中国“熊猫外交”揭秘[J].传承,2010(04):16-17.
+
国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm
  
−
[6]蓝剑锋.中国国际传播活动中的“媒介”与“符号”——以“熊猫外交”为例[J].今传媒,2020,28(12):96-100.
+
===Terms and expressions===
 +
Classroom teaching 课堂教学
  
−
[7]刘俊千; 张春雨. 古代奥运会的衰落对当代竞技体育发展的启示. 文体用品与科技. 2012, (5): 11-12.
+
HSK 中国汉语水平考试
  
−
[8]贸易战来势汹汹 美宣布对华600亿美元商品加税.BBC中文网[2018-03-23].
+
Hanban（Chinese National Office for Teaching Chinese as a Foreign Language） 国家汉办
  
−
[9]乔玉成; 许登云. 论体育的政治化倾向——以现代奥林匹克运动会为例. 体育学刊. 2009, 16 (7).
+
teaching Chinese as a second language 对外汉教
  
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[10] 孙佳华，夏俊．“熊猫外交”的秘密往事［J］．政府法制，2009( 21) : 51．
+
cultural exchange 文化交流
  
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[11]外交部回应美高官：没有可以对中国人民颐指气使的教师爷_纳瓦罗. www.sohu.com. [2021-03-01] （英语）.
+
Confucius Institute 孔子学院
  
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[12]外交部回应暂缓印度香客赴藏朝圣：责任完全在印方-新华网. www.xinhuanet.com. [2021-03-01].
+
overall design 整体设计
  
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[13]为什么我们一直强调贸易战“不得不打”？ .中国经济网.[2018-08-10].
+
CCTV TV programs 中央电视台电视节目
  
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[14]谢建平.“熊猫外交”始于武则天[J].文史天地,2021(01):93.
+
Voice of China 中国好声音
  
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[15]疫情之下大行其道的中国“战狼”外交会不会成为新常态. BBC. [2020-06-14].
+
belt and road initiative一带一路
  
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[16]赵冰. 外交部回应“萨德”抵韩：一切后果由美韩承担-新华网. www.xinhuanet.com. [2021-03-01].
+
supply side structural reform 供给侧结构性改革
  
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[17]赵丽君，郑保卫． 国家形象视角的“熊猫外交”研究［J］．新闻爱好者，2017(12) :15－19．
+
Alipay 支付宝
  
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[18]张恩铭． 简述 20 世纪 50 － 70 年代中国的动物外交活动［J］． 惠州学院学报，2018，38( 4) : 66 － 70．
+
street stall economy 地摊经济
  
 +
Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区
  
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===Terms===
+
mahjong 麻将
  
−
Giant Panda 大熊猫
+
chow mein 炒面
−
 
 
−
Panda Diplomacy 熊猫外交
 
−
 
 
−
Tang Dynasty  唐朝
 
−
 
 
−
Emperor Wu/ Wu Zetian  武则天
 
−
 
 
−
Emperor Tenmu  (日本）天武天皇
 
−
 
 
−
Kung Fu Panda  功夫熊猫
 
−
 
 
−
Ping Pong Diplomacy  乒乓外交
 
−
 
 
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Wolf Worrior Diplomacy  战狼外交
 
  
 
===Questions===
 
===Questions===
 +
1.What are the four links of the whole process and teaching activities of second language teaching?
 +
 +
2.When was HSK officially implemented?
  
−
1. When does the "Panda Diplomacy" begin ?
+
3.What is the most important link of teaching activities among the four links of teaching activities?  
  
−
2. What roles giant pandas have played in China's international communication ?
+
4.What are the principles of spreading Chinese culture in Chinese education abroad?  
  
−
3. What are the problems in panda diplomacy ?
+
5.What types of HSK exams are there?
  
−
4. How to deal with the problems in panda diplomacy ?
+
6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?
  
 
===Answers===
 
===Answers===
 +
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.
  
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1. It begins with Wu Zetian.
+
2.The Chinese Proficiency Test (HSK) was officially implemented in 1990
  
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2. It helps build a good national image and creates communication topics and economic value.
+
3.Classroom teaching
  
−
3. It may trigger political misinterpretation. And its single content will cause aesthetic fatigue. Moreover, over-commercialization may dissipate public interest
+
4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.
  
−
4. Refine the connotation of the symbol to reduce political misinterpretation; Enrich the content of communication; And make moderate exploitation of commercial value
+
Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.
  
−
==英语口译 李丹 Li Dan 202170081620==
+
Ⅲ. Handle sensitive issues properly and maintain national dignity.
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<center>'''Differences of Tea Culture between China and the UK'''</center>
 
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<center>Li Dan</center>
 
  
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===Introduction===
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5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).
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When talking about tea, though there are many countries around the globe have the habit of drinking tea, two countries would naturally come into people’s minds, namely China and the UK. The British afternoon tea, with various ingredients such as sugar and milk, is popular all over the world and is completely different from the traditional Chinese tea. But there is in fact a connection between the two. The English afternoon tea was developed after the introduction of Chinese tea to the UK and its localisation. Originated in China, tea was firstly used as a medicinal herb, and was later influenced by Confucianism, Taoism and Buddhism, resulting in a distinctive Chinese tea culture. Tea was introduced to Europe in the 16th century, and many countries began to consume it, among which the long-established Britain which established a British tea culture distinct from that of China, changing not only its native way of life, but also influencing the spiritual life of its citizens. However, instead talking about the similarities between the two, the author is just going to focus on the differences. Chinese tea and the British tea vary in types, utensils, etiquettes, which is overt, yet they are also quite different in their development and philosophies.
 
  
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===The Development of Tea Culture in China and the UK===
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6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.
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Tea is an aromatic beverage made from the processed leaves, buds, or twigs of the tea bush in boiling or hot water. To be noted, tea is the second most widely consumed beverage in the world only after water. (Alan, Iris 2004, 32) The tea tree is native to East Asia and probably originated in the border areas of south-western China and northern Myanmar. (Yamamoto, Kim, Juneja 1997, 04) Early reliable records of tea drinking can be dated back to the third century AD in a medical text written by Hua Tuo. (Laura 2007, 29) During the Tang Dynasty in China, tea gained popularity as a recreational beverage, and subsequently tea drinking spread to other East Asian countries. Portuguese priests and merchants introduced it to Europe in the 16th century.(Bennett, Bonnie 2001,63) In the 17th century tea drinking became fashionable among the English, who began growing tea on a large scale in India. There is a long record of tea drinking in Chinese history, and it is impossible to pinpoint the exact time. Yet it is also possible to find evidence that the habit of drinking tea in many parts of the world was indeed passed on from China. Therefore, many people believe that tea drinking was pioneered by the Chinese, and that the tea drinking habits and tea growing habits in other parts of the world were directly or indirectly passed on from China. But some people can also find evidence that the habit of drinking tea is not a preserve of the Chinese, some other places in the world, such as India, Africa, etc also observe the habit.  
 
  
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There are divergent views on the origin of Chinese tea. Some believe that tea drinking can be dated back to the ancient times, while some believe that the habit was from the Zhou dynasty, from the Qin and Han dynasties, the Three Kingdoms Era, the Northern and Southern Dynasties, the Tang dynasty, etc. The main reason for the divergent views is that before the Tang dynasty, there is no Chinese character “茶”，but only “荼” until Lu Yu, the author of The Classic of Tea, removed one stroke of “荼” to create the Chinese character “茶” (tea). Also Most scholars believe that Shennong, considered the father of medicine and agriculture in China, was the first person to discover the effects of tea. He is known to have tasted many tea leaves to determine if they could be used as food or medicine. (Irene 2018) According to legend, there are two different stories of how he discovered the benefits of tea. First, it is said that he had a transparent stomach and that he could see how his stomach reacted to what he was eating. After a long day of picking leaves, he was tired and as he was boiling water, some of the leaves fell in. The water was sweet when he drank it, and he enjoyed the taste. Soon after, he became more energetic. Another is that Shen Nong tasted 72 kinds of poisonous leaves and became very sick and was about to die. When some leaves fell near him, he put them in his mouth and chewed them. Before long, he felt better and more energetic, so he ate more of the leaves. Soon after, he recovered. (Lui Tong, 2012) The first book on the medical effects of tea was the Shen Nong Herbal. It is believed that the ancient Chinese people ate tea throughout their history.
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==英语笔译 罗姚林 Luo Yaolin 202170081590==
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<center>'''On Chinese Dialects and Translation from Functional Equivalence Theory-- Southwest Dialect Translation'''</center>
  
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However, tea as a culture in China has developed over time.(Jerry C.Y. 2011, 114-133) During the Zhou dynasty(1046-256 BC), tea was exclusive to nobles and royalty. They drank tea to energize the body and clear the mind except for medical purposes. At that time, tea was boiled with other plants to make a tea soup which was considered as a combination of medicine, food and drink. (Jerry C.Y. 2011, 114-133) There are also records showing that ritual worship at that time included tea ceremonies. In the Han dynasty(206 BC- AD 220), the picking and processing of wild tea helped to refine the taste of the drink, which makes tea drinking a more pleasant recreation with the nobles. During the Jin dynasty(265-420) and Wei dynasty(220-265), as the tea culture developed, it was still primarily excluded within the upper class such as literati, officials and the nobles. (Li Jie 2015) During the Tang dynasty(618-906), tea culture began to spread widely throughout the country. (Irene 2018) The establishment of the Ancient Tea Horse Road helped to develop trade routes between southern and northwest China as well as Tibet.(Gary 2015, 319) Literati and artists in the Tang dynasty produced so many works such as poems, drawings, songs and literature about tea. Tea culture finally flourished during the Song dynasty(960-1279). Tea-making was considered as one of a polite accomplishments of gentlemen at that time.( Bret 2016) When it comes to the 20th and 21st centuries, tea was traded or produced worldwide. Now there are various ways to experience cultural tea tourism in China such as museums, tea trails, guided tours tea houses, tea shops, etc.
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<center>罗姚林 Luo Yaolin</center>
  
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As for the development of tea culture in the United Kingdom, since the 18th century, the UK has became one of the world largest tea consumers. Firstly an upper-class drink in Europe, tea gradually spread through all classes to become a common drink. It is considered to be one of the important identities of the UK.(Woodruff 1992, 259) The history of tea in Europe dates back to the mid-16th century and the 17th century. However, the earliest reference of tea known so far can be dated back to 1615. It was in a letter that Mr. Wickham, an agent for the British East India Company stationed in Japan asked Mr. Eaton who was stationed in then-Portuguese Macao to send him “a pot of the best sort of chaw(tea)”.(Ukers 1935, 37) As tea slowly became more common, the first tea shop in London opened during the early 18th century. Also in the early 18th century, milk and sugar were introduced to enhance the flavor of tea. (Woodruff 1922, 263) Because milk and sugar had status implications, such mix of drinks were mainly among the upper class. Later in the 1720s, black tea became more popular as sugar and milk were more common. As tea began as an upper class luxury in England, it had a reputation as a high class commodity in the 18th century; however, as prices slowly declined, more middle class members of society had access to tea. Soon tea drinking became an activity among families, colleagues and friends who were well enough off to afford it, and this increased demand.(Woodruff 1922, 275) As the UK continued to import an increasing number of tea, by the 19th century, tea moved from the upper class to reach even the poor working classes and was considered a daily necessity. Today, though tea drinking in the UK was on the decline with an increased popularity of coffee, it still remains to be an popular drink and a symbol of British culture and society. In Britain, there are high tea and afternoon tea. Often the phrases are used interchangeably as many mistakenly believe that there is no difference. Nevertheless, The addition of the word "high" to the phrase "high tea" is believed to differentiate between the afternoon tea that is traditionally served on low, comfortable, parlor chairs or relaxing in the garden and the worker’s after-work high tea that is served at the table and seated on high back dining chairs.  
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===Abstract===
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[[File:]]The Spruce Eats / Lisa Fasol
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Dialect is the language used by people in local areas, which has become a unified national language through economic and political centralization. Its formation is inseparable from economic and political concentration. According to the characteristics of dialects, the formation and development of dialects, China can be divided into seven regions where dialects are distributed, among which there are six dialects in the south.
  
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===Different Types of Tea in China and the UK ===
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Dialect whose study belongs to the field of linguistic research is regarded as units structurally dependent on higher level systems. The theories of dialect translation are mainly based on linguistic theories, such as the relevance theory and the language function theory. Dialect translation is not only a process of language conversion, but also involves cultural fields such as sociology, folklore and etc. The research on dialect translation at home and abroad mainly includes the methods of dialect translation, cultural aspect of dialect translation and the linguistic theories of dialect translation.  
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Tea is the national drink in China. In addition to its prominence in Chinese culture, tea also claims many health benefits, making it a popular drink worldwide. There are several types of Chinese tea, which vary in degree of fermentation and processing. The main classes of Chinese tea discussed below are green tea, yellow tea, white tea, oolong tea, black tea, dark tea or fermented tea and Pu'er tea.
 
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1.Green Tea
 
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Chinese green tea is the oldest and most popular type of tea; it has been used in China for thousands of years. Green tea is made from the new shoots of the tea tree, the leaves are dried and processed according to the type of tea desired. The techniques used to process green tea are further divided into three categories: de-watering, rolling and drying. Traditional green tea is light in colour and has a sharp, astringent flavour. It is mainly produced in the provinces of Jiangxi, Anhui and Zhejiang. The most famous green tea is Xihu Longjing tea, produced in Hangzhou.
 
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2.Yellow Tea
 
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Yellow tea is produced by allowing the moist tea leaves to dry naturally. It has a distinctive flavour similar to black tea, but its taste is closer to that of green and white teas. Yellow tea is also used to describe the high quality of tea given to the emperor to enjoy, as yellow was traditionally the colour of royalty. Junshan Yinzhen is produced in China's Hunan Province and is the country's most popular yellow tea.
 
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3.White Tea
 
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White tea is an unfermented, uncured green tea that has been rapidly dried. It is native to the province of Phu Yen and is lighter in colour than other types of tea, with a subtle and delicate flavour. White tea takes its name from the tradition of poor Chinese people offering their guests plain water in the absence of tea and calling it 'white tea'. Popular brands of white tea are White Peony and Silver Needle.
 
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4.Oolong Tea
 
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Oolong tea, also known as blue tea, is an unfermented tea with unique characteristics. Made from a blend of green and black teas, oolong tea has the best flavour and aromatic qualities of both. Sometimes referred to as "green leaves with a red edge", Oolong tea is believed to aid in fat breakdown and is widely regarded as a weight loss aid and beauty agent. Wenshan Baozhong tea and Dong Ding Oolong tea are two exemplary brands of this popular tea.
 
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5.Black Tea
 
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Black tea is the second largest type of Chinese tea. It is made from the new shoots of tea leaves which are withered, kneaded, fermented and dried. The brewed tea has a lovely red colour and a subtle aroma. Keemun is the most popular brand of black tea.
 
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6.Dark Tea
 
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Dark tea is a post-fermented tea which undergoes an actual fermentation process with the help of bacteria. The whole process consists of six steps: de-watering, initial rolling, stacking, second rolling, roasting and drying. It is widely believed that dark tea originated in the 16th century in Anhua, Hunan Province. The most common brands of dark tea are Anhua black tea, Hubei old flat tea, Sichuan Tibetan tea and Guangxi Liubao tea. Dark tea is very popular in Hong Kong, Macau, Southeast Asia and Japan.
 
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7.Pu’er Tea
 
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Pu’er tea is actually a type of dark tea, but deserves a separate category due to its outstanding characteristics. Pu’er ea is native to Yunnan Province and has an ancient history of over 2000 years. According to the Yunnan Provincial Government's definition, Pu’er tea must be made from tea leaves made from large-leafed plants grown in specific areas and then processed into compressed or brick tea using specific techniques. It was listed as a "Geographical Indication Product" by the State General Administration of Quality Supervision, Inspection and Quarantine on 5 August 2008. It stipulates that only tea produced in 639 towns and cities in 11 regions of Yunnan, including Pu'er and Dali, can be called Pu'er tea. There are two different types of Pu’er tea: sheng Pu’er (raw or green Pu’er) and shy Pu’er (ripened or dark Pu’er).
 
  
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For a country without cultivation of the tea plants, Britain has made its way in creative tea-brewing and tea drinking. Compared to the drinking habits of Chinese tea, English tea appears to be a blended one added various flavorings like milk and honey. There are currently almost 1,500 different teas in Britain, varying in style, taste and color. As one of the leading growers of tea in the world, the UK imported tea from the country and the three most important types imported from India to the Britain are Darjeeling, which comes from Northern India and is a light, delicate tea–perfect for Afternoon Teas. Ceylon Tea is slightly stronger than Darjeeling. It is aromatic with a slightly sharp taste. Assam is a strong tea which stands up well to being blended. The Isles also imported tea from China with major categories like Pu’er tea, Oolong tea, Green tea, Black tea, etc. Based on these categories, teas in the Britain can be further divided into 5 types.
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This paper is mainly divided into the following parts: in the first part, the distribution and current situation of Chinese dialects are briefly explained; The second part is a brief review and summary of the history of dialect translation studies. The third part introduces Eugene Nida's functional equivalence theory and combines it with dialect translation. The fourth part introduces Sichuan dialect; The fifth part is based on Eugene Nida's functional equivalence theory to illustrate dialect translation from Sichuan dialect examples. The last part is a summary of this paper.
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1.Breakfast Tea
 
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English Breakfast Tea or simply Breakfast Tea is a traditional blend of black tea originating from Assam, Ceylon and Kenya. (Jane, Bruce 2006, 54) It is one of the most popular blends and is common in the tea cultures of Britain and Ireland. It is often described as strong, robust, rich and blended with milk and sugar in a style traditionally associated with hearty English breakfasts.
 
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2.Afternoon Tea
 
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English Afternoon Tea or simply Afternoon Tea is a traditional blend of tea originating from India, China, Africa and Sri Lanka. Afternoon tea blends are usually lighter than breakfast blends and are meant to "complement, not mask, the taste of the afternoon tea meal".(Bruce 2018)
 
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3.Chai Tea
 
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In fact, we call it "Chai", from the Chinese homonym for tea. Chai tea is a blend of black tea and almond milk with many natural spicy ingredients such as cinnamon, cloves, cardamom and vanilla. There is also a Chai tea and coffee combination for you to choose from; go to Starbucks for a Chai tea latte.
 
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4.Earl Grey Tea
 
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Earl Grey tea is a blend flavoured with bergamot oil. The aromatic oil from the rind is added to the black tea to give Earl Grey tea its distinctive flavour. Traditionally, Earl Grey tea was made from black teas such as Chinese Longjing and was therefore intended to be served without milk. However, tea companies have since started to offer Earl Grey tea made from stronger teas such as Ceylons, which are better suited to the addition of milk or cream. Some people mixed this tea with Lupin Souchong tea to give it a smoky character. Other varieties were introduced, such as green or oolong teas.
 
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5.Herbal Tea
 
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Herbal teas, also known as herbal infusions and less commonly as tisanes, are beverages made by steeping or decocting herbs, spices or other plant material in hot water. Often, herbal teas or teas in the common terminology are used as a reference to the various herbal teas. Some herbal blends contain real tea.
 
  
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===Different Teawares in China and the UK===
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===Key Words===
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China's tea wares have a wide variety, beautiful shape, both practical value, but also rich in artistic beauty. Behind each tea sets, there are history and philosophy. There are mainly ten parts in Chinese teawares. The lidded tea bowl (盖碗)are teapots without spouts. They were said to be invented in the Ming dynasty(1368-1644). They are made up of three parts: the saucer (盘子), the bowl (碗) and the lid (盖子). The lid represents heaven, the saucer represents earth, and the bowl represents humanity. Together they represent the harmony between man and nature. Then there’s purple sand teapot (紫砂壶) which is made of a special clay comes from an area called Yixing in Jiangsu province and can date back to as far as the Song dynasty(960-1279). Purple sand teapots are generally used for the preparation of more robust teas (oolong, red and black teas) rather than the more delicate teas (green, yellow and white teas). The next is tea tray (茶盘). All tea ceremonies are performed on a tea tray that collects spilt or decanted tea liquor, which is then pumped out and disposed of. Tea trays can range from simple wooden boxes with slats on top to intricately designed stones with carved-out water drains. Tea holders (茶匙) are usually made of white porcelain or bamboo. They are used to measure out the tea leaves and to allow the appearance of the dry leaves to be clearly viewed before scraping them into the brewing vessel. Instead of using hands to touch the teacups, servers will often use bamboo or metal tea tongs(茶夹) to handle the cups in order to be more hygienic. True tea connoisseurs have a tea pet(茶宠)sitting on their tea tray. This is usually a classical Chinese figurine, such as a dragon, a water buffalo or an old Chinese sage. They are usually made out of purple sand clay and used as a receptacle over which wasted tea liquor is poured to avoid splash-back from the tea tray. The last one is teacups (茶杯). As tea utensils, tea cups generally can be divided into two sizes: small cups are mainly used for oolong tea tasting, also known as tasting cups, is used in conjunction with the fragrance cup; large cups can also be used directly for tea and tea utensils, mainly for senior fine tea tasting.
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Dialect translation; Functional Equivalence Theory; Sichuan Dialect;  
  
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The British attach great importance to the etiquette of drinking afternoon tea, so the choice of places to drink afternoon tea also strives for beauty, accompanied by rich and delicious snacks, creating a quiet and cozy and fruitful tea drinking atmosphere, when drinking tea, the British also enjoy showing their cultural temperament and personal cultivation. British tea sets mainly include: porcelain teapots (two-person pots, four-person pots or six-person pots... Depending on the number of guests to be served); strainer spoon and saucer with sieve program; cup set; sugar jar; milk jug; three-tier snack plate; teaspoon (the correct way to arrange the teaspoon is at an angle of 45 degrees to the cup); seven-inch individual snack plate; tea knife (for spreading cream and jam); fork for eating cakes; bowl for tea crumbs; napkin; pot of flowers; heat shield; wooden mopping tray (for serving tea products). Another lace hand-embroidered tablecloth or tray mat is a very important item for Victorian afternoon tea, as it symbolizes the important home accessories of the Victorian aristocratic life.
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===An Introduction of Chinese Dialects===
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In the process of the development of the Han society, different degrees of differentiation and unity have appeared, so the Chinese gradually produced dialects. Modern Chinese has a variety of dialects, which are spread over a wide area. The differences between different languages in modern Chinese are manifested in phonetics, vocabulary and grammar, especially in phonetics. But because these dialects and common language have certain phonetic regular corresponding vocabulary. There are also many similarities in grammar, so they are not independent languages. According to the characteristics of dialects, the history of their formation and development, and the results of the current investigation about dialects, dialects of modern Chinese can be divided into several different types.
  
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===Different Tea Etiquettes in China and the UK ===
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At present, there is not a complete agreement on the division of modern Chinese dialects in Chinese linguistics. According to most people's opinion, there are seven dialects of modern Chinese.
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In China, tea is always served to guests when they visit. As an important medium of etiquette, tea plays an important role in Chinese interpersonal relations. When drinking tea in a Chinese teahouse, knowing the etiquette of tea, being polite and showing respect not only shows your good self-cultivation, but also gives you pleasure and peace from the tea.  
 
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The first to be noted is seating etiquette. Normally, the host's left hand side should be the first guest of honour, with seating decreasing in importance from the host's left hand to his or her right. This is an ironclad rule that must be followed regardless of the shape of the table. In addition, the elderly and teachers are the most respectable, and among them, ladies who are not too far apart in age have priority. Furthermore, it is not appropriate to sit opposite the host. If this is unavoidable, children should be allowed to sit in this position. The next important one is finger kowtow. Finger Kowtow, otherwise known as finger tapping, is a ritual performed as a silent gratitude to the person serving the tea. According to legend, Emperor Qianlong of Qing Dynasty used to travel incognito to the south and once he went into a teahouse with his companions. The tea house owner used a long pot and poured the water three ups and downs with rhythm to make a cup of tea without even spilling a drop. Emperor Qianlong was impressed yet didn’t understand, “What was that movement?”, he asked. The owner smiled and said: “ This is the tradition of our tea house called ‘ Three Nods of the Phoenix’”. Heard that, Emperor Qianlong took over the long pot and tried to do the same, but that cup was his servant’s, normally the servant would get down on knees and kowtow to the emperor for this great honor. However, to do so would reveal the identity of the emperor, so the quick-thinking servant bent his two fingers and tapped on the table as if his was kneeing and kowtowing to the emperor. From then on, finger kowtow has been the practice. Nowadays, instead of the implication of kowtow, people just tap their two fingers on the table to pay silent thanks to the tea server.
 
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There are also some taboos in the etiquette of Chinese tea. First, do not drink up the tea at once. Tea is not plain water, it can nourish your palate and mind. If you’re not thirsty, then do not drink up the tea at once. On the contrary, you should take a sip and savor the flavor, from astringency to sweetness till the long aftertaste, you may find words are too plain to describe this fascinating process. Second, do not spit the tea out of your mouth. It is considered that the biggest impoliteness of the guest is to spit the tea out of mouth, especially, in front of the tea server. This bad manners may also imply the provocation to the host. Third, do not smoke. Smoking during the tea drinking is disrespectful. If you are a heavy smoker, you should ask the host for opinions after several steeps. Fourth, do not be absent-minded. Keep calm and relaxed when drinking tea, instead of being absent-minded and dispirited.  
 
  
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As for the tea etiquette in the UK, afternoon tea etiquette would be introduced here.
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The northern dialect, represented by Beijing dialect, is the basis of the common language of modern Han nationality. It has the widest geographical distribution, accounting for about 73% of the total Han population. The northern dialect can be divided into four sub-dialects, the first one is north China and Northeast China dialect distributed in Beijing and Tianjin. Hebei, Henan, Shandong, Liaoning, Jilin, Heilongjiang provinces and parts of Inner Mongolia Province. The second one is northwest dialect, which is distributed in Shaanxi, Shanxi, Gansu provinces and some areas of Qinghai, Ningxia and Inner Mongolia. The language used by the Han people in Xinjiang also belongs to the northwest dialect, while the southwest dialect is distributed in Sichuan and Yunnan, Guizhou and other provinces and most of the southeast corner of Hubei Province, except xianning area, northwestern Guangxi, northwestern Hunan and so on. The fourth one is Jianghuai Dialect, which is distributed in Anhui Province, Jiangsu Province and north of the Yangtze River.
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First, one must eat the sandwiches first, and with fingers not cutlery. Then the scones – they should still be warm. Scones should be broken in two parts by hand, not with a knife, and each half eaten separately. It’s unthinkable to sandwich them back together! One can spread scones how one prefers: the Devon way is cream first, jam on top. The Cornwall way is jam first, then the cream. During the whole process, one person is elected to be ‘mother’ – they then pour the tea for everyone at the table. Always Remember to put the milk in first! Tea should be stirred back and forth, not in circular motions! One must also avoid the temptation to bash the sides with one’s spoon. Cups should be held with one’s thumb and index finger meeting in the handle and the handle resting on your middle finger. Fingers should not be hooked through, and horror of horrors saucers never lifted from the table. You may add a touch of fizz to your tea with a glass of English Sparkling Wine or a glass of Champagne.
 
  
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===The Reasons behind the Differences of Tea Culture between China and the UK===
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The Hakka dialect is represented by Mei county( in the northwest of Guangdong Province) dialect in Guangdong province. Hakka people are distributed in Guangdong, Fujian, Taiwan, Jiangxi, Guangxi, Hunan, Sichuan and other provinces, mainly in the north and east of Guangdong Province, western of Fujian Province, southern of Jiangxi and southeast of Guangxi Provinces.
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1. Differences in materials. There are differences in the perspective materials of Chinese and British tea culture, which can be understood in the following two aspects. Firstly, although there are many types of tea leaves, green tea has a unique fragrance, and when boiling, its soup is turquoise and clear, which can bring a kind of spiritual enjoyment to people. In addition, in the process of brewing tea, there are certain requirements for the water in order not to spoil the sense of freshness of the tea leaves, which is the reason why the Chinese prefer to use clear and sweet spring water. (Gan Wenmei, Zhang Jing 2018, 222) However, at the very first beginning of the introduction of tea in Britain, trade activities were carried out near Guangzhou. As the tea grown in this vicinity was mainly black tea, this type of tea was then chosen to be introduced to the isles. Also, as transportation was not developed enough in ancient times, black tea could be preserved for a longer period of time afterwards and thus black tea became the only choice. Secondly, the environment during tea drinking is not so strictly required, and people were able to drink tea both in their labour and in an elegant environment. However, some of the literati had certain requirements for the environment in which they drank tea, and most of them chose places with good scenery. When the British drink tea, it is mostly in a party or in a tea room, as people in these two environments will carry out social activities, leading their tea drinking environment more elegant.
 
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2. Differences in behaviours. There are differences in the perspective of behaviours in Chinese and British tea culture, which can be understood in the following two ways. Firstly, although China and Britain use tea for social interaction, China is influenced by traditional customs and will "receive tea" during the marital ritual, requiring a "tea toast" from the bride to the father- and mother-in-law. (Gan Wenmei, Zhang Jing 2018, 222) Secondly, people's character can also be analysed from their tea drinking habits, for example: most of the Chinese people tend to be modest and gentle, and then people's tea drinking places, methods and other aspects are not constrained. As with the British, the UK was once the most economically developed country in the world, and has the title of the Sunset Empire, and thus there are certain requirements about the tea drinking process, the places, methods and other aspects
 
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3. Differences in spiritual connotation. Firstly, the Chinese people's understanding of tea culture is influenced by its traditional culture, and they attach more importance to the concept of harmony and unity between man and nature. They believe that drinking tea can reach the realm of returning to nature. In turn, there are fixed ways of behaviour in growing tea, picking tea leaves and frying tea, and some people even believe that tea culture can cultivate one’s virtues. The British are influenced by their historical background and often reunite with friends in the process of drinking tea, which in turn makes them more focused on individual recreation. Secondly, the Chinese tea culture is influenced by Confucianism and tend to be inclusive, light and calm in terms of character while the British are influenced by pragmatism and have a liberal, brave character in their tea culture.
 
  
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===Conclusion===
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Xiang dialect, also known as Hunan dialect, is one of the seven Chinese dialects with a relatively small area of common use. There are many different languages in Hunan Province, among which Xiang dialect is the most influential one.
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Chinese tea culture is an important part of Chinese culture, which has developed a rich connotation and complete forms in its long history of development. Historically, it has played an important role in improving people's quality of life, enhancing interpersonal interaction, and strengthening international trade and cultural exchanges. The Chinese people use the term "firewood, rice, oil, salt, soy sauce, vinegar and tea" (柴米油盐酱醋茶) to refer to the small yet important matters in daily life, which shows the critical position of tea in people's lives. (Yang Xiaobo 2019, 195）
 
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From the East to the West, from China to the UK, tea has gone through ups and downs, just like the process of life. It eventually matured. In England, tea was initially a "medicine" and "poison", then rose to the luxury of the aristocracy before finally becoming a necessity - the national beverage. Since then, the black tea culture has taken over the world today. This process has been long but has added to the beauty of the rivers of British history, culture and society in many ways. Time has shown that the power and significance of Britain; the ongoing development of the arts and sciences, etc., and even a happy social system are inextricably linked to tea.
 
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With the development of industrial civilization, the fast pace of modern life has impacted on people's leisurely traditional way of drinking tea, and people seldom have the time to meditate on the connotation of tea or to carefully prepare the costumes for afternoon tea. Against this backdrop, Chinese and British tea cultures are undergoing profound changes. Chinese tea culture no longer pursues too much meditation, and British tea culture has simplified its fancy forms and elaborate rituals in the past. (Bi Wenjing 2012, 128-129) Chinese and British tea culture is gradually emerging as a meeting point, which has helped to enhance the exchange of different cultures. However, it cannot be ignored that the traditional Chinese tea culture is now in decline, while the British tea culture, as a latecomer, is taking the world by storm. It is worthwhile for every Chinese to think about how to preserve and pass on the traditional Chinese culture.
 
  
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===References===
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Wu dialect is customarily called Wu dialect, also called Jiangzhe dialect or Jiangnan dialect. Wu is the name of the ancient region, being used the prevailing region. Wu dialect is spoken in Jiangnan( the southern of the Yangtze River), southern Jiangsu, Shanghai, Zhejiang, northeastern Jiangxi, northwestern Fujian and part of southern Anhui Province.
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1. Macfarlane, Alan; Macfarlane, Iris (2004). The Empire of Tea. The Overlook Press. p. 32.  
 
  
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2. Yamamoto, T; Kim, M; Juneja, L R (1997). Chemistry and Applications of Green Tea. CRC Press. p. 4.  
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Cantonese dialect is also known as Cantonese, commonly known as Cantonese, which is the seven dialects of Chinese language phenomenon is more complex, retain archaic characteristics and more ancient words, the internal differences of the dialect is popular in Guangdong, Guangxi Province, with Guangzhou as the center.
  
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3. Martin, Laura C. (2007). Tea: The Drink that Changed the World. Tuttle Publishing.
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Fujian dialect, also called Min dialect, commonly known as Fu-Lao dialect, is the most complex language phenomenon and has the largest internal disagreement among the seven Chinese dialects. Min dialect is mainly spoken in fujian, Guangdong, Taiwan, southern Zhejiang and some areas in Jiangxi, Guangxi and Jiangsu provinces.
  
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4. Bennett Alan Weinberg; Bonnie K. Bealer (2001). The World of Caffeine: The Science and Culture of the World's Most Popular Drug. Psychology Press. p. 63.  
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Gan dialect, also known as Gan language, is a dialect with a smaller area and the smallest population among the seven Chinese dialect regions. It is mainly spoken in Jiangxi Province.
  
−
5. Weber, Irena (December 2018). "Tea for Tourists: Cultural, Representation, and Borrowing in the Tea Culture of The Mainland China and Taiwan"
+
===Previous Studies on dialect translation===
 +
Since the 1990s, dialect translation has been included in the research of translation, which has gradually gone from strength both at home and abroad.
  
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6. Liu, Jerry C.Y. (2011). "Between Classical and Popular: The Book of Tea and the Popularization of Tea-Drinking Culture in the Tang China". Journal of Popular Culture. 44 (1): 114–133.  
+
In 1996, Annie Brisset analyzed the relations between power, ideology and culture which arose from the translation between French used in Quebec and English used as the Canadian official language by means of corpus-based study on drama scripts.
  
−
7. Jie, Li (2015). "Teahouses and the Tea Art: A Study on the Current Trend of Tea Culture in China and the Changes in Tea Drinking Tradition"
+
After analyzing the early translations of Finnish writer Kalle Paatalo, Ritvaeppihalne (2000, P. 247-269) found that domestication was the main translation
 +
strategy to transfer dialects and most of Pãätalo's translations had a tendency of standardization. In his research, with the aid of parataxis, such as translator's translation instructions and reader's letters, Leppihalme indicated that the standardization of dialects had not posed a great challenge to their acceptance.
  
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8. Hinsch, Bret (2016). The Rise of TEA Culture in China: The Invention of the Individual. London: Cambridge.
+
In 2007, Sánchez illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics. According to these relationships, Sánchez deemed that dialect translation was not only a translation for language, but also a translation for culture. Meanwhile, in 2009 Sánchez analyzed three Spanish translations, that were Pygmalion, Lady Chatterley's Lover and Wuthering Heights. His study found that the dialects in Spanish translations tended to be standardized compared with the originals, and their characteristics failed to be presented in the translations. Therefore, Sánchez concluded that regional dialects and social dialects were inseparable from the source language culture in terms of their region and culture, and were difficult to represent in translation.
  
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9. Woodruff D. Smith, "Complications of the Commonplace: Tea, Sugar, and Imperialism". Journal of Interdisciplinary History (Autumn 1992), 259–277.
+
The year 2011 witnessed the booming of dialect translation researches. ColiulsZabalbeascoa (2011, pp.113-130) argued that there existed a third language in addition to the source language and the target language. This third language can be a natural and existing language, a dialect or a variant, or a hypothetical and fictional language. They had summarized the translation mechanism and compensation strategies of the third language in the films, together with the possible translation effects that various translation methods put on. Remarkably, Translating Dialects and Languages of Minorities from the series of "'New Trends in Translatology" by Peter Lang Publishing House had come out in 2011. There are many articles in the book to study the translation of regional dialects, social dialects or minority languages from the viewpoint of ideology, poetics and other cultural perspectives.
  
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10. Ukers, William H. (1935). All About Tea: Vol. I. New York: The Tea and Coffee Trade Journal. P.37.
+
José Manuel Rodíguez Heirera (2014, pp 278-294) held that the French, Spanish and Italian versions of The Adventure of Huckleberry Finn all tended to standardize American Black English, hindering the acceptance of the translations. Later on, in the article The Adventures of Huckleberry Finn and Jim in China: A Case of What Corpus Pragmatics Can Do for the Translation of Dialect", Henrera had proven that "corpus linguistics can greatly contribute to gauging whether dialect has been transcribed consistently or accurately" (Herrera, 2017, p.385)
  
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11. Jane Pettigrew and Bruce Richardson (February 2006). The Tea Lover's Companion: A Guide to Teas Throughout the World. London, U.K.: The National Trust. p. 54.
+
Currently, Annie Brisset (2017, pp.127-156) drew attention to the Quebec stage of Shakespeare's works and analyzed the translation strategies employed in the translations of dialects. Additionally, Veronika Ritt-Benmimou dealt with "the preposition fi in the Bedouin dialect of Düz in Southern Tunisia, not in its well-known local and temporal functions, but rather as a marker of various, mainly progressive, durative and habitual aspects" (Ritt-Benmimoun, 2017, p.319)
 +
The study of dialect translation in China is later and less popular than that in foreign countries. At the beginning of the 20th century, Chinese academics set out to show their concerns on dialects for translation.
  
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12. Richardson, Bruce (16 January 2018). "Understanding Tea Blends". TeaTime Magazine. Retrieved 17 December 2019.
+
Taking Tess of the D'Urbervilles as his research object, Han Ziman (2002, pp.86-90) suggested that the dialects in Tess of the D'Urbervilles were hard for the translator to translate and the features of these dialects were also hard to represent. In the meanwhile, the dialect translation in the book even made it harder for readers to understand, although it was presented a rustic style.
  
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13. 甘文梅,张婧.浅析中英茶文化的差异[J].校园英语,2018,(24):222.
+
Huang Zhonglian(2012,144) put forward seven kinds of dialect transformation mechanisms based on the four elements such as original dialect,standard original, standard translation and dialect in the target language.
  
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14. 杨小波.“一带一路”背景下的中国茶文化传播的意义[J].福建茶叶,2019,41(06):195.
+
Yu Jing has contributed a lot to the translation of dialect. In 2015. Yu explored six common methods of translating American literature into Chinese. and described the "gap" between each translation method and standard language forms ( 余静, 2015, p.107-110). In 2018, Yu Jing proposed a broad framework for dialect translation in general. a localized framework for descriptive studies of literary dialect translation, and a comprehensive and systematic framework capable of accommodating different areas of descriptive studies of dialect translation is also sketched, so as to facilitate the efforts by concerned Chinese researchers to find suitable issues for their research projects from this specialized area of inquiry(余静2018, p.19).
  
−
15. 毕文静.浅析中英茶文化内涵的差异[J].大众文艺,2012,(04):128-129.
+
In addition, Sang Zhonggang(2015,pp. 935-944) discovered that most of the current western studies on the topic concerned are of literary corpus-based descriptive research generalizing the normalized dialect translation strategies and procedures, and domestic studies mainly deal with the critical-interpretive evaluation of dialect translation cases. Therefore,he brought up a new research approach to the process of dialect translation strategy-selection in light of Active Theory ( 桑仲刚, 2015,p. 935).
  
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===Terms===
+
Wang Enke believed that the respective handling might be a key to the breakthrough of today's research lock and introduced readers, a new element , into the study of dialect translation, and then suggested that translation of dialects into dialects would facilitate the reproduction of the charm the dialects in the original have, and that the descriptive approach instead of the prescriptive one would further the study of dialect translation (王恩科, 2015, P.83).
−
1. The Classics of Tea  《茶经》
 
  
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2. Green tea  绿茶
+
Zhou Lingshun (2016, pp. 23-27) defined the concept of vernacular language, and pointed out that the critical study of vernacular language translation needs three research approaches: the diachronic investigation of one translator in terms of his different translations in different periods, the synchronic investigation of different translators, and the application of the updated evaluation models in translation practice and translation criticism.
  
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3. Yellow tea  黄茶
+
Meanwhile, Wang Baorong and Xie Haifeng presented a critical review of current Western studies on four translation strategies the translator may opt for, observing that dialectal standardization and dialect-for-dialect translation are generally found to be extreme solutions. They proceeded to suggest several possible avenues of further research to improve the current lack of systematic and empirical studies in this fascinating research field (王宝荣&谢海丰, 2016, p.39) Additionally, Jiang Jing (2016, p. 123-131) focused on the literature review of foreign dialect translation studies in the past 30 years, especially the main progress and viewpoints in the aspects of dialect translation strategies, dialect translation and sociocultural context.  
  
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4. White tea  白茶
+
In conclusion, the researches on dialect translation suggest that the translation of dialects can be undertaken not only within the linguistic level, but also within the cultural level. Meanwhile, critical researches on translation and interpretive research under a theoretical framework are two main aspects involving in the study of dialect translation. Although the study of the dialect translation around the world has been at an initial stage, there has appeared a climax of dialect translation nowadays.
  
−
5. Oolong tea  乌龙茶
+
===Functional Equivalence Theory===
 +
The famous American translator Eugene Nida constructed a huge theoretical system between 1960s and 1970s, the core of which is the functional equivalence theory, that is, target readers can understand the function of the original in the same way that the original readers understand the original. Equivalence theory includes formal equivalence and functional equivalence. The former one refers to the equivalence of the target language and the source text in form, emphasizing the information itself. The latter is to restructure the original text information and language structure in a flexible and appropriate way, so as to achieve the basic equivalence of the original text audience between the target language audience.
  
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6. Black tea 红茶
+
The predecessor of functional equivalence translation theory is dynamic equivalence, which originated from The Theory and Practice of Translation written by Nida in 1969. Dynamic equivalence consists of lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. The core of dynamic equivalence theory is to make the target language readers' response to the translation  equivalent to the original language reader's response to the original. In short, it aims to achieve the closest natural equivalence of the translation. Such translation understanding of this point of view has exerted a great controversy, mainly manifested in the above four principles as the principle to measure whether the translation is good sometimes appears stiff and the functionality that translation is supposed to achieve is often overlooked. In order to change this measurement standard and strengthen the concept of function, Nida replaced the theory of dynamic equivalence with the concept of functional equivalence in 1993. Nida proposed that the translation should be smooth and natural, and the content should be vivid and expressive, so that readers' feelings and reactions are similar (谭载喜, 2004, 234). It can be seen that the core of the theoretical framework is functional equivalence, and the purpose of functional equivalence is to achieve equivalence between translation and original text in language function, rather than simple correspondence in language form(叶子南，2013).
  
−
7. Dark tea  黑茶
+
Functional equivalence has three principles, namely accurately convey original information and style; The translation should be consistent with the grammar and expression habits of the target language and the reader's response should be similar, which requires the translator to have a full grasp of the connotation and spirit of the original text before starting the translation. Only in this way can the target language reader have an equivalent response to that of the original reader. In order to meet the above three criteria, it is inevitable that there will be irreconcilable contradictions between content and form. In this regard, Nida advocates that content is more important than form, because translators should seek equivalents rather than identical languages. In a sense, that is to emphasize the reproduction of the original information, rather than the preservation of its expression form. In addition, Nida also put forward three criteria for the quality of translation, which can make the audience understand the original text correctly. The translation language is concise and easy to understand, as well as the form is appropriate and attractive to the audience.
  
−
8. Pu'er tea  普洱茶
+
===Case Study===
 +
Dialect reflects the integration of a nation and the inheritance of culture. Sichuan dialect, for example, has retained many ancient and middle ages colloquial expressions and words unique to the ancient ba( ancient Chongqing) language. In each area of Sichuan Province, the pronunciation of Sichuan dialect is also different, and there is often a case of polysemy. The meaning of the same word will change in different contexts.
  
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9. Chai tea  印度香茶
+
The meaning of the same word may change in different contexts. In translation, in order to achieve the equivalence of communicative functions, the translator needs to fit the context and choose the most appropriate meaning.
  
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10. Earl Grey tea 格雷伯爵茶
+
e.g：瓜娃子。
  
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11. the lidded tea bowl 盖碗
+
The word "瓜娃子" is a characteristic word in Sichuan dialect. Its meaning can be roughly divided into three categories:(1) indicating nicknames between intimate relationships; (2) meaning that there's something wrong with one's nerves; (3) It means that someone is not smart enough to do something. The literal translation of "melon child" would be ironic if the translator did not understand its cultural context. Here are three examples to understand its interest and meaning.
  
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12. tea holder  茶匙
+
Example 1：我的小瓜娃子，几天不见，好想你。
  
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13. tea tong  茶夹
+
Analysis: Obviously, in such case, there is always room for translating the word"瓜娃子" into "darling","dear" and "Sweetheart". In translation, the translator can also understand the relationship between the speakers on the basis of the context, and further achieve functional equivalence.
  
−
14. tea pet 茶宠
+
Example 2：你看那个人在垃圾堆里捡东西吃，怕是个瓜娃子哦。
  
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===Questions===
+
Analysis：The phrase “瓜娃子” in this sentence means insane, which can be translated as "neurotic insane". It takes a lot of work for the translator to achieve functional equivalence from the complete translation of words and phrases, and to convey the tone of surprise of the speaker.
−
1. Where is the origin of tea plants?
 
  
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2. When did the Chinese character “茶”come into being?
+
Example 3：那么简单的事都做不好，真的是个瓜娃子。
  
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3. True or false: When tea was introduced to the Britain, it can be accessed by the working class.  
+
Analysis：In this sentence, “瓜娃子”means that someone is not clever enough and not able to do things wisely.
  
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4. Where was the earliest reference of tea in the Britain found?
+
e.g: 抻展
  
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5. True or false: White tea is a fermented green tea.
+
The word "抻展" in standard Chinese means to stretch something out. But in Sichuan dialect, the meaning of the word is quite different. It can be used to describe someone who looks good, or someone who does things well, who is beautiful, who dresses well, etc. In other words, the word is conjugated from a verb to an adjective with multiple meanings. In translation, the translator should first be able to understand the correct meaning of the word in different contexts to achieve equivalence in vocabulary selection, and then adjust syntax, part of speech, tone, etc., so as to make the reader feel roughly the same and achieve functional equivalence.
  
−
===Answers===
 
−
1. East Asia.
 
  
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2. In the Tang dynasty.
+
example 1: 小明你把这道题搞抻展没得?
  
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3. False.
+
Analysis: In this sentence, the phrase "抻展" can be described as understand, figure out and so on. While here in this case, it can be thought as" figure out" or "work out". According to the context, we can easily find that its meaning is mainly known as "figure out".  
  
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4. In a letter by the agent of the British East India Company.
+
example 2: 她今天穿的还算抻展。
  
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5. False.
+
Analysis: In this context, the phrase "抻展" can be translated as "well fitting", "decently"。In order to realize the equivalence of communicative functions, we should pay attention to the change of parts of speech. "抻展" in the original sentence is an adverb, but actually, it is used as an adjective to describe clothes, so it would be better to translate it into an adjective.
  
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==英语口译 李立飞 Li Lifei 202170081621==
+
example 3: 他长得好抻展啊，不愧是校草。
−
<center>'''Memes in China'''</center>
 
  
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<center>李立飞</center>
+
Analysis: With no doubt, "抻展" in this sentence means "handsome", "good looking", "attractive" and so on. When it comes to describe women, we have more options depending on the context. For a little girl, it can be translated as "cute" and "beautiful". For a young woman, it can be translated as "attractive", "sexy" and so on. An older woman can be described as "intellectual", "elegant"and "graceful".
  
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===Abstract===
+
example 4: 耙耳朵
−
This paper discusses the distinctive features of memes in China in the context of digital culture. As China is a more politically complicated country and has a totally different mindset compared with Western countries, memes in China are usually closely related to every Chinese citizen's life, rather than only confined to a certain circle (such as video games and anime). In this paper, I will analyse Chinese memes in 3 dimensions: Geng(梗), Biaoqingbao（表情包）, and Guichu（鬼畜）, which represents text, picture and video respectively.
 
  
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===Key words===
+
The word“耙耳朵” originates from a kind of ear in Chengdu bicycle (soft cushion), which is invented by men in Chengdu for their wives so that they could sit more comfortably in the back seat. Some streets in Chengdu can still see a small number of such bicycles. The expression evolved to today, meaning "hen-pecked wife's man ". In Sichuan, the term is both humorous but meanwhile full of praise, because the man who is afraid of his wife shows that he has a deep love for his wife, and also demonstrates that men in Sichuan generally have a kind of virtue. "耙" means "soft", if translated literally as "soft ear", which is obviously wrong, and foreign readers or listeners will not understand its connotation. In order to achieve the equivalence of communicative functions, translators need take the method of free translation, looking for similar western cultural background, such as "hen-pecked husband".
−
memes; digital culture; netizen
 
  
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===Introduction===
+
example 5: 假老练
−
A meme is an idea, behavior, or style that spreads by means of imitation from person to person within a culture and often carries symbolic meaning representing a particular phenomenon or theme. A meme acts as a unit for carrying cultural ideas, symbols, or practices, that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. Supporters of the concept regard memes as cultural analogues to genes in that they self-replicate, mutate, and respond to selective pressures. In the vernacular discourse of netizens, the phrase “Internet meme” is commonly applied to describe the propagation of content items such as jokes, rumors, videos, or websites from one person to others via the Internet. According to this popular notion, an Internet meme may spread in its original form, but it often also spawns user-created derivatives."I'm like a badger jumping up and down in the melon field." Let's start with this sentence. What we want is your inexplicability. Because there are many old memes and new memes involved, which vividly shows a carnival of netizens.
 
  
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First of all, the "melons" mentioned on the Internet are not fruits and vegetables in the ordinary sense, but hot news, and most of them have the meaning of stupid things in the Beijing dialect. Among them, "melon eaters" refer to ordinary Internet users who only watch and don't speak, in other words, bystanders. People use this to make fun of themselves or each other, to express a state of irrelevant, It's like eating melon seeds and listening to people chatting in daily life: "the badger and Run Tu (a child proficient in farming) in the melon fields under the moon" is a descriptive text from Lu Xun's hometown, which was later translated, extended, strengthened and promoted in "happy camp"(A talkshow): "I'm like a badger jumping up and down in the melon fields". It says that in April 2020, as the COVID-19 gradually stabilized, the Internet became lively again, All kinds of hot news one after another, so that the Internet users are busy.
+
Do you still Remember Tom and Jerry? In the Sichuan dialect version, the cat, originally named Tom, is given a funny name called "fake sophisticated", because in Sichuan dialect, this phrase fits Tom's character, that is, he pretends to have experienced a lot while actually he knows nothing, which is similar a kind of banter of "puffing up your face and pretending to be fat".
  
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The reason why I give this case at the beginning is to express that there are really some memes in the twists and turns of meme. However, people in the Internet age seem to like the memes. If they don't agree with each other, they will come out with the meme. So, it is worth exploring.
+
In the everyday language of Sichuan dialect, we also often use "fake sophisticated "to describe this type of person. But it is often difficult for the translator
 +
to find the corresponding word, with "witling" barely working, but only to achieve equivalence at the lexical level. To truly achieve functional equivalence, the translator should adopt the method of translation and interpretation.
  
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===The Essence of Memes===
+
example 5：梭边边
−
Memes concerning someone’s height, face and certain memes from a clip of some TV series …… all sorts of memes with underlying meanings are carried by a word, a sentence or a movement, and the receiver often understands it within a split of second, and sometimes he will continue to extend it
 
  
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This kind of situation frequently appears in various variety shows. Of course, you can also find memes in animation, e-sports, film and television dramas and other popular things for entertainment.
+
analysis：One of the characteristics of Sichuan dialect is the use of reduplication. Translators all know that reduplication in Chinese is translated into English by omitting translation, adding translation and changing parts of speech and so on to achieve the functional equivalence. Then, the translation of reduplication in Sichuan dialect will also encounter the same problem. For example, "梭边边" means "slip away or evade responsibility", which can not be found in the translation of the corresponding verb, thus the translation has to find a relevant similar translation, saying "avoid responsibility".
  
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It can be seen that memes are funny and laughs, and paving the meme is to pave the way for laughter. However, whether in ancient Chinese or modern Chinese, there is another word that bears this meaning: 哏（punchline）.
+
Another example is "鱼摆摆", which actually refers to "fish", "pendulum" is just an expression of image in Sichuan dialect, describing fish swimming in the water. A similar phrase is "睡告告", which means "go to bed"or "sleep";"吃莽莽 "which means "have a meal"; "吃嘎嘎" means "eat meat".  
  
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In modern Chinese dictionary, the character "哏" has three meanings:
+
There is also the word "火瞟瞟"，which is used to describe "burning pain". In translation, the translator can use addition and free translation in order to achieve the equivalence of its communicative functions; And "光咚咚", which means "without clothes".
  
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The first is funny, funny and interesting; the second refers to funny and interesting words or actions; the third refers to the scene, foreshadowing and laughter in variety shows. All three explanations are related to laughter. Therefore, it seems that we can say that "哏" refers to the comedy effect achieved through careful organization and bedding. The traditional crosstalk performance in China is composed of two roles, i.e. "clapping" and "teasing". The purpose of clapping and teasing is to shake off the burden by sudden turning at the last moment.
+
There are also AABB-like refrains such as "咔咔咯咯", which means" a corner that is difficult to find". When translating, the translator has to translate it according to the specific context for translating as "corner", "gap", "a place hard to find" and so on.
  
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As for how “哏” evolves to “memes”, Chinese people believe that it can be dated back to the old days when variety shows were thriving in Taiwan. Mr. Fengyigang, a famous crosstalk actor in Taiwan, and Mr. Zhangdachun, a Chinese major at Fu Jen University in Taiwan, have openly talked about this issue. They believe that the current situation of the communication media is due to the ignorance of the people who dictate subtitles in television companies, as well as the entertainers, famous talkers and media audiences who go on and watch the program. They not only misinterpret and mistakenly write “哏” into “梗”, but also make “梗” funny and ridiculous. In dialect areas, the front and back nasal sounds can not be distinguished clearly. It is indeed a very normal thing to read "哏" into "梗". Tracing back to the source, “梗” was exactly “哏”, and "哏" itself is a “梗”.
+
The above is a translation of some dialects used in daily life. Next, we will talk about the subtitle translation of Sichuan and Chongqing dialects, and discuss how to apply functional equivalence theory through the film anonymous.
  
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===Hit the mark by a fluke===
+
With the globalization of the world and the acceleration of the process of cultural diversity, cultural exchanges between countries are becoming more frequent. More and more high-quality Chinese films are going to the whole world through the medium of subtitle translation. To disseminate unique Chinese culture and consciousness to the outside world. A Cool Fish is a Chinese dialect film featured by Chongqing dialect( the southwest dialect). It has been well received in China and received warm response abroad.  
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Mr. Chenxihan said in his article What is the Popularity of the Word “Meme”:" the popularity of the word "meme" has nothing to do with the character “梗” in the dictionary. There are many supporters of this view. It can be seen that they are quite distressed that "limitation" has become a "hindrance".
 
  
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The author believes that the “梗” has replaced the “哏”. Although it is an erroneous transmission and echoing of others, it also shows the power of modern communication. Moreover, language symbols themselves are dynamically stable in the continuous absorption of fresh blood. Anything existing must be reasonable. Moreover, the word "stem" has its own beauty
+
As a film with unique characteristics of southwest China, it should achieve the purpose of cultural exchange, which requires that the subtitle translation of the film not only makes the translation response to the original with vivid, appropriate and natural way of good faith to the purpose and the audience, but also on the basis of the text, makes the maximum reduction of emotional attitude, style and characteristics. The goal is to make the audience has a similar spiritual experience with the original audience. It coincided with the Nida's functional equivalence theory, that the purpose is to make the audience's reaction to the translation is basically the same as the original English audience's reaction to the original text. Therefore, the following cases, based on the functional equivalence theory, analyzes the translation strategies used by the film translator and its quality.
  
−
Before discussing the beauty of “梗”", let's take a look at some characteristics of the catchword “梗”.
+
example: 你莫骗老子哈。
  
−
1) “梗” means "not straight"
+
Translation: Don't you make a fool of me?
−
Being not straight means not speaking directly or not speaking well. The reason why we don't speak well is that modern people like to play with their personalities and try to make innovations; on the other hand, it is because it is not easy to directly criticize some negative events, so we use this way to express them, that is, the so-called roast. For example, "are you a devil", "What immortal operation is this", "do you have a mine at home" and "is a cruel man" are called "divine reply", which can be used in almost all kinds of occasions, such as sincere praise, embarrassing avoidance, helplessness, tactful rejection and no words to talk.
 
  
−
2) Chinese memes, mostly "not long"
+
Analysis: This scene is the two men( one called "Glass" and the other one is " the Big Head" ) were hiding at the heroin, Ma Jiaqi's home after robing at the phone store. Glass was asking Ma whether the liquid medicine would make him feel painful when the Big Head was applying unction for him. In Chongqing dialect, “莫”means "no", "don't"; the original meaning of the sentence is warming Ma not playing trick on him, but the word " lie" is not able to express the tone of teasing. Therefore, it is translated as" make a fool of me", which has such meaning. Here the literal translation is chosen to accurately express the attitude and convey the original text 's style and message.
−
"Take soy sauce", "do push ups", "hide and seek", "Lao tie(buddy) is all right", "cry faint in the toilet", "I want to make headlines", "the old driver takes me", "my brother doesn't grow beans but loneliness", "this picture is too beautiful for me to see", "Beida is OK to sprinkle Benin", "confirm your eyes" "let's go with shrimps"... These are some stems that have been popular in recent years. Naturally, every meme has a story behind it. There are stories behind every stem. However, when using it, it only needs a few short words to communicate. Therefore, the vivid words composed of these words are actually a highly condensed story.
 
  
−
3) Chinese niche memes
+
example 2: 老子耍女人的时候你娃还在吃鼻屎！
−
Let’s start with an example: 4396. Previously mentioned memes may be obscure at the first sight, but at least you can imagine how it looks in real life, while some memes are completely confined to a certain circle. Of course, if you know this meme, then some people will regard you as a fellow believer. This is the e-sports circle.
 
  
−
In fact, the meaning of 4396 is also very simple: Clearlove, a League-of-Legend pro player dominates China’s e-sport, had the output damage of 4396 (which is far away from enough) at the end of the S6 global finals quarter finals, which greatly delayed the team. That is to say, whenever there is a clearlove game, the audience will frequently brush this number on the bullet screen and make mischief in good faith. Therefore, stems such as 4396 are more like a kind of joint code, showing the identity of the people in your circle. People outside the circle, this road is blocked, and you are the one who obstructs it. As for the "soy sauce" and other memes, they will be more popular, because they are originally aimed at the big circle of the Internet.
+
translation: I was already a womanizer when you were still shitting your pants!
  
−
It is not straight, long and impassable, which is the characteristic of "梗" summarized from three aspects: the cause, the way of composition and the purpose of behavior. These characteristics exactly echo the word "stem" in modern Chinese. This is the wonder between the catchword "梗" and the modern Chinese "梗".
+
The so-called free translation, that is, only faithful to the content of the original text, but not confined to the original text (Meng Qingsheng, 2009). In the example, Glass does not admit that he does not have girlfriend and he is still a virgin. In the original text, "Boose-eating," refers to an unworldly child. If the literal translation would make the foreign audience feel disgusting and unacceptable, the translator is here translated as "shit one's pants", referring to children who pee their pants, and the texts correspond to each other, both faithful to the original text and considering the audience's feelings.
  
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The character "梗" in the modern Chinese dictionary has the following meanings: first, the branches or stems of plants, such as vegetable stems; second, they are straight and upright, such as stem the neck; third, they are upright and straightforward, which can form the word "stem"; fourth, they are blocked or obstructed. The common phrases are "block" and "block". Fifth, roughly, such as outline. Sixth: thorny vegetation, such as stem elm. We might as well compare the two: the second and the third have the meaning of "straight", and the catchword takes its opposite meaning, "not straight"; First and fifth, there is the meaning of "trunk and outline", which is exactly the meaning of the catchword "not long"; The fourth is "blocking or obstructing", and the catchword "impassability" is completely consistent. As for the "thorny plants" in the sixth middle school, the author believes that this net red "stem" really hurt some people.
+
Example 3: 等于是你永远不会睡着嘛？
  
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===Chinese memes are modern allusions===
+
Translation: Will you never fall asleep?
−
As a modern catchword, the character "梗" may have been just a laugh in variety shows at first. However, in the process of application, it has broken through the category of variety arts. It is used in animation, e-sports, film and television dramas and other fields, and has also added many new meanings, thus becoming a polysemous word with the meaning of both highlights and hot spots. In the previous article, we said that "limit" is its original word. In fact, when it becomes a polysemous word, we also have a word with it, that is allusion.
 
  
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For "allusions", the academic definition is somewhat different because of different research perspectives and fields. However, this is not important. Let's just take its general meaning. In the modern Chinese dictionary, "allusions" are explained as follows: first, allusions and anecdotes; second, ancient stories and words with origins quoted in poetry and prose; third, generally refers to recognized people and events with educational significance and familiar to the public. Of the three, the second is the most common, and we will start from here.
+
In the case, the underlined part was omitted in the translation. The translator sacrifices the original form to translate in an appropriate way to show its spirit, essence and content( Zoe, 1995). In this case,Ma is threatening Glass, and if he would leave, Ma  will cry out for help. This is what the Glass put forward to deal with Ma's trick. In Chongqing dialect, “等于是”means"难不成”、“难道, which is often in interrogative sentence. There is no exact equivalent words or phrases in English. So the translation  delete it. It will not affect the purpose and the audience's understanding of the original text, but make the translation more concise and more in line with the requirements of subtitle translation.
  
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The reason why "ancient stories and words with origins quoted in poems and prose" emphasize "in poems and prose" is that before electronic communication, network communication and even print communication, text communication is the most important mode of communication. Due to the limitations of technical conditions and the characteristics of the poetry itself, allusions can express the most abundant connotation in the most concise words, which is naturally loved by scholars, and it just has the characteristics of the stem we talked about earlier: not straight, not long, and impassable.
+
This paper analyzes and summarizes the translation of the subtitle of the film--A Cool Fish--under the guidance of functional equivalence theory. The subtitle translation strategy of Chongqing Dialect is flexible, translation strategies including deletion, reconstruction, literal translation and free translation, all of which are used in the faithful manner. Based on the faithful expression about the original text, the characteristics of Chongqing dialect are fully displayed, and to a large extent, the original retained the appeal and attraction of the audience and the original audience to achieve the same film experience and effect, and finally achieve Nida's "functional equivalence".
  
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Therefore, we can say that a meme is actually the allusion of modern people. Of course, due to different media, ancient allusions and modern stems, one is slowly deposited in a long time, and the other is rapidly spread in a broad space. However, they all reach the "familiar to the public" in the modern Chinese dictionary
+
===Conclusion===
 +
Translating dialects is a very interesting practice. Even if it is a simple word, its meaning changes a lot. The translator can choose the most appropriate one from Nida's functional equivalence theory to realize lexical equivalence; Try to achieve syntactic equivalence through appropriately taking use of translating methods including changing the part of speech; Then according to the context and speakers' relationships, grasping the tone of translation, and finally realizing the equivalence of communication functions.
  
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Generally speaking, the stability of allusions is very strong. After all, its formation has been tested by years and will continue to be stable. However, all kinds of stems have certain timeliness. On the modern information highway, as long as time goes by, the old stems will be replaced by new stems, and as long as more people use them, they will be teased as "indiscriminate stems".
+
The translator should not blindly pursue the brevity of language to use "hard translation" or "dead translation", which would make the translation hard to understand and inconsistent with linguistic habits of the target language readers. On the contrary, the translator should be appropriately make use of addition, omission, changing part of speech and the word order to make the translation fluent and natural, achieve functional equivalence and truly realize communication between  local residents and tourists or readers.
  
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Moreover, there seems to be no reason and no rule to follow about the formation of stem. For example, "blue thin mushroom" was just a video sent by a Nanning guy to his girlfriend in his circle of friends, while "light yellow long skirt and fluffy hair" came from a magical rap in "youth has you 2". However, it suddenly became popular on the Internet overnight, so that even the parties themselves were baffled. Of course, it comes and goes quickly. Now if anyone uses it again, it will be called out. This can also be regarded as a confirmation that "the back waves of the Yangtze River push the front waves, and the front waves beat on the beach".
+
Through the above translation and analysis of Sichuan and Chongqing dialect that we can see, Nida's functional equivalence theory is applicable to the translation of dialects. The core of his theory is that the translation should be smooth and easy to translate, which means that after reading, the reader's reaction is similar to that of the original reader and finally achieve dynamic equivalence, that is, to achieve lexical, syntactic, textual and stylistic equivalence, but the ultimate goal is to achieve communicative function. In dialect translation, in order to make the target language audience know the fun and charm of the language and feel the regional cultural characteristics, namely, to achieve the equivalence of communicative functions, in translation, the translator should make appropriate addition, omission and free translation, etc. In the era of globalization, people matter on the one hand keeping pace with the times to speak standardized mandarin and to learn standardized English; and on the other hand, people should well keep the language treasure house left by their ancestors and inherit the characteristics of its nation.
  
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Using memes is a sort of self-mockery
+
===References===
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Why memes can be so welcome these days? First of all, this is an era of entertainment. In today's era, with a fast pace of life and high labor intensity, people have obtained relatively abundant materials on the one hand, but on the other hand, they are also under great psychological pressure. In addition, people have publicized their subjective consciousness and pursue personal liberation. Therefore, various entertainment with happiness, experience and passion just meet the needs of releasing pressure and flying themselves. This is the social reason for the tendency of entertainment in contemporary China. There are different opinions on this tendency, and this article will not repeat it. What the author wants to say is that in such an era of almost universal entertainment, a large number of communicators and receivers make all kinds of stems full of fashion, identity and satisfaction come and go. This is the soil for the existence and development of stem culture.
+
Brisset, A.(2017).Shakespeare, a late bloomer on the Quebec stage. In R. M. Irena & P. Kathryn (Eds). Shakespeare and Canada:Remembrance of ourselves pp.127-156. Ottawa:University of Ottawa Press.
  
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Secondly, the development of science and technology provides the possibility and guarantee of realization. The prosperity of stem culture owes much to the awesome of the Internet, television, radio and other media. In particular, the network, a new media, forum, live broadcast, microblog, circle of friends and other platforms, is always suitable for you. In addition, it can not only spread words and pictures, but also spread audio and video. In addition, network communication also has the characteristics of dandelion and viral communication, and can spread wildly and widely. This allows netizens to achieve online and offline Carnival from zero distance without time difference even in different time and space.
+
Corrius, M. & Zabalbeascoa, P. (2011). Language variation in source texts and their translations: The case of L3 in film translation, Target, 23 (1), 113-130.  
  
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Of course, the prosperity of stem hair also lies in the richness of stem itself. For example, "regret not to kill Hua Tuo", "Yuan Fang, what do you think" and "bitch is hypocritical" from film and television dramas, which are simple and crude, and can be used directly: "the iron horse is you, and the glacier is you" and "I'll buy you oranges, and you stand still" are from literary works. If you haven't read some books, you really can't understand them, People even joked that "it's terrible to have no culture": "lishizhen's skin", "neiniu Manmian", "grey machine" and "ten fold water bottle" are misreading and listening errors caused by different dialect sounds. The standard saying is "you are a real skin", "tears streaming down your face" and "plane" at this level. Although the former is wrong, it is very interesting and interesting; "8:20", "the power of the famine" and "see you on Monday" because of the celebrity effect, people flocked to it for fear that they would not catch up with the trend; "A cool song for myself" "I may fake XXX" "in fact, I refused at the beginning" "I'm too south", which is a self mockery of my bad state, and there is no lack of lightness and happiness in humor; "My little friend and I were stunned" "the small boat of friendship said to turn over" "the Cantonese ate Fujianese” "What about the promised XX", "I'm XX all over" and so on, which makes people come up with happy pictures in their minds. In a word, all kinds of tricks are implicit and euphemistic, and the meaning has been reached before words. There are feelings and scenes, things, sounds and colors, pictures and truth.
+
De Linde, Zoe, “Read my lips: Subtitling principals: Practices and problems.” In Perspectives, Studies in Translatology, 1995, 3(1)：9-20.
  
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===The spreading and spreading logic of Chinese memes===
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Herrera, J. M. R. (2014). The reverse side of Mark Twain's brocade: The Adventures of Huckleberry Finn and the translation of sialect. European Journal of English Studies, 18 (3), 278-294.
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1) Participatory Cultural Carnival from the perspective of meme.
 
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In 1976, zoologist richarddawkins of the University of Oxford in England put forward the meme theory in his book selfish genes, which is the basis for today's thinking about "stem"
 
  
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The phenomenon of communication provides an annotation. The word "meme" is a transliteration of the English word meme, which originates from the ancient Greek mmma and means "something to imitate", and is also translated as "meme". Chuan 4 is considered to be a "replication factor of human social and cultural transmission" because it imitates "gene" in the spelling of letters. 5], including "stem", popular songs, melodies, images, videos, clothing, etc. in the Internet age can be regarded as "Internet memes".
+
Herrera, J. M. R. (2017). The Adventures of Huckleberry Finn and Jim in China: A case of what Corpus Pragmatics can do for the translation of dialect. Digital Scholarship in the Humanities, 32(2), 385-397.
  
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Genes continue through heredity, and memes spread through imitation. In this process, netizens have joined in one after another and continuously participated in copying, modifying and reconstructing. Everyone is the successor and editor of the Internet meme, and "stem" has also become the most representative producer text among products. For example, after netizens called Liuxiaolingtong's "joking is not nonsense, adaptation is not random" as "six schools" and Huangxiaoming's "I don't want you to think, I want me to think it is" Ming School ", they continued to“ × Learn to "name the relationship between guests in the variety show" flowers and youth "as" flower school ", and the symbol of deliberately showing off Versailles as" fan school ", and many passages, expression packs and short videos have been derived; such as “886” “yyds "and "u1s1" "The synonymous expression of numbers or letters also reflects the meme characteristics of network language. The reason is that imitation is the basic nature of human beings. Driven by this herd mentality, people hope to gain a sense of participation and pleasure: objectively, the simplicity, interesting connotation, diversity of forms and convenience of communication channels of these words also fit the tone of popular culture. Therefore, more and more people Boarded the band float, the "stem" culture has gradually become popular throughout the network based on the creation and relay of borrowed sentences, and the internalization and sharing of meaning.
+
Leppihalme, R. (2000). The two faces of standardization:On the translation of regionalism in literary dialogue. The Translator, 6(2), 247-269.
  
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2) Community identity label in interest marriage connection.
+
Ritt-Benmimoun V. (2017). The preposition fi: As an object and aspect marker in a south Tunisian Bedouin dialect[J]. Journal of Semitic Studies, 62(2), 319-355.
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The Internet has discovered "individual", and also provided the possibility of unlimited connection between people. As far as the "stem" culture is concerned, the transmission and interaction of Internet memes make the cybernetics who know and know "stem" begin to gather into a new community under the centripetal force of the corresponding "stem", a "super community" built around the "stem" culture "and" mainly through the Internet for information exchange, emotion sharing and identity recognition. Take the crosstalk community "Deyun society" as an example, the audience forms a fan group based on love, And we can further infer which artists are the fans of each other according to the "throwing and receiving" of "Pan Ta", "Fenhe bay" and other representative "stems". For people who have rarely or never heard of Deyun society crosstalk, there is a clear communication gap between them and these "stems". That is to say, although the Internet has gone beyond the traditional blood relationship, geography and other connection modes, people have re installed a one-way revolving door with the "stem" as the boundary. Inside the door, they communicate, cut carbon and enjoy themselves by making "stem" and exploding the stem; outside the door, unless they rely on the common meaning space to prove their own names, it is difficult to resonate with the inside.
 
  
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Of course, due to the high frequency of information transmission and the fast speed of topic alternation in chrome, the continuous emergence and loss of temperature of "stems" have also led to the agglomeration and collapse of the corresponding interest community. The normal behavior of moving around on different new media platforms also opens the way for people to integrate and learn more "stems" and related logic, and makes it easier for individuals to set foot in several interest groups at the same time. In addition, the addition of CCTV and other mainstream media has also urged many "stems" to "go out of" private plots ". In addition to reaping considerable communication effects, it also represents that" stems "have been widely recognized and officially endorsed. Relying on the interactivity of interpersonal communication and the value-added nature of mass communication," stems "gradually" break the circle "and spread in the collision and blending between interest communities, and increasingly become the discourse practice of the same frequency resonance in the whole society.
+
Han ziman韩子满. (2002). 试论方言对译的局限性——以张谷若先生译《德伯家的苔丝》为例. [ On the limitation of dialect translation-- take the translation of The Tess of the d'Ubervilles by Zhang Guruo as an example][J]. 解放军外国语学院学报[Journal of PLA Foreign Language Institute], 25(4): 86-90.
  
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3) Expression of initiative generation and elimination during symbol compilation.
+
Huang Zhonglian黄忠廉. (2012). 方言翻译转换机制[ Conversion Mechanism of Dialect Translation ][J]. 北京理工大学学报[ Journal of Beijing Institute of Technology ] 14(2): 144-151.  
  
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In the interest community " which combines the cohesion of traditional communities and the freedom of modern communities, people are more eager to pursue the sense of identity and the desire to express. The definition of the inherent meaning of words has also lost the restriction of authority and turned into the existence of independent interpretation. From the semantic derivation of "divine beast" and "houlang", to the self creation of "oli Gei", and then to“ ×× Very angry, the consequences are very serious, ×× Fill in the blank with the words of "No.1". The sememes of "stem" are becoming more diverse, and the scope of coverage is becoming deeper and wider. As the common experience of the interest group, the process of "stem" cultural production and consumption is accompanied by the pleasure of coding and decoding. On the one hand, the "stem" culture of "making sentences" and "solving puzzles" is in line with the pleasure of game participation in the pan entertainment era. For example, what kind of garbage is it? " "The first cup of milk tea in autumn" and so on, in the ingenious meaning input during coding, the additional meaning endowing during communication, and the understanding meaning reading during decoding, meet the publicity of personality, the release of emotion and even the recovery of memory. It can be said that the act of opening the "access control" of the interest community itself is both the purpose and the effect of the "stem". On the other hand, "Jie's Deconstruction of discourse rules also reflects the" offensive pleasure "of setting up bottom-up issues. "Stemming culture breaks the old pattern of words and sentences, and becomes a supplement to the existing language system in the form of simplification, homophony and extension. For example," hehe "," yeqinghui "and" yunvwugua "are creations from the bottom, which conform to the metaphorical cognitive model of the public, reflect the social mentality of Internet users eager for the right to speak, and are also a game and challenge with" hegemonic monologues ". In this way, with the code compilation method of" opposition ", "Stem" as a subculture goes out of the minority and constantly rewrites, arrogates and feeds back the mainstream culture, and has a development trend of becoming one of the mainstream expressions.
+
Jiang Jing姜静. (2016). 国外方言翻译研究三十年：现状与趋势[ For 30 years' Dialect Translation Studies in Foreign Countries: Current Situation and Trend ][J]. 放军外国语学院学报[ Journal of PLA Foreign Language Institute ], 39(2): 123-132.
  
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===The impact of memes===
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Meng Qingsheng孟庆升. (2009). 新编实用汉英翻译教程[ A New Practical Chinese-English Translation Course ][M]. 天津：天津大学出版社[Tianjin: Tianjin University Press ].
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1) Positive effects
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Tan Zaixi谭载喜. (2004)西方翻译简史[ A Brief History of Western Translation][M]. 北京：商务印书馆[ Beijing: The Commercial Press ].
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1.1 promote cultural development.
 
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There are many categories of stem culture, and the cultural stem with knowledge content has a certain role in promoting the development of culture. "Black people carry coffins" is a funeral custom in Ghana and other places in Africa. People who carry coffins are invited to dance during the funeral. The coffin bearers usually bear the coffin on their shoulders, wear formal clothes, and use warm dances in the form of clapping and stamping to infect the people around them, so as to reduce the sadness caused by death, and hope that they can participate in this ceremony together. Influenced by the happy atmosphere, black coffin lifting soon became popular in China. Netizens learned about this special funeral custom in Africa through the "black coffin lifting" stem. The popular "rare words" in the past promoted the spread of words through the popularity of songs.
 
  
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1.2 Accelerated information dissemination.
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Wang Baorong & Xie Haifeng汪宝荣, 谢海丰. (2016). 西方的文学方言翻译策略研究述评[A Review of the Translation Strategies of Western Literary Dialects ][J]. 外国语言研究[ Foreign Language Studies ], 2(4): 39-49.
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Network language has accelerated the communication of information due to its diverse forms of expression, easy to understand and highly infectious. For example, Wuhan Huoshen mountain and Leishen mountain hospitals started the live broadcast to watch the progress of the project in order to provide more sickbeds during the epidemic period. Netizens gave the machine lovely names, "vomit mud sauce" and "Qin Shi Huang" during the live broadcast. On the one hand, they spread the construction of the hospital, also passed happiness in the tense atmosphere, and derived the hot word "cloud supervisor".
 
  
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1.3 Build interpersonal relationships.
+
Wang Enke王恩科. ((2015). 文学作品中方言翻译再思考[ Rethinking on Dialect Translation in Literary Works ][J]. 外国语文[ Foreign Language ], 31(4): 83-90.
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Carnival theory breaks the boundaries between people, people form new relationships between people through virtual identity, breaks the boundaries between classes, and promotes interpersonal communication. Users will build different interpersonal relationships on different platforms. For example, the previous petition "made Wang Yibo and Xiao Zhan popular. This pair of CP fans named themselves" Bojun and Xiao ". This group not only created many hot words, but also spontaneously formed an organized team, and common topics promoted the development of interpersonal relationships
 
  
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2) Negative impact
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Ye Zinan叶子南. 高级英汉翻译与实践(第三版）[ Advanced English-Chinese Translation and Practice( The Third Edition) ][M]. 北京：清华大学出版社[ Beijing: Tsinghua University Press ], 2013.
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2.1 It is easy to cause group polarization.
 
  
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The "spiral of silence" phenomenon still exists in the network, and under the effect of carnival, it will further generate group polarization. Take the expression pack as an example, the communication speed of words in online social networking is slower than that of expression packs. The expression pack conveys emotions that words cannot explain in the form of pictures, and carries out viral communication by mobilizing groups.
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Yu Jing余静. (2015). 论方言翻译的“落差”策略[ On the Fall-off Strategy of Dialect Translation ][J]. 中国翻译[ Chinese Translation ], 17(2): 107-110.
  
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Le Pen described the irrationality of group emotion in the mob. When individuals enter a group, rationality will disappear, and "unconsciousness" will occupy rationality. Due to the anonymity of the Internet, individual netizens will have moral demonstration behavior, lose their sense of responsibility and weaken their due world outlook and values. Le Pen regards the public as "gangsters or" people who break free from chains ". Under the influence of the "mob", if negative emotions are generated in the network carnival, it will accelerate the spread and development of such negative emotions, and the group will lose its rationality, which will lead to group polarization and even network populism.
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Yu Jing余静. (2018). 文学方言描写翻译研究路线图[ Research Roadmap of Descriptive Translation of Literary Dialect ][J]. 中国翻译[Chinese Translation ], 19(3): 19-27.
 +
Zhou Lingsong周领顺. (2016). 乡土文学、乡土语言及其翻译研究[Study on Local Literature and Local Language and Translation ][J]. 158(1): 23-27.
  
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2.2 Behaviors involving Shilu's privacy.
+
===Terms and expressions===
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Irrational revelry on the Internet will lead to excessive consumption, such as privacy disclosure and human flesh search, which will further lead to online violence. If everyone masters the microphone, it will lead to a lot of noise. Once information is spread on the network platform, it will have an uncontrollable impact. For example, in the luozhixiang and zhouyangqing incident, netizens denounced it on the Internet and invented "the stem of time management masters, which is originally a private emotional problem that has developed into an online public event. The irrational behavior of the Internet chrome keyboard man will not only affect the social order, but also cause legal problems.
+
relevance theory  关联理论
  
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2.3 Affect the normal use of Chinese characters.
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language function theory  语言功能理论
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Chinese characters have gone through thousands of years of history, and the development of network language is an impact on them. The netchrome expression pack is convenient and fast to use, and enables the interlocutor to better feel the emotional expression of the user across the screen. At the same time, it also reduces the utilization rate of Chinese characters. Users often choose to use the expression pack to express. Internet stem culture and some Internet words distort traditional Chinese characters and affect the normal use of users. For example, "mouse tail juice" means "take care of yourself" and "maozi" means "like this". This expression will affect people's correct understanding of Chinese characters and is not conducive to the use of Chinese characters.
 
  
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===Conclusion===
+
sociology  社会学
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Network Carnival presents a dilemma of context and social interaction. When the negative effects of Carnival are presented, it will lead to verbal violence, behavioral anomie and moral loss. For youth groups, it will affect the formation of correct world outlook, values and outlook on life. Carnival is just a form of entertainment. It is a short-lived utopian ideal life. Excessive Carnival will eventually make real life absurd and evil. Net chrome carnival is temporary and virtual. It cannot be mixed with real life. Stability and order are our life. If the network carnival is regarded as a kind of real life, our existing social order and system regulations will be disintegrated, the audience with fluke mentality will have a wrong tendency in speech and behavior, some public opinion trials and moral trials will disturb the existing stability, and the real society will be out of control. In the special period of fighting against the COVID-19, the impact of stem culture, live broadcasting and other forms has disturbed the existing social order, and the public may lose themselves in the carnival of the network. It is the boundary between reality and the network. The real network Carnival should be a supplement to the real society.
 
  
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The meme culture rooted in the soil of postmodernism is not a self-sufficient text, but a series of ongoing meanings with bright colors and broad strokes. On the semantic level, it is equipped with the key to "unlock" different symbolic purports; on the social level, it also enriches the perspective for understanding fashionable phenomena and development trends. In the future, "stem" will still further evolve and innovate with the help of network media, and give guidance and encouragement to it to create a positive and harmonious polyphonic atmosphere, which is also the meaning of exploring this cultural landscape.
+
Pygmalion  《匹格玛利翁》
  
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===References===
+
Lady Chatterley's Lover  《 查泰莱夫人的情人》
−
*王子健,李凌凌.网络“梗”文化的意蕴内涵与传播逻辑[J].青年记者,2021(14):109-110.DOI:10.15997/j.cnki.qnjz.2021.14.053.
 
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*贾想.“梗文化”研究[J].创作评谭,2021(02):24.
 
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*陈铈光,秀梅.网络语言的狂欢化分析——以梗文化为例[J].新闻前哨,2021(03):57-58.
 
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*余轩宇.娱乐化时代的“梗”文化[J].景德镇学院学报,2020,35(04):42-45.
 
  
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==英语口译 莫雨婷 Mo Yuting 202170081622==
+
Wuthering Heights  《呼啸山庄》
  
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<center>'''Chinese Animal Symbolism'''</center>
+
The Adventure of Huckleberry Finn  《哈克贝利费恩历险记》
  
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<center>Mo Yuting</center>
+
Tess of the D'Urbervilles  《德伯家的苔丝》
  
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===1.1 Introduction===
+
functional equivalence theory  功能对等理论
  
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Since ancient times, people started living with the existence of animals. Due to different geological environments, cultural backgrounds, customs, and religions, the symbolic meanings of animals vary in different countries. Animal symbolism evolves with languages and cultures. According to Claire Kramsch: “On one hand, language as an integral part of human being permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps permeate the culture, and the changes in language uses reflect the cultural changes in return.” (Claire Kramsch, 1998).
+
The Theory and Practice of Translation 《翻译理论与实践》
  
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In the past, China was an agricultural society in which animals played an important role in people’s daily life. Some animals have been tamed by human beings, while others are still wild animals. For different animals, Chinese people have different attitudes and emotions. And many symbolic meanings of animals will show up in myths, fables, fairy tales, proverbs, idioms and etc.
+
A Cool Fish  无名之辈
  
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The earliest Chinese animal symbolism could date back to the Western Zhou period (1046-771BC). The Book of Songs, one of the earliest anthologies of verse in China, used various animals, such as horses, rats, fish, birds, etc., to narrate stories and express emotions. These animals are given different symbolic meanings.
+
===Questions===
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Animal symbolism evolves with Chinese culture, and it takes the Chinese language as a carrier. Chinese people are very familiar with the 12 animal zodiac, and some of the 12 animal symbolic meanings have changed with time. It shows a strong relationship between symbolic meanings and Chinese culture. In addition, many Chinese idioms will use animal symbolism to express different meanings. For instance, the Chinese four-character idiom “龙腾虎跃” (spirited dragon and dynamic tiger) shows a positive meaning, while “贼眉鼠眼” (people with furtive eyes) has a negative meaning. This article will focus on the 12 animal symbolism in the Chinese zodiac and animal symbolism in Chinese four-character idioms and show more details by giving more related examples and pictures.
+
1. How many local dialects in China?
  
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===1.2 Animal symbolism in Chinese zodiac===
+
2. which dialect is spoken in Zhejiang Province?
  
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The origin of the Chinese zodiac is related to Chinese people’s animal worship. According to the ancient artifacts, a complete zodiac system appeared before the Qin Dynasty. The earliest literature recording the same 12 zodiacs as today’s was Lunheng (《论衡》) written by Wang Chong, a philosopher and writer active during the Han Dynasty.
+
3.Who illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics?
  
−
Rooted in Chinese people’s daily life, language, culture, and custom, the 12 animals of the Chinese zodiac have unique symbolism and cultural connotations. (Ma Dan 2006, 1) The symbolic meanings of the 12 zodiac animals differ in terms of their characteristics and different cultures. They are also influenced by the changes in people’s ideas and ideologies. One animal may have more than one symbolic meaning, it can be positive or negative, and these meanings will also change with time.
+
4. The phrase "瓜娃子" means that someone is "smart", true or false?
  
−
===1.2.1 Rat===
+
5.What unique characteristic does the film A Cool Fish featuring?
 +
===Anwsers===
 +
1.Seven
  
−
The Chinese zodiac begins with the rat. Rat is not a good sign in Chinese culture. According to the ancient folk story “Great Race”, the kindhearted Ox carried the Rat and the Cat across the river because they couldn’t swim. However, the Rat was cunning and tricky. As the Ox was about to reach the other side of the river, the Rat pushed the Cat into the river, jumped off the Ox, and rushed to the Jade Emperor. It becomes the first sign in the Chinese zodiac and the Ox second. People usually associate negative meanings with rats because they look ugly, live in dirty places, and always steal food. They also ruin farmers’ crops and destroy the environment. Thus, in China, the mainstream is that the symbolic meaning of rats is negative. Chinese people will use some words or idioms including the character “rat” to abuse others or to describe those people who have bad habits.
+
2.Wu dialect
  
−
===1.2.2 Ox===
+
3.Sánchez
  
−
The symbolic meanings of the Ox are complicated and depend on different contexts and situations. For most Chinese people, the Ox symbolizes those people who are tall, strong, hard-working, and patient without complaints (Ma Dan 2006, 3). The reasons for the positive symbolism of the Ox may lie in the history and development of Chinese agriculture. China has been an agricultural society for a long time, and oxen are an important tool of production and a common form of transport (Liu Shanshan 2014, 15). Oxen are large and strong, they can work the whole day for farmers. In some contexts, the symbolic meaning of the Ox can be negative. People will describe those who are stupid, poor, or with low social status by using the symbolism of the Ox.
+
4.False
  
−
===1.2.3 Tiger===
+
5. Chongqing dialect
  
−
Tiger is a symbol of justice and braveness. In Chinese culture, tigers are regarded as the kings of the animal world. Chinese people show their reverence for tigers. Earlier in the Spring and Autumn period, people in Chu State(楚国) conveyed deep reverence for tigers, which was reflected in the totem of tigers in Chu culture. Ancient Chinese regarded tigers as a kind of mysterious animals, some minorities even took tigers as the incarnation of God (Liu Shanshan 2014, 16). Today, tigers still have positive symbolic meanings in Chinese culture, which can be referred to people who are excellent and brave with great talents or people who are healthy, spry, and strong.
+
==英语笔译 马艳焕 Ma Yanhuan 202170081591==
 +
<center>'''The Differences and significance of adaptation of Folktales -- A Case study of The Legend of the White Snake '''</center>
  
−
===1.2.4 Rabbit===
+
<center>马艳焕</center>
  
−
Rabbits are quiet, docile, and agile. In Chinese culture, rabbits symbolize activeness, flexibility, and quick movement (Shi Juanzhi, He Ling 2011, 1). Chang’e and the Jade Rabbit are well known to Chinese people. In Chinese folklore, the Jade Rabbit plays an important role in making the elixir. Thus, the image of the Jade Rabbit symbolizes health and longevity. Rabbits are also used to describe fleeting times. Apart from these positive symbolic meanings, there are some negative symbolic meanings of rabbits. For example, Chinese people will describe those people who are timid and cunning by using some words or idioms (Ma Dan 2006, 3).
+
===Abstract===
 +
Folktales, also known as ancient sayings and ancient classics, are mostly spread in oral form, with exaggerated plots and fantasies, which mostly show people's good intentions, and often endure with the course of human growth. The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially shaped in Feng Menglong's "General words of warning the World" in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation. In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination.  
  
−
===1.2.5 Dragon===
+
===Key words===Differences； adaptation； folktale； The Legend of the White Snake
  
−
Dragon is the only mythological sign of the Chinese zodiac. It is a unique animal full of Chinese characteristics. Chinese people’s worship of dragons is deeply rooted. In ancient times, people believed that the Dragon King controlled the weather and rainfall. They regarded floods as a bad sign indicating that the Dragon King was in a rage, so they built many Dragon King temples to appease the Dragon King and pray for good weather and better harvests.
+
===Introduction===
 +
Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories.  
 +
Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times.  
 +
The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories.  
  
−
In Chinese culture, the dragon is an honorable and noble animal symbolizing power and right. Especially in feudal society, the emperor believed that he was the son of the dragon. His people and servants used words such as “龙体”(dragon’s body, means the emperor’s health),“龙袍”(dragon robe, means imperial robe),“龙椅”(dragon throne, means the emperor’s chair) to describe things related to the emperor (Liu Shanshan 2014, 18).
+
===I. the process of adaptation of the Legend of the White Snake. ===
 +
1. The Python incident originating from Luoyang in the Tang Dynasty.
 +
According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of the Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles." So he attacked it with the Tianzhu mantra, and the snake died a few days later.
 +
Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu.
 +
2. The Tang Dynasty‘s Legend —the White Snake 
 +
In the early 9th century, Yuanhe Year of Tang Xianzong Reign Period, a rich son named Li Huang(李黄）met a beautiful woman in white in the East City of Chang'an.
 +
The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days. Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head.
 +
The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes.
 +
3. Song Dialect--the Chronicles of the three Pagodas of the West Lake (see the vernacular of Pingshantang in the Qing Dynasty)
 +
When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart.
 +
With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den.  
 +
Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas.
 +
4. Ming Dynasty— Feng Menglong's The Lady in White Weighing down the Leifeng Pagoda （《白娘子永镇雷峰塔》）in  the Stories to Warn Men(《警世通言》）It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him. Later，they became the couple.After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear. Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife. After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring.
 +
Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Leifeng and caught White and Green Snakes in the Pagoda.
 +
5. Qing Dynasty version.
 +
During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda".
 +
The main framework of the story of the White Snake has been largely completed since then.
 +
The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake. Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda.
 +
In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman. Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late.
 +
6. Modern adapted version.
 +
Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939. The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady. Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man. The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on.
  
−
In addition, Chinese people are known as the Descendants of Dragon. In people’s daily life, many words and idioms including the symbolism of dragons are used to describe great things and outstanding talent. For example, a famous Chinese idiom says: “望子成龙，望女成凤”, which is frequently used by many parents who hold high hopes for their children. It means parents hope their children will have a bright future.
+
===II.The Differences and Reasons of the Adapted Version. ===
  
−
===1.2.6 Snake===
+
'''1. White snake image.'''
 +
Since the beginning of the story of White Snake in the Tang Dynasty, the image of White Snake has changed greatly. By bringing the new white snake image into the evolution system of the white snake story after the middle of the 20th century, from the perspective of both sexes, we can find that the evolution of the white snake image in the eyes of men can be divided into three stages: banshee, good wife and lover.
 +
According to the different descriptions of the white snake by men in these three stages, the emotional type of the human snake goes through the changing process of lust, kindness and love, and the relationship between human and snake changes from alienation to intimacy to alienation under different emotional states.
 +
From the point of view of the discourse right of both men and women, this is actually a process in which women represented by White Snake "do not have their own discourse system-being incorporated into male discourse system-begin to establish their own discourse system". The evolution of the image of White Snake is actually a process from a demon to a woman, and then to a truly independent person [1].
 +
The author believes that the evolution of the white snake image is mainly divided into three stages, namely, demon-human-immortal.
 +
The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake".
 +
Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men.
 +
The animalistic side of her transcends the human side.
 +
The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market.
 +
In the later TV series Legend of the New White Lady, the reason why the White Lady played by Zhao Yazhi was so popular was that she created a perfectly idealistic female image. She was not only beautiful and considerate, but also a gentle and virtuous wife and mother; moreover, she was the embodiment of the Quan Yin Bodhisattva and was the embodiment of the Quan Yin Bodhisattva, completing the transformation from a demon to an immortal, which not only beautified women, but also conformed to the vision of men's expectations.
  
−
The snake has always been portrayed in a negative image in Chinese culture. It is a kind of cold-blooded, vicious, and greedy animal, which usually terrifies human beings. In Chinese mythology, the Classic of Mountains and Seas, also known as Shan Hai Jing (《山海经》), records nine types of snakes that can make various strange noises. The appearance of snakes always signifies misfortune (Song Zhima 2009, 2). Thus, Chinese people always associate snakes with bad things or villains.
+
'''2. Attitude towards women.'''
−
In some cases, snakes still have positive symbolic meanings. Chinese people use the four-character idiom “灵蛇之珠” to praise graceful and flowing calligraphy (Liu Shanshan 2014, 19). In Chinese mythology, Nüwa, the mother goddess with a human face and snake body, creates human beings. Thus, snakes also signify power, immortality, and exuberant vitality in Chinese culture (Song Zhima 2009, 2).
+
The change in the image of White Snake shows a change in attitude towards women.  
 +
Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status.  
  
−
===1.2.7 Horse===
+
'''3. Storyline.'''
 +
In the process of evolution, the story of the White Snake is constantly enriching and deepening.
 +
From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "The Flooding of Jinshan Temple（水漫金山）", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete.  
  
−
Horses are large and sturdy animals with patience and stamina. In ancient times, the horse was an important means of transport and a kind of military resource (Liu Shanshan 2014, 20). They were closely related to a country’s military and people’s lives. In the Tang Dynasty, Han Yu, a Chinese historian poet, philosopher, politician, and one of the Eight Great Prose Masters of the Tang and Song, wrote Discourse on Horse (《马说》). In this discourse, Han compared gifted talent to swift horses, and the talent of scouts to Bole. This is the origin of the Chinese words “千里马（swift horse）” and “伯乐（Bole, talent of scout）”. The two words are still used today.
+
'''4. The story ends.'''
 +
It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten. White Snake evolved from the tragedy of being suppressed at first to the happy ending of a family reunion later. Before modern times, the ending of White Snake was divided into two kinds, one was Yongzhen under Leifeng Pagoda, and the other was the happy ending of White Snake rescued by his son Xu Shilin's sacrificial Pagoda. But in both endings, White Snake is the passive party and can only wait to be rescued by others.  
 +
Later, Tian Han adapted the Legend of the White Snake and adapted the ending into the Green Snake to destroy the Leifeng Pagoda and save the White Snake, reflecting the spirit of self-rescue and resistance of the oppressed.  
  
−
In Chinese culture, horses usually have positive symbolic meanings. Some Chinese characters are used to describe battle scenes, like “千军万马” (a big army includes many soldiers and horses). People also refer to horses as those people who make great contributions to the country or wise men (Liu Shanshan 2014, 20).  
+
'''5. The ways of spreading folktales.'''
 +
The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television.  
 +
At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added. In the past two decades, the rise of the National Cartoon has promoted the development of anime films.  
  
−
===1.2.8 Goat===
+
'''The reason for the change:'''
 +
'''1. The decline of totem（图腾） faith.'''
 +
The primitive ancestors worshipped snakes because they believed that snakes had some supernatural power and formed kinship with snakes so that snakes would not harm them, so they chose snakes, a powerful and ferocious natural creature, as the object of tribal worship to show closeness for protection.
 +
This lays the foundation for the possibility of human serpent love in folktales.
 +
However, since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased. Slowly, people have abandoned their belief in totem, leaving only fear without respect.
 +
Snake venom can kill people, the image is ugly and omnipresent, and people feel horrible and disgusting, leaving only the image of harm [2].  
  
−
Goats are lovely and gentle animals, but they are also very timid. In Chinese culture, whether the symbolism of goats is positive or not depends on different situations. But in most cases, the symbolic meanings of goats are negative. In Chinese, the sheep is often used to describe those people who are weak, helpless, and vulnerable (Liu Shanshan 2014, 21). For example, Chinese people always use the four-character idiom “羊入虎口”(a lamb in a tiger's den) to describe weak people in a dangerous circumstances. It compares weak people to goats. Another famous idiom frequently used by Chinese people is “亡羊补牢，为时已晚” (mend the fold after the sheep is lost), which comes from the Annals of the Warring States. It means it’s too late to do something.  
+
'''2. The influence of the literati's concept of "beauty disaster（红颜祸水）".'''
 +
The white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the evil demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. Warning word, self-evident [1].  
  
−
Notes: The Chinese character “羊” is a general word, which can be expressed by different English words like goat, sheep, and lamb.
+
'''3. Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties.'''
 +
Gifted scholars and beauties refer to talented men and beautiful women, and generally refer to talented men and women.
 +
The life of ordinary people is not satisfactory. They expect to have a partner with both ability and political integrity and a happy and stable family.
 +
The only way for the lower class to change their fate is to get fame, but at that time, most people were often depressed, so they wrote stories about talented scholars and beauty to place their dreams that could not be realized. therefore, when creating the image of the White Snake, it is more inclined toward the wife, expressing people's vision of better family life.  
  
−
===1.2.9 Monkey===
+
'''4. Ideological Emancipation'''
 +
Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification.  
  
−
Speaking of the monkey, Chinese people are very familiar with the character: Monkey King, or Sun Wukong. Monkey King is a legendary mythical figure best known in the book: Journey to the West（《西游记》）, one of the Four Great Classical Novels. He has unique powers and a spirit of rebellion and defiance, and he is the symbol of pursuing freedom (Zhao Leping 2018, 40-41). In Chinese culture, monkeys signify people who are bright, smart, and humorous.  
+
'''5. The Development of Science and Technology''
 +
The development of science and technology has given birth to a new way of transmission.
 +
In an era when there was no television or film, people could only spread stories orally or in writing.  
 +
With the industrial revolution and the development of information technology, people slowly innovated the presentation of literature, resulting in the emergence of television and movies, as well as later animation.
  
−
However, in modern society, the symbolic meanings of monkeys are not always positive. In some cases, people associate monkeys with naughty children who are noisy and like playing tricks. In addition, people usually use the four-character idiom “尖嘴猴腮” to describe people with pointed mouths and thin angular faces.
+
===The value and significance of the continuous adaptation of folktales===
 +
1. Enrich the content of folk stories.
 +
In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education but also enriches people's recreational life because of its cultural connotation.
 +
The Legend of the White Snake develops from a single story ending at first to a happy ending with ups and downs later, which shows that the adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales.
 +
2. It helps to expand the audience and promote the inheritance of intangible cultural heritage.
 +
The legend of the White Snake in Hangzhou, Zhejiang Province is a bright pearl in Chinese folk literature. The characters such as Bai Niangzi, Xu Xian, Fahai, and Xiaoqing express the broad masses of people's desire for the liberation of human nature and are the precious spiritual and cultural heritage of the Chinese nation.
 +
Because of a large number of ancient traditional customs preserved in the legend, the Legend of White Snake has become one of the oral heritages with the richest folk cultural information in China and was selected into the first batch of the national intangible cultural heritage list in 2006.  
 +
The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales.
 +
3. A peek into the change in society and the change in people's thinking.
 +
Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness.  
 +
In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love.
 +
As the director of the Legend of the White Snake said, the heroine Bai 11 has a certain embodiment of modern female values on self-growth and how to pursue more powerfully and autonomously, reflecting the way modern men and women think about love. It emphasizes the positive materialism that the leading actors are unwilling to succumb to the arrangement of fate and strive to rewrite their own destiny and protect the people in the world[4].  
  
−
===1.2.10 Rooster===
+
===Conclusion===  
 +
If folktales want to spread forever and endure, they must be integrated into the spirit of the times through innovative means and spread the old culture in new forms.
 +
The reason for the adaptation of the Legend of the White Snake is not only the influence of the creator's subjective factors but also the limitation of objective factors such as the cultural concept and the development of science and technology at that time.
 +
It is this kind of adaptation that not only makes people see the traditional culture contained in folktales, but also injects new vitality into Chinese traditional culture, brings new educational significance to each generation, and gives folktales more connotations of the times. to meet the trend of today's historical development, in line with the aesthetic taste of more people. And by virtue of novel ways of presentation to attract more audiences and promote the spread of Chinese culture.
  
−
The rooster is the tenth sign of the Chinese zodiac. It is a common animal with a long history and various connotations. The Chinese character “鸡” appeared on the oracle bone script written 8,000 years ago. In traditional Chinese culture, dragon and phoenix are mythological animals, while the rooster is a kind of special fowl. In the past, people would raise chickens in their farm yard. Chicken and eggs were important agri-products. Roosters usually crow when the sun rises, so they signify diligence and prophecy. They are also known as “messengers of the sun”.
+
===References===
 +
*[1]Chen Shunan陈舒楠（2018）.由妖到人:从两性视角看白蛇形象的演变[J].中华女子学院学报,2018,30(05):97-102.DOI:10.13277/j.cnki.jcwu.2018.05.013.
 +
*[2]Fang Hongying方红英(2014). 白娘子形象演变研究[D].曲阜师范大学Qufu Normal University.
 +
*[3]Song Luyun,Li Wanjiao宋璐云，李婉娇（2020）《白蛇传》：白娘子的前世今生_故事 (sohu.com)。
 +
*[4]https://xueqiu.com/5868117133/110046322
 +
===Questions===
 +
1. The Legend of White Snake is one of four folktales of China, True or False?
 +
2. Why have people abandoned the belief of snakes in totems?
 +
3. When was The Legend of White Snake listed as intangible cultural heritage?
 +
===Questions===
 +
1. True
 +
2. Since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased.
 +
3. 2006
  
−
Nonetheless, the symbolic meanings of roosters are not always positive. In ancient times, the rooster was the sign of a bad omen. People would use “偷鸡摸狗” to describe thieves, or “牝鸡司晨” to describe women who seize power (Liu Shanshan 2014, 21-22).
+
==英语笔译 聂薇 Nie Wei 202170081592==
 +
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>
  
−
===1.2.11 Dog===
+
<center>聂薇</center>
  
−
In Chinese culture, the image and connotation of dogs have dramatic changes. In modern society, people like dogs. Many people believe that dogs are loyal animals that are people’s best friends. Some people raise pet dogs and treat them as their companions. In some cases, dogs even become a member of a family. Today, Chinese people’s attitudes towards dogs are greatly influenced by western countries (Liu Shanshan 2014, 22).
+
===Introduction===
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Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)
  
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However, in ancient times, people’s attitude towards dogs was totally different. In the past, dogs played an important role in guarding the doors, so people regarded them as their servants. In traditional Chinese culture, people usually associate dogs with derogatory meanings. For example, the four-character idiom “狼心狗肺” is used to describe people who are despicable and shameless (Liu Shanshan 2014, 22). In addition, the famous two-part allegorical saying “狗拿耗子，多管闲事” is used to criticize those who like sticking their noses into other people’s businesses (Ma Dan 2006, 12).
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This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)
  
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===1.2.12 Pig===
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With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)
  
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China has a long history of raising domestic hogs. Pigs are very common but useful animals in ancient China. They are fat, have big ears and short legs, and grow very fast. And pork is a kind of delicious food. Thus, in the past, raising pigs was an important means of livelihood for farmers. They could earn money from it, so in ancient times pigs symbolized wealth and fertility.
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The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
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===The evolution of the Spring Festival travel rush===
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As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)
  
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But in Chinese culture, most symbolic meanings of pigs are derogatory. The cultural connotation of pigs is similar in both China and western countries. People always relate pigs to bad things. Pig is the symbol of laziness, greediness, ugliness, and stupidity (Ma Dan 2006, 5). The typical character based on the pig which is best known in China is Pigsy, also known as Zhu Bajie in the book Journey to the West.
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In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)
  
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===1.3 Animal symbolism in Chinese Mythological Stories===
 
  
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After introducing the animal symbolism of the Chinese zodiac, this article will continue to introduce and explain animal symbolism by taking more Chinese four-character idioms as examples. Chinese animals, animal symbolic meanings, and four-character idioms are large in numbers with various types. Thus, this part will be mainly divided into two parts: the animal symbolism in Chinese mythological stories and fables.
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(i) The difficulty of travelling during the Spring Festival in ancient times
  
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===1.3.1 Animals in Chinese Mythological Stories===
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Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)
  
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Mythological animals play an important role in Chinese culture. These animals do not exist in reality, but they have rich cultural connotations. In ancient times, people couldn’t explain some natural phenomena in a scientific way, so they associate these phenomena with some animals and deify them. Thus, animals such as birds, dragons, and turtles in many Chinese mythological stories signify good fortune, and they have different magic powers. Dragon, Phoenix, Qilin, Turtle, and Pixiu (貔貅) are five famous Chinese mythological animals bringing good fortune. This part will focus on introducing the first three animals, their images and characteristics, and their symbolic meanings in Chinese culture.
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In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)
  
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===1.3.2 Dragon===
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Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)
  
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As mentioned before, the dragon is the fifth sign of the Chinese zodiac. The origin of the dragon dates back as early as 8,000 years ago. It is a mythological animal with a long body, two horns, and numerous scales (Mao Huijun 2016, 1). The image of the Chinese dragon was roughly established in the Shang and Zhou Dynasties. In the Han Dynasty, Yinglong became the symbol of feudal imperial power, which was a winged dragon in ancient Chinese legend. As the Classic of Mountains and Seas recorded, Yinglong had the main characteristics of later Chinese dragons: the power to control the sky and the noble mythical status (Xiao Congrong 2021, 92-93). Since the Tang and Song Dynasties, the image of the Chinese dragon symbolizing imperial power was changed into the wingless Yellow Dragon in modern times.
 
  
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In Chinese culture, dragons usually have positive symbolic meanings. In imperial society, dragons signified supreme power and were identified with the Emperor of China, also known as “真龙天子” in Chinese. Today, dragons still can be used to describe those excellent people or talent. For example, the Chinese four-character idiom “人中龙凤” (the dragon and phoenix) or “人中之龙”(the dragon) is used to praise outstanding people with good personalities who are different from common people. In addition, dragons also appear in some idioms such as “游云若龙” (floating clouds look like flying dragons) to describe smooth and delicate calligraphy.
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(ii) The difficulty of travelling during the Spring Festival in modern times
  
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===1.3.3 Phoenix===
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The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)
  
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In Chinese, “凤” is the name of female phoenixes, and “凰” refers to male phoenixes. Similar to dragons, phoenixes are mythological animals. They play an important role in Chinese traditional culture and usually have positive symbolic meanings. The earliest origin of the phoenix dates back to the Stone Age. Among the existing Chinese classical books, The Book of History (《尚书》) was the first one to record stories of the phoenix (Ainiwajiang Kuerban 2021, 7). In the first mythological book The Classic of Mountains and Seas, it recorded that the phoenix was one kind of magic birds and described the image of the phoenix: it was an animal having colorful feathers with different patterns on its head, wings, back, and chest (Yuan Ke 1998, 75).
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With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
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===Cultural factors behind the Spring Festival travel rush in China===
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The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)
  
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In Chinese culture, the phoenix symbolizes beauty, good fortune, happiness, and peace. People always associate the phoenix with the dragon, both of which are noble mythological animals. For example, the four-character idioms “凤凰来仪” and “龙凤呈祥” both refer to auspicious omen. In imperial society, the dragon signifies the Emperor and the phoenix refers to the Empress. Until today, its positive connotation still exists. People use “凤凰于飞” (a female phoenix and a male phoenix fly into the sky) to describe couples who deeply love each other (Ran Shugui 2012, 2). People also associate the phoenix with the Qilin because they are rare and precious. Thus, the phoenix also symbolizes excellent people or good things that are rare and precious, and “凤毛麟角” (the feather of a phoenix and the horn of the Qilin) is a common idiom used to express that meaning.
 
  
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===1.3.4 Qilin===
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(i) Confucian culture
  
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Those who are interested in Chinese culture may be very familiar with the dragon and the phoenix, but not so familiar with Qilin (also known as Kylin). Qilin is a hooved chimerical creature in Chinese mythology. The earliest article recorded the Qilin was Book of Rites: The Conveyance of Rites. The name of the Qilin first appeared in The Classic of Mountains and Seas (Xu Xiujuan 2003, 3). Qilin generally has Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse (Liscomb, Kathyln 2016, 341-378).
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In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)
  
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Similar to the dragon and phoenix, Qilin is a symbol of auspicious omens in Chinese culture. Ancient people believed that it could bring good fortune. As for people with relatively high social status, they would put a pair of Qilin statues in front of their gates so as to keep away from bad luck and maintain good fortune.  
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The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)
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Furthermore, Qilin plays an important role in Confucianism. According to Chinese mythology, Qilin is a kind of docile animal which represents auspiciousness, harmony, and graciousness. Many Confucian classics such as Spring and Autumn Annals (《春秋》) and Book of Rites recorded stories about Qilin (Ma Laiping 2021, 5). Those unique qualities of Qilin stay in line with the philosophies of Confucianism. Thus, the image of Qilin is deeply related to Confucianism.  
 
  
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In modern society, people still associate Qilin with good luck and fortune. For example, the four-character idiom “麟凤一毛” means that good things regardless of their sizes have been collected. In addition, Qilin is frequently used to describe outstanding people, especially men. For instance, “天上麒麟”(Qilin in the sky) is used to praise others’ sons who are gifted in literature (Ran Shugui 2012, 2).
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It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)
  
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===1.4 Animal sybolism in Chinese Fables and Four-character Idioms===
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The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)
  
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===1.4.1 The Origin of Chinese Fables===
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In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)
  
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Before cutting to the chase, a brief introduction will be given to Chinese fables. The word “寓言” (fable) first appeared in the book Zhuangzi (《庄子》). Ancient books recorded that Chinese fables existed in the late Spring and Autumn Period. During this turbulent period, fables were usually used to exhort the emperors by telling them lively stories (Zheng Wenjun 2014, 8). Bao Yanyi, a professor who specializes in ancient Chinese and researches related to fables, explains the definition of fables in Yu Yan Ci Dian (《寓言辞典》, a dictionary about Chinese fables): fable is a literary genre composed by fictional stories. It aims to let people understand moral saws by learning these stories. So it tells that a fable is usually composed of a fictional story, simple and short words, and philosophies.
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A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)
  
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===1.4.2 Chinese Fables & Four-character idioms===
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But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)
  
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With the development of Chinese culture and language, some famous fables have been passed down from generation to generation. In order to remember and convey the meanings of these fables, people shortened these fables and turned them into four-character idioms. In general, four-character idioms are concise, but with profound meanings and connotations. Some of them can be understood literally, while others can hardly be understood unless people know the history and origins (Zheng Wenjun 2014, 9).
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This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)
  
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===1.4.3 Animal symbolism in famous Chinese four-character idioms===
 
  
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===1.4.3.1 “对牛弹琴”(play the heptachord before an ox)===
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(ii) ceremonial culture
  
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Dating back to the Warring States Period (475-221 BC), the story was related to a famous musician named Gong Sunyi who played the heptachord well. At that time, people enjoyed his performance and respected him. One day, Gong Sunyi came to a suburb. Coincidentally, he saw an ox grazing on the grass, so he decided to play heptachord on a whim before it. However, the ox was indifferent to his great performance and continued eating grass. He tried to play different music to impress the ox but in vain. At last, when he was making animal sounds, the ox responded to him, raised its head, and wagged its tail (Yang Yu 2017, 240).
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In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)
  
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This is the origin of the Chinese idiom “对牛弹琴”. It tells a simple truth: people should not explain something profound to someone stupid, or people should have different responses to different people (Zheng Wenjun 2014, 9). In this story, the ox has a negative symbolic meaning, which refers to those who are stupid and illiterate. In western culture, there are some similar idioms to express the same meaning like casting pearl before swine or talking to a brick wall.
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During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)
  
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===1.4.3.2 “老马识途”(an old horse knows the way)===
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The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)
  
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The idiom relates to a historical event, which was recorded in the book Han Feizi (《韩非子》). During the Warring States Period (475-221 BC), Qi State was ready to fight with Shanrong (山戎), a nordic ethnic group frequently attacking Yan State. When the army headed to the destination, it was in Spring. After winning the battle, it was in Winter and the landscape had been greatly changed. The army of Qi State was lost in the forest on their way back home. Guan Zhong (管仲), the Prime Minister of Qi State, thought for a while and found a solution. He believed that old horses were familiar with the route, so he asked soldiers to unleash the reins of several old horses and let them lead the way. Finally, they found the right way and came back to their country (Zheng Wenjun 2014, 9).
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Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)
  
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As mentioned above, the symbolic meanings of horses are usually positive. This allusion compares the old horse to a man with rich experience who can take a leading role in a group especially when the group is in some difficult situations.
 
  
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===1.5 References===
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(iii) institutional culture
  
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[1] 北京周报网（2013）《中国文化中的蛇》
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One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)
  
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[2] Ran Shugui冉淑贵. (2012). 成语中动物意象符号及其形成原因
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The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)
  
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[3] Zhang Shu 张树. (2019). 汉语动物成语研究
 
  
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[4] Ma Dan 马丹. (2006). 论汉语成语中十二种生肖动物的象征意义及其教学
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(ⅳ) the concept of family-and-nation
  
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[5] Shi Juanzhi 史娟芝, He Ling 贺玲. (2011). 中国生肖动物词汇的象征含义及其翻译
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In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)
  
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[6] Liu Shanshan 刘姗姗. (2014). 汉语十二生肖动物类成语研究
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In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)
  
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[7] Song Zhima 宋志玛. (2009). 谈《山海经》中的蛇形象
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However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)
  
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[8] Zhao Leping 赵乐屏. (2018). 《西游记》孙悟空形象研究
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As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)
  
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[9] Miao Huijun 苗慧君. (2016) 英汉动物词汇象征意义对比
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Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
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===Way of relieving pressure from the rush===
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Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
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===The prevalence of the Anti-Spring Festival travel rush===
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In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)
  
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[10] Xiao Congrong 肖聪榕. (2021) 探究中华龙纹设计的历史流变
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On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)
  
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[11] Ainiwajiang Kuerban 艾尼瓦江·库尔班. (2021) 中国民间文学凤凰形象的符号意义及其在当代的传承与发展研究
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But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)
  
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[12] Yuan Ke 袁珂. (1998) 中国神话大词典
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On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)
  
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[13] Xu Xiujuan 许秀娟. (2003) 麒麟文化的变迁与中外文化交流发展的关系
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Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
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===Conclusion===
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No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)
  
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[14] Liscomb, Kathyln. (2016) The Zoomorphic Imagination in Chinese Art and Culture
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The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)
  
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[15] Lv Fulun 吕复伦. (2011) 麒麟及其文化
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Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)
  
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[16] Ma Laiping 马来平. (2021) 儒家文化视域中的麒麟文化探究
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The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)
  
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[17] Zheng Wenjun 郑文珺. (2014) 动物寓言成语与对外汉语教学
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It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)
  
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[18] Yang Yu 杨雨. (2017) 国学知识问答录
+
The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)
  
−
===1.6 Terms and expressions===
+
Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
 +
===Terms and expressions===
 +
Spring Festival travel rush：春运
  
−
The Book of Songs 《诗经》
+
epic population migration：史诗般的人口迁徙
  
−
12 animal zodiac/Chinese zodiac 十二生肖
+
Confucian culture：儒家文化
  
−
spirited dragon and dynamic tiger 龙腾虎跃
+
ceremonial culture：仪式文化
  
−
people with furtive eyes 贼眉鼠眼
+
institutional culture：制度文化
  
−
dragon’s body 龙体
+
farming culture：农耕文化
  
−
dragon robe 龙袍
+
patriarchal clan system：宗法制度
  
−
dragon throne 龙椅
+
clan gathering：家族聚居
  
−
parents hope their children will have a bright future 望子成龙，望女成凤
+
displaced people：流民
  
−
The Classic of Mountains and Seas 《山海经》
+
the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想
  
−
Discourse on Horse 《马说》
+
affectionate elders and dutiful juniors：父慈子孝
  
−
a big army includes many soldiers and horses 千军万马
+
agriculture is valued while commerce is restrained：重农抑商
  
−
a lamb in a tiger's den 羊入虎口
+
fishing, woodcutting, farming and learning：渔樵耕读
  
−
mend the fold after the sheep is lost 亡羊补牢，为时已晚
+
The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）
  
−
Journey to the West 《西游记》
+
The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”
  
−
sticking one’s nose into other people’s businesses狗拿耗子，多管闲事
+
worshiping ancestors：祭祖
  
−
The Book of History 《尚书》
+
paying a New Year call：拜年
  
−
Book of Rites: The Conveyance of Rites 《礼记·礼运》
+
putting up spring scrolls：贴春联
  
−
Spring and Autumn Annals 《春秋》
+
the system of urban-rural regional segregation：城乡区域隔离制度
  
−
Zhuangzi 《庄子》
+
the household registration system：户籍制度
  
−
Han Feizi 《韩非子》
+
the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”
  
−
play the heptachord before an ox/casting pearl before swine/ talking to a brick wall 对牛弹琴
+
the concept of family-and-nation：家国观念
  
−
an old horse knows the way 老马识途
+
Spring and Autumn Period：《春秋繁露》
  
−
===1.7 Questions===
+
the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲
  
−
1. When did the earliest Chinese animal symbolism appear?
+
Earthbound China：《乡土中国》
  
−
2. Who wrote the earliest literature Lunheng (《论衡》) recording the same 12 zodiacs as today’s?
+
the Double Ninth Festival：重阳节
  
−
3. From which ancient folk story, we can know that the Rat exceeds the Ox and becomes the first sign of Chinese zodiac?
+
statutory long holidays：法定节日长假
  
−
4. Why Chinese people in ancient times built many Dragon King temples?
+
elderly drifters：老年漂族
  
−
5. What are the five famous Chinese mythological animals bringing good fortune?
+
thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
 +
===References===
 +
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
 +
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
 +
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
 +
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
 +
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
 +
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
 +
===Questions===
 +
1.How long does the Spring Festival travel rush usually last?  
 +
A.30 days
 +
B.40 days
 +
C.50 days
 +
D.60 days
  
−
6. Which book recorded the earliest article about Qilin?
+
2.Which one of the following group is not the main reason that results to the rush?  
 +
A.Migrant workers
 +
B.Students
 +
C.Those planning to visit relatives
 +
D.Tourists
  
−
7. The story of “对牛弹琴” happened in which period?
+
3.Which one of the following cultures is the main factor that encourages family reunion?  
−
 
+
A.Confucian culture
−
8. What is the connotation of the four-character idiom “老马识途”？
+
B.Taoist culture
−
 
+
C.Buddhist culture
−
===1.8 Answers===
+
D.Christian culture
−
 
+
===Answers===
−
1. It appeared in the Western Zhou period.
+
1.40days
−
 
 
−
2. Wang Chong.
 
−
 
 
−
3. Great Race.
 
−
 
 
−
4. Because they wanted to appease the Dragon King and pray for good weather and better harvests.
 
−
 
 
−
5. Dragon, Phoenix, Qilin, Turtle, and Pixiu.
 
−
 
 
−
6. It was Book of Rites.
 
  
−
7. It happened in the Warring States Period.
+
2.Tourists
  
−
8. It means a man with rich experience can take a leading role in a group.
+
3.Confucian culture

Latest revision as of 04:45, 8 July 2022

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  • 20220630_Culture_1 papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 Europeanized Chinese and Cultural Factors Behind it, 2: 英语笔译 曹姣 Cao Jiao 202170081564 Research on court culture in the Tang Dynasty from the perspective of poem -- take Changhenge for example, 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572
  • 20220630_Culture_2 papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582
  • 20220630_Culture_3 papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592
  • 20220630_Culture_4 papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602
  • 20220630_Culture_5 papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612
  • 20220630_Culture_6 papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622
  • 20220630_Culture_7 papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632
  • 20220630_Culture_8 papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

英语笔译 刘珍 Liu Zhen 202170081588

Chinese Guqin
Liu Zhen

Abstract

Qin, also known as Chinese harp/lute, peptachord, jade harp, lyre, now called Guqin(a seven-stringed plucked instrument), it is one of the oldest stringed plucked instrument in the history of traditional Chinese folk musical instruments. For thousands of years, the literature on Guqin retention is very profound. Each era has a representative literature of Qin manufacturing, Qin player, Qin music, theory, skills, as well as the special Chinese traditional music culture phenomenon, the remains are abundant. Until today, Guqin still occupies a special position in the Chinese traditional culture. However, with the development and change of society, people's cognition has changed a lot; As the infiltration and integration of western music culture, the new music has become the mainstream of Chinese music culture, while Guqin art as a representative of traditional Chinese culture was marginalized in modern culture. With the change of social environment, the survival condition of Guqin has been changed, the crisis of the survival and development of Guqin art under commercialization, he integration of eastern and western music culture, the disappearance of the traditional literati stratum and the differentiation of the social roles of Guqin player highlights the survive and thrive problem of contemporary Guqin art. From three aspects: the historical overview, current situation and contemporary significance of Guqin art, this article made an on-the-spot investigation on how to inherit and develop Guqin art in today's social environment.

Key Words

Guqin; Development; Inheritance; Significance

Introduction

The Research Object

Qin, also known as Yao Qin, Silk, jade qin, seven-stringed qin, is now known as Guqin. It is one of the oldest stringed plucking instruments in China's traditional national Musical Instruments. It has a long history of about 3,000 years. There are legends such as Fu Xi Shennong making qin, Huang Di Tang Yao making qin, etc. From five strings, King Wen and King Wu each added one string and finally made it seven strings. For thousands of years, qin has been the top of the "four arts", as well as a tool for the literati to cultivate their morality and realize the road. UNESCO listed it as one of the first oral and intangible cultural heritage of humanity representative works in 2003, namely for its artistic value, historical status Full affirmation of. Guqin art is an important part of Chinese traditional culture. From ancient times to the present, the legendary Fuxi, Yao and Shun, to the emperors, literati and music officials of all dynasties have promoted the development of guqin music art with their superb performance skills, literature and art, as well as traditional philosophy and aesthetic thoughts. In the long growth process of guqin art, it gradually created a series of unique systems of philosophy, aesthetics, musicology, notation, playing techniques and so on. There are extensive literatures about guqin, from the Spring and Autumn and Warring States periods to the development periods of the Wei, Jin and Southern and Northern Dynasties, to the prosperity periods of the Tang, Song and Yuan dynasties, and to the popularity periods of the Ming and Qing Dynasties. In each era, there are representative historical documents on qin making, qin music, qin musicians, qin theory and qin art, as well as special phenomena of Traditional Chinese music culture.

The Research Status

Since the 1950s, in order to integrate the art of guqin with modern culture, the academic circle has carried out a series of appropriate explorations. It is mainly manifested in the following aspects: the work of music, the creation of Musical Instruments, the establishment of playing disciplines, the theoretical research of Musical Instruments and so on. We have made achievements in literature review and textual examination on the system, history, song, theory and score of qin, and quite a few achievements have even become the foundation stone of contemporary and contemporary research on the art of guqin. In particular, he has made remarkable contributions to the study of qin music and qin song, qin man and qin school, as well as music score and playing score. In this section of Chinese zither research, modern and modern scholars have made effective efforts in digging, collecting, sorting, preserving and inheriting the zither music, and conducted a comprehensive and systematic academic exploration of the literature on all aspects of the study of guqin art in all dynasties and dynasties. Among them, zha Fuxi, Wu Jinglue, Yu Shaoze, Guan Pinghu, Gu Meizang, Wu Zhao, Wang Di and other famous musicians published their works. These researches and explorations have greatly stimulated the development and inheritance of guqin art by summarizing historical experience and combining historical background, and their historical value should be fully affirmed. As a bridge connecting the tradition of guqin art with modern culture, they have value and significance that cannot be underestimated.

Research Purpose and Significance

At a time when the historical and cultural value of guqin has been constantly recognized, this ancient musical instrument has left its instrument, music and theory from an academic perspective. Contemporary scholars from musicology, history, sociology, anthropology and other aspects of the academic research and many academic achievements. Especially in music history, music aesthetics and music theory and other aspects of the research results are relatively rich. In the current situation where traditional culture is fading, it is of certain academic value and practical significance to study and explore the art of guqin deeply. Scholars focus more on textual research, analysis and exploration from the perspective of qin itself. Therefore, contemporary theories of qin have made great achievements in such fields as qin making, qin players, qin music, qin history, qin theory and qin school, while thematic studies on the contemporary significance and value of guqin are a little weak. Based on the existing research results of guqin art, the author breaks through the limitations of the ontology research of guqin music, further insights into the social and cultural living conditions of contemporary guqin music, and reveals its cultural and spiritual connotations at a deeper level. On the basis of inheriting traditional culture, correctly grasping the current situation of contemporary social culture, and then elucidating the enlightenment of guqin related theories to contemporary cultural society, as well as thinking about aesthetic and musical cultural identity in the context of contemporary culture, will be more conducive to the inheritance, development and innovation of guqin art. It is hoped that through the research of this project, some necessary research materials and academic experience will be accumulated for the enrichment and further development of the research system of guqin art. In addition to the above academic and social significance, the research and writing process of this project is the best way to deeply understand guqin music culture. The author expects to further organize and study the epitaxial data of this project, and further study and understand the historical data of qin science, the spiritual connotation of qin music and traditional culture, so as to complete this project with excellence and realize the innovation and value of this project. In the future study, scientific research and work, we will effectively make some specific achievements for the inheritance and development of guqin art.

Historical Overview of Guqin Art

2.1 Artistic Characteristics

The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings.

The piano is composed of two parts: the body and the strings. The body of the instrument is inlaid into a whole by the upper and lower two rectangular boards, which is called "violin box". Upper board multi-purpose cork, such as tung or fir; The lower board uses hardwood, such as catalpa. The wide right side of the body is the head, and the narrow left side is the tail. Starting from the head, the front end of the head is called "Feng forehead", and the one one or two points higher than "Feng forehead" is called "Chenglu", also called "Yue Skirt", which refers to its position at the foot of Yue Mountain. The hardwood for the first part of the qin is "Yueshan", which is connected with "Chenglu" and four or five points higher, and is also known as "Linyue". The hard wood at the tail is higher than the surface of the instrument, which is called "dragon gum". From "Yueshan" to "Dragon gum" is the length of the vibrating part of the string, called "chord length". There are 13 dots on the outside of the surface of the instrument called "emblem position", from the first emblem at the head to the tail of the instrument, which is the phonemic basis for obtaining overtones or strings.

The reverse side of the surface is called the bottom of the instrument. The bottom is exactly the same as the surface of the instrument, and the part that falls under the "Yueshan" on the surface is called "Zhen Chi" or "xian Groove". There are "wild goose foot" in the back part of the qin, and a large and small slender groove hole on the bottom of the qin, namely "dragon Pond" and "Feng Marsh".

String is the material basis for the existence of stringed instruments, and the string is the main vocal body of the instrument. There are seven strings, arranged from the outside to the inside according to the height of the scattered notes of each string. The lowest and highest notes are called the first string and the seventh string respectively. The strings used are the thickest and thinnest, and the seventh string is close to the player. As for the method of making strings, the ancient silk string manufacturing technology has formed a quite mature technological system and theory. According to literature records, the ancient string-making method is very elegant from the selection of strings to the production process, the selection of materials from the type of silk to the origin, the weather, heat and other factors during the process are very strict, and the necessary winding and drying of strings in the process are also very flexible and maneuverable. According to the selection of materials and the different era, the production procedures of the dynasties have different degrees of difference. However, since the 1920s, with the progress of The Times and the introduction of modern industrial technology in the West, the ancient Chinese traditional and ancient silk string making method has been on the verge of being lost, replaced by steel and nylon strings. In the process of modern qin chopping, the selection of strings has changed, the timbre and quality of qin have changed to different degrees, and the artistic style and spiritual connotation of ancient traditional qin music have also changed.

2.2 Qin Song and qin song

Guqin song is an indispensable and important part of the research field of guqin, as well as a special form of expression in the art of guqin. So far, there are about 600 musical scores of guqin songs. The most famous collection of ancient qin songs is Boya Xinfa, written by Yang Lun, a representative of the qin Song school, which was published before 1609. It experienced a historical process of ups and downs from the budding period of pre-Qin dynasty to the peak period of Tang and Song Dynasty and then to the decline period of Ming and Qing Dynasties. It was not until the forties and fifties that the art of qinge was again attached great importance to by famous musicians such as Wu Jinglue, Zha Fuxi and Zhang Ziqian. They have done a lot of digging, sorting and research on the art of qinge, which has played a positive role in the revitalization and revival of the art of qinge. Qin song refers to singing while playing the qin, which can be sung by one person alone or accompanied by others. It was called "string song" in ancient times. Qinge songs are varied in tone and varied in topic selection. There is a direct relationship between literary creation and qinge songs creation in different historical periods, and there are qinge songs works with artistic characteristics in different historical periods.

With the change of dynasties, the development of guqin music itself tends to be mature. With the enhancement of the artistry of guqin music and the enrichment of guqin playing techniques, guqin solo has been able to meet the needs of musical emotion and artistic expression, and luthiers pay more attention to guqin solo, causing the decline of guqin song art for a time. However, the existence of qin song art should not be ignored, its existence value lies in that it is the original appearance of Chinese traditional classical art songs, for the study of Chinese contemporary national vocal music in ancient art songs singing skills, has a certain degree of continuity and development. For the development and inheritance of qinge art, the countermeasures for the contemporary development of qinge art include: exploring, sorting and creating more qinge works, expanding the performance forms of qinge, and constantly innovating with the help of modern media to strengthen the publicity of qinge art.

Of our country's existing text spectrum music of violin tateishi tone. "orchid is the oldest in the world of music, the song of Confucius to travel, will not be accepted and thought, on the way to see orchid between weeds, can not help but think of oneself condition caused by the inner sadness, orchid is a symbol of elegant and noble quality, but neglected to forget, Their ideas for the good of the world are also disregarded. This is a kind of ancient people often borrow things wing, lyric way of borrowing scene. The rigorous structure of the music is not only reflected in the close relationship between the four sections, but also in the strong logic between the sections and phrases within each section.

The similarities and differences in the content of qin qu determine the different musical structure and musical artistic expression techniques. According to the content of the performance needs, which the music melody of the link between the past and the future, contrast, presentation, development, reproduction, variation, mold forward, expansion and other techniques are needed. Moreover, the theme melody in the vast majority of Musical Instruments often changes twice or more, that is, on the basis of the original theme melody, according to the advancement of the music content, and then leads the music to the climax. Therefore, the music used to have a continuous, integrated, natural sense of advancement.

Innovation of Guqin Art

3.1 Improvement of Qin

Chinese guqin production technology has a long history, there are myths and legends with anthropological value, such as Fu Xi and Shen Nong making guqin and Shun making five-stringed guqin. There are many descriptions in historical documents such as Taigu Yi Yin and Qin Shu Daquan. Due to the special social atmosphere of the 20th century and the existence of a large number of ancient guqin, the scale of new guqin production was restrained to a certain extent, resulting in the reduction of the craftsmen and the loss of craftsmanship.

Demand for pianos is also growing. So the process of qin was gradually restored, musical instrument factories, pianists, folk workshops and so on have resumed the production of new qin.

The specific process of piano production includes six important steps, such as sample production, material selection, panel production, base plate production, piano fitting and dressing. In addition, the line sawing, grooving belly, accessories production, painting, installation accessories and strings and other auxiliary processes are particularly important. The following points should be avoided when the qin is chopped :(1) the emblem should be appropriate in size, rather small than large. (2) Yueshan should not be too thick. (3) The slope of dragon gum should be larger than yue Shan. (4) Goose foot should not be too high. (5) The material of Qin Zhen should not be too thick or thin. Choose a kind of style that likes namely when model making, delimit wood proportion correctly. About selecting material, model is optimal with the old fir of hundred years above, next paulownia

Can also be used; When making accessories, Yueshan, jiao Tail, dragon gum, goose foot and other parts need more hard wood such as rosewood, red sandalwood and other materials; The music emblems are made of clam shell, jade, gold, porcelain and jade. As for the production of strings, the ancient silk string manufacturing technology is very mature. Due to the loss of production technology and the introduction of western modern science and technology chemical industry and string making technology, the ancient silk string manufacturing technology is on the verge of extinction, so nylon strings are used in modern times. The newly made guqin should meet the following conditions :(1) the string energy should be lowered, and the string should not be too high from the surface of the qin. (2) The piano surface should not be too flat. (3) Chord spacing should not be too wide or too narrow. (4) The effective chord length of the qin is the length from the pass of Yueshan mountain to the gum of the tail dragon, with 110 cm to 111 cm as the positive system. (5) The surface paint of the piano should be smooth. (6) Timbre and quality of piano. (7) Accuracy of emblem position. One of the most famous guitar artists in the field of contemporary Chinese guitar is Mr. Wang Peng, a professional guitarist. His rationalism piano technique in inheriting predecessors on the basis of continuous innovation, to create more than 70 kinds of guqin style, his rationalism jean exquisite workmanship, pure tone color, modelling is novel, he founded "fang jun day" in the third batch of Beijing municipal intangible cultural heritage list, he will be with the identity of the intangible cultural heritage inheritance people make this has continued for thousands of years of art.

Contemporary Significance of Guqin Art

4.1 Guqin art in the Context of Contemporary Society and Culture

Since the 20th century, China has experienced a great change, from the social system, politics, economic system, culture, morality and other aspects have experienced a series of earth-shaking changes and unprecedented violent impact. As a traditional Chinese culture, the art of guqin has undergone the most drastic transformation. Up to now, the development of guqin art has changed quietly. Contemporary Guqin art is in a very critical period, and it has come to a stage of self-examination and reflection.

Firstly, the change of social environment leads to the change of the living state of guqin art. The creation of Musical Instruments before the Song and Yuan dynasties was far more fruitful than that between the end of Ming dynasty and modern times, and the artistic styles of musical compositions were quite different. Especially, since the end of Qing Dynasty, the inheritance of Musical Instruments was almost cut off, and even the traditional string-making technology, which had been passed on for thousands of years, was gradually lost. So far, there are few inheritors of traditional string-making. During the War of Resistance against Japanese aggression, the social turmoil, guqin literature lost, which is more unfavorable to the development and inheritance of guqin art.

Secondly, in the process of economic and cultural globalization, the introduction of western music culture has a certain degree of influence on the development of guqin art. In addition to western culture, the prevalence of modern media and mass culture in China are also different forms of globalization. At the beginning of the 20th century, with the infiltration of Western music culture, new schools across China began to teach a large number of music classes European and American tunes, these original songs are recorded in simple notation. With the promotion of enlightenment music educators represented by Li Shu-tong, Zeng Zhi-min, Shen Xin-gong, the school songs are spread in the way of selecting songs and filling lyrics. The emergence of school music also represents the beginning of China's modern music history. At this time, western music system and music education system, Chinese new music has gradually become the mainstream of China's music culture. Chinese people have undergone profound changes in music concept, education system, music theory, aesthetic way, music form and value system. Modern music colleges and universities take western music education system as the main body and refer to western music system. However, the collection, collation, research and learning of Traditional Chinese music are relatively backward, so the students trained are mainly western music technology and western music thinking mode. Under the environment implanted by the Western education system, guqin art lost its original mode of self-entertainment of literati and was forced to change to the stage art of mass culture.

Finally, the trend of modern commercialization is not conducive to the development and inheritance of guqin art. When food, clothing, shelter and transportation are no longer a problem, there must be some spiritual needs, to find some purpose for survival and entertainment. These spiritual requirements, just like for survival, material needs, there is demand. Supply is naturally created to meet these needs, and naturally becomes a commodity to be bought and sold. Especially after the success of applying for world Heritage status, some merchants in the "Guqin fever" misrepresented children, jacked up the price of guqin, and took advantage of guqin fraud and other commercial speculation activities. These phenomena, which are not conducive to the development of guqin art, make it lose its original cultural value. The adverse atmosphere caused by the impact of commodity economy and driven by interests needs to be timely restrained and guided by the establishment and improvement of relevant systematic laws and regulations.

4.2 Modern inheritance and significance of Guqin art

The final development of Huaqin culture is largely related to the long tradition of "music education" and "poetry education" of Confucian culture, and is also closely related to the active participation and promotion of Confucian scholars in the upper social status. As Confucian culture occupies the mainstream position of Chinese culture, it maintains and promotes the concepts of self-cultivation, family harmony, governance and world peace. Since the Zhou Dynasty, Duke Zhou's "making ritual and music" has played a further systematic role in ancient Chinese ritual and music civilization, and has been incorporated into the system culture, making it more rational into the norms of people's behavior, so as to achieve an organic integration. Due to ancient Confucian scholar have mostly with three cardinal guides the p5 ethic morality as the center, such as the "writing carry doctrine" on the early music domain is invisible expanded by jean missionary, jean is combined with music education closely, music education is one of the modern people understand the premise of the Chinese piano culture, the internal concept of piano, gradually mature.

The inheritance of modern guqin art is mainly carried out in three ways: college teaching inheritance, guqin association inheritance and modern guqin museum inheritance. First, the school's teaching heritage. The professional direction of guqin performance has been established for more than 50 years. The earliest time that Guqin entered the school can be traced back to the early 20th century. CAI Yuanpei invited Wang Lu and Yang Shibai, the guqin players sent by Zhucheng, to teach in Peking University. Modern guqin education not only cultivates a large number of guqin talents, but also forms a certain scale of professional teaching and performance teams. Modern music education can make use of audio-visual multimedia, physical performance and other means to teach in the design of teaching programs, and the understanding of classical music and celebrity music allusions can also be taught in the way of appreciation through pictures and networks.

Second, the inheritance of the qin club. Under the current social and cultural background, traditional folk qin clubs are gradually transforming into professional institutions, similar to the current Yuqin Club. Taking the famous West Lake Qin Club as an example, the inheritance mode of Qin music is gradually becoming popular, expanding and transforming the function of Qin music in the public and commodity environment, and exploring the operation mode of qin music in the commodity market.

Third, the inheritance of modern piano museums. The appearance of the guqin pavilion first appeared in the early 20th century, especially after it was selected as the Intangible Cultural Heritage in 2003, with the rise of the "guqin fever", the guqin pavilion blossomed all over the country. The rise of modern guqin museums has not only met the increasing social demand, but also played a certain degree of inheritance function in the mining, sorting, research and training of guqin art.

Contemporary Cultural Significance and Value of Guqin Art

5.1 The Significance of Guqin Art in the Inheritance of National Traditional Culture

China has a 5,000-year history of cultural inheritance and development. The art of guqin is a culture created by the Chinese nation in China, and the cultural connotation and artistic value of guqin has lasted for thousands of years, which is the artistic essence of China's national culture. Guqin music culture is not only formed by the accumulation of the specific geographical environment, political and economic structure, aesthetic ideology, traditional philosophical thoughts and cosmology of the Chinese nation, but also passed down to the present after being recognized by the vast majority of the Chinese nation.

First, the art of guqin is the embodiment of Chinese civilization and the spiritual pillar of safeguarding national interests. As a product of Chinese social consciousness, the development and inheritance of traditional guqin music culture can not only enhance national self-esteem, pride, patriotic consciousness and feelings, but also help improve the consciousness of national subject. Therefore, carrying forward the traditional cultural spirit of guqin music is conducive to enhancing national cohesion.

Second, the correct ideas in traditional culture, such as values, moral standards and moral aspirations, can to some extent solve the problems of interpersonal relationship, morality and value in the commodity society. Therefore, the development and inheritance of traditional guqin music culture can not only resist and supervise individualism, money worship and other undesirable moral concepts, but also promote traditional cultural spirit, which is more conducive to the construction of socialist spiritual civilization with Chinese characteristics.

Thirdly, on the basis of inheriting the traditional music culture, we should also make it communicate, collide and integrate with the world human culture, so as to provide a strong space for its healthy development.

5.2 Difficulties in the development and inheritance of contemporary Guqin art

As a typical representative of Chinese folk music tradition, guqin art has received much attention from people of insight in today's major cultural transition. How to look at and inherit the guqin tradition and how to develop it in today's society has always been the common concern of the qin and music circles. However, the art of guqin has encountered difficulties in the course of its development and inheritance.

First, how to correctly handle and grasp the dialectical relationship between tradition and modernity. In the 21st century, guqin circles have different opinions on the development and inheritance of guqin. Apart from conflicting feelings, they also have different understandings on how to position guqin. Since the formation of Chinese culture, before Confucius, guqin has played both the function and role of music and cultural cultivation, and has been passed down continuously for three or four thousand years. Therefore, guqin, as a cultural tradition and humanistic cultivation, can not be ignored. Therefore, before inheriting the "traditional heritage", we must study and study it deeply, distinguish the essence and non-essence, excellent and dross through the test of time and practice, and carry on the traditional inheritance while spreading new development.

Second, the neglect of piano research. In the 20th century, the Chinese Music Research Institute led by Mr. Cha Fuxi made important contributions to the rescue work of sorting out old guqin materials, preserving ancient music records, and researching music records. However, these work has been stalled for a long time now, and it is urgent to continue. The Chinese Music Research Institute lacks a large number of guqin art researchers due to the reorganization of the organization and the disunity between the concept of cultural officials and professional piano players.

Third, the popularity is low. Guqin art itself is not a strong popularity, in ancient times is often the nobility or the palace of elegant music, and the lack of full understanding of traditional culture, modern guqin performance is also seen in public, do not pay enough attention to social communication leads to the low degree of guqin art foundation, it is difficult to get the great attention of the public, also make the guqin art into a dilemma of marginalization.

Fourth, the unprofessionalization of practitioners. After the application of guqin art to the World Heritage List was successful, a new phenomenon emerged in the field of guqin, with a growing number of proud guqin museums. Although the rise of modern guqin museums has met the increasing social needs, it has a certain degree of inheritance function in the exploration, sorting, research and training of guqin art.

Conclusion

With its long history, rich heritage, high cultural status and value, and many subjects to be studied, guqin has become an eye-catching representative instrument in national instrumental music. The change of social environment, the integration of Western music culture and the trend of modern commercialization are all unfavorable to the development and inheritance of guqin art to a certain extent.

Guqin art development up to now, has the vital significance in the contemporary social and cultural life and value, this article through to the history of the guqin art situation, development and innovation, of gu qin art in the contemporary music education in the value, the value of modern value and music therapy, provide material for the contemporary music creation, such as value, The paper analyzes and explores the significance of guqin art in the inheritance and development of Chinese traditional music culture, arouses thoughts on the inheritance and development of guqin art in the contemporary era, and puts forward relevant suggestions by analyzing the dilemma of guqin art in the contemporary development. Firstly, as an important traditional Chinese culture, the Chinese national spirit contained in guqin art is of great value. Inheriting, developing and carrying forward the excellent traditional culture of our nation plays an irreplaceable role in creating and developing the new socialist culture with Chinese characteristics. Chinese traditional music culture education is almost in the situation of breaking down in contemporary music education. The traditional education thought reflected by guqin art has enlightenments and values for contemporary music education.

References

Li Xiangting李祥霆.(2014). 古琴综议[A Comprehensive Discussion on Guqin][M]. 中国人民大学出版社[China Renmin University Press].

Zhang Bin张斌.(2014). 宋代古琴文化考论[A Study on Guqin Culture in Song Dynasty][M]. 南京大学出版社[Nanjing University Press].

Zhu Changwen.朱长文(2010). 琴史[A History of Qin][M]. 北京:中华书局[Beijing: Zhonghua Book Company].

Wu Zhao.吴钊(2006).传统与现代——中国古琴艺术面临的挑战[Tradition and Modernity -- Challenges Facing Chinese Guqin Art][J].人民音乐[People's Music], 2005(6)，22-24.

Zhan Qiaoling. 詹桥玲(2005).琴歌的历史与现状[History and Present Situation of Qinge][J]. 中国音乐学[Chinese Musicology], 2005(4)，99-101.

Zhang Huaying.章华英(2013).文人阶层消亡与当代古琴人文精神之缺失[The disappearance of Literati Class and the Absence of Contemporary Guqin Humanistic Spirit][J]. 艺术评论[Art Review],2013(9)，26-29.

Zhang Haitao.张海涛(2011). 古琴艺术当代发展思考[Thoughts on the Contemporary Development of Guqin Art][J]. 民族艺术研究[Ethnic Art Research], (02):52-57.

Terms and Expressions

the "Yellow Emperor": 黄帝

tablature：指法谱

the Palace Museum ：故宫博物馆

the Voyager Golden Record：旅行者金唱片

geographical isolation：地理隔绝

tempo：节奏、拍子

Organology：乐器学

Questions

1.What can guqin also be called?

2. According to legend, who were involved in the creation of guqin?

3. What has caused qin pai (琴派) over the centuries?

4.Who is the writer of Qin Fu 【琴賦】?

5.What is the earliest example of the modern shorthand tablature?

Answers

1.It can also be called qixianqin 「七絃琴」 ("seven-stringed instrument").

2.The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation.

3. Geographical isolation in China resulted in the development of many distinct qin schools known as qin pai (琴派) over the centuries.

4.Xi Kang 嵇康: Sage of the Bamboo Grove, musician and poet, writer of Qin Fu 【琴賦】.

5.The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石調幽蘭》 (Solitary Orchid in Stone Tablet Mode).

英语笔译 龙翰良 Long Hanliang 202170081589

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

Abstract

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

Key words

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

Introduction

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

Overall Design

The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK. Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

Test Assessment

The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time. At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

Means and methods

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

Textbook Compilation

1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

Classroom Teaching

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

Training of TCSL Teachers

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Conclusion

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

References

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

Terms and expressions

Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language） 国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

Questions

1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

Answers

1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

英语笔译 罗姚林 Luo Yaolin 202170081590

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

Abstract

Dialect is the language used by people in local areas, which has become a unified national language through economic and political centralization. Its formation is inseparable from economic and political concentration. According to the characteristics of dialects, the formation and development of dialects, China can be divided into seven regions where dialects are distributed, among which there are six dialects in the south.

Dialect whose study belongs to the field of linguistic research is regarded as units structurally dependent on higher level systems. The theories of dialect translation are mainly based on linguistic theories, such as the relevance theory and the language function theory. Dialect translation is not only a process of language conversion, but also involves cultural fields such as sociology, folklore and etc. The research on dialect translation at home and abroad mainly includes the methods of dialect translation, cultural aspect of dialect translation and the linguistic theories of dialect translation.

This paper is mainly divided into the following parts: in the first part, the distribution and current situation of Chinese dialects are briefly explained; The second part is a brief review and summary of the history of dialect translation studies. The third part introduces Eugene Nida's functional equivalence theory and combines it with dialect translation. The fourth part introduces Sichuan dialect; The fifth part is based on Eugene Nida's functional equivalence theory to illustrate dialect translation from Sichuan dialect examples. The last part is a summary of this paper.

Key Words

Dialect translation; Functional Equivalence Theory; Sichuan Dialect;

An Introduction of Chinese Dialects

In the process of the development of the Han society, different degrees of differentiation and unity have appeared, so the Chinese gradually produced dialects. Modern Chinese has a variety of dialects, which are spread over a wide area. The differences between different languages in modern Chinese are manifested in phonetics, vocabulary and grammar, especially in phonetics. But because these dialects and common language have certain phonetic regular corresponding vocabulary. There are also many similarities in grammar, so they are not independent languages. According to the characteristics of dialects, the history of their formation and development, and the results of the current investigation about dialects, dialects of modern Chinese can be divided into several different types.

At present, there is not a complete agreement on the division of modern Chinese dialects in Chinese linguistics. According to most people's opinion, there are seven dialects of modern Chinese.

The northern dialect, represented by Beijing dialect, is the basis of the common language of modern Han nationality. It has the widest geographical distribution, accounting for about 73% of the total Han population. The northern dialect can be divided into four sub-dialects, the first one is north China and Northeast China dialect distributed in Beijing and Tianjin. Hebei, Henan, Shandong, Liaoning, Jilin, Heilongjiang provinces and parts of Inner Mongolia Province. The second one is northwest dialect, which is distributed in Shaanxi, Shanxi, Gansu provinces and some areas of Qinghai, Ningxia and Inner Mongolia. The language used by the Han people in Xinjiang also belongs to the northwest dialect, while the southwest dialect is distributed in Sichuan and Yunnan, Guizhou and other provinces and most of the southeast corner of Hubei Province, except xianning area, northwestern Guangxi, northwestern Hunan and so on. The fourth one is Jianghuai Dialect, which is distributed in Anhui Province, Jiangsu Province and north of the Yangtze River.

The Hakka dialect is represented by Mei county( in the northwest of Guangdong Province) dialect in Guangdong province. Hakka people are distributed in Guangdong, Fujian, Taiwan, Jiangxi, Guangxi, Hunan, Sichuan and other provinces, mainly in the north and east of Guangdong Province, western of Fujian Province, southern of Jiangxi and southeast of Guangxi Provinces.

Xiang dialect, also known as Hunan dialect, is one of the seven Chinese dialects with a relatively small area of common use. There are many different languages in Hunan Province, among which Xiang dialect is the most influential one.

Wu dialect is customarily called Wu dialect, also called Jiangzhe dialect or Jiangnan dialect. Wu is the name of the ancient region, being used the prevailing region. Wu dialect is spoken in Jiangnan( the southern of the Yangtze River), southern Jiangsu, Shanghai, Zhejiang, northeastern Jiangxi, northwestern Fujian and part of southern Anhui Province.

Cantonese dialect is also known as Cantonese, commonly known as Cantonese, which is the seven dialects of Chinese language phenomenon is more complex, retain archaic characteristics and more ancient words, the internal differences of the dialect is popular in Guangdong, Guangxi Province, with Guangzhou as the center.

Fujian dialect, also called Min dialect, commonly known as Fu-Lao dialect, is the most complex language phenomenon and has the largest internal disagreement among the seven Chinese dialects. Min dialect is mainly spoken in fujian, Guangdong, Taiwan, southern Zhejiang and some areas in Jiangxi, Guangxi and Jiangsu provinces.

Gan dialect, also known as Gan language, is a dialect with a smaller area and the smallest population among the seven Chinese dialect regions. It is mainly spoken in Jiangxi Province.

Previous Studies on dialect translation

Since the 1990s, dialect translation has been included in the research of translation, which has gradually gone from strength both at home and abroad.

In 1996, Annie Brisset analyzed the relations between power, ideology and culture which arose from the translation between French used in Quebec and English used as the Canadian official language by means of corpus-based study on drama scripts.

After analyzing the early translations of Finnish writer Kalle Paatalo, Ritvaeppihalne (2000, P. 247-269) found that domestication was the main translation strategy to transfer dialects and most of Pãätalo's translations had a tendency of standardization. In his research, with the aid of parataxis, such as translator's translation instructions and reader's letters, Leppihalme indicated that the standardization of dialects had not posed a great challenge to their acceptance.

In 2007, Sánchez illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics. According to these relationships, Sánchez deemed that dialect translation was not only a translation for language, but also a translation for culture. Meanwhile, in 2009 Sánchez analyzed three Spanish translations, that were Pygmalion, Lady Chatterley's Lover and Wuthering Heights. His study found that the dialects in Spanish translations tended to be standardized compared with the originals, and their characteristics failed to be presented in the translations. Therefore, Sánchez concluded that regional dialects and social dialects were inseparable from the source language culture in terms of their region and culture, and were difficult to represent in translation.

The year 2011 witnessed the booming of dialect translation researches. ColiulsZabalbeascoa (2011, pp.113-130) argued that there existed a third language in addition to the source language and the target language. This third language can be a natural and existing language, a dialect or a variant, or a hypothetical and fictional language. They had summarized the translation mechanism and compensation strategies of the third language in the films, together with the possible translation effects that various translation methods put on. Remarkably, Translating Dialects and Languages of Minorities from the series of "'New Trends in Translatology" by Peter Lang Publishing House had come out in 2011. There are many articles in the book to study the translation of regional dialects, social dialects or minority languages from the viewpoint of ideology, poetics and other cultural perspectives.

José Manuel Rodíguez Heirera (2014, pp 278-294) held that the French, Spanish and Italian versions of The Adventure of Huckleberry Finn all tended to standardize American Black English, hindering the acceptance of the translations. Later on, in the article The Adventures of Huckleberry Finn and Jim in China: A Case of What Corpus Pragmatics Can Do for the Translation of Dialect", Henrera had proven that "corpus linguistics can greatly contribute to gauging whether dialect has been transcribed consistently or accurately" (Herrera, 2017, p.385)

Currently, Annie Brisset (2017, pp.127-156) drew attention to the Quebec stage of Shakespeare's works and analyzed the translation strategies employed in the translations of dialects. Additionally, Veronika Ritt-Benmimou dealt with "the preposition fi in the Bedouin dialect of Düz in Southern Tunisia, not in its well-known local and temporal functions, but rather as a marker of various, mainly progressive, durative and habitual aspects" (Ritt-Benmimoun, 2017, p.319) The study of dialect translation in China is later and less popular than that in foreign countries. At the beginning of the 20th century, Chinese academics set out to show their concerns on dialects for translation.

Taking Tess of the D'Urbervilles as his research object, Han Ziman (2002, pp.86-90) suggested that the dialects in Tess of the D'Urbervilles were hard for the translator to translate and the features of these dialects were also hard to represent. In the meanwhile, the dialect translation in the book even made it harder for readers to understand, although it was presented a rustic style.

Huang Zhonglian(2012,144) put forward seven kinds of dialect transformation mechanisms based on the four elements such as original dialect,standard original, standard translation and dialect in the target language.

Yu Jing has contributed a lot to the translation of dialect. In 2015. Yu explored six common methods of translating American literature into Chinese. and described the "gap" between each translation method and standard language forms ( 余静, 2015, p.107-110). In 2018, Yu Jing proposed a broad framework for dialect translation in general. a localized framework for descriptive studies of literary dialect translation, and a comprehensive and systematic framework capable of accommodating different areas of descriptive studies of dialect translation is also sketched, so as to facilitate the efforts by concerned Chinese researchers to find suitable issues for their research projects from this specialized area of inquiry(余静2018, p.19).

In addition, Sang Zhonggang(2015,pp. 935-944) discovered that most of the current western studies on the topic concerned are of literary corpus-based descriptive research generalizing the normalized dialect translation strategies and procedures, and domestic studies mainly deal with the critical-interpretive evaluation of dialect translation cases. Therefore,he brought up a new research approach to the process of dialect translation strategy-selection in light of Active Theory ( 桑仲刚, 2015,p. 935).

Wang Enke believed that the respective handling might be a key to the breakthrough of today's research lock and introduced readers, a new element , into the study of dialect translation, and then suggested that translation of dialects into dialects would facilitate the reproduction of the charm the dialects in the original have, and that the descriptive approach instead of the prescriptive one would further the study of dialect translation (王恩科, 2015, P.83).

Zhou Lingshun (2016, pp. 23-27) defined the concept of vernacular language, and pointed out that the critical study of vernacular language translation needs three research approaches: the diachronic investigation of one translator in terms of his different translations in different periods, the synchronic investigation of different translators, and the application of the updated evaluation models in translation practice and translation criticism.

Meanwhile, Wang Baorong and Xie Haifeng presented a critical review of current Western studies on four translation strategies the translator may opt for, observing that dialectal standardization and dialect-for-dialect translation are generally found to be extreme solutions. They proceeded to suggest several possible avenues of further research to improve the current lack of systematic and empirical studies in this fascinating research field (王宝荣&谢海丰, 2016, p.39) Additionally, Jiang Jing (2016, p. 123-131) focused on the literature review of foreign dialect translation studies in the past 30 years, especially the main progress and viewpoints in the aspects of dialect translation strategies, dialect translation and sociocultural context.

In conclusion, the researches on dialect translation suggest that the translation of dialects can be undertaken not only within the linguistic level, but also within the cultural level. Meanwhile, critical researches on translation and interpretive research under a theoretical framework are two main aspects involving in the study of dialect translation. Although the study of the dialect translation around the world has been at an initial stage, there has appeared a climax of dialect translation nowadays.

Functional Equivalence Theory

The famous American translator Eugene Nida constructed a huge theoretical system between 1960s and 1970s, the core of which is the functional equivalence theory, that is, target readers can understand the function of the original in the same way that the original readers understand the original. Equivalence theory includes formal equivalence and functional equivalence. The former one refers to the equivalence of the target language and the source text in form, emphasizing the information itself. The latter is to restructure the original text information and language structure in a flexible and appropriate way, so as to achieve the basic equivalence of the original text audience between the target language audience.

The predecessor of functional equivalence translation theory is dynamic equivalence, which originated from The Theory and Practice of Translation written by Nida in 1969. Dynamic equivalence consists of lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. The core of dynamic equivalence theory is to make the target language readers' response to the translation equivalent to the original language reader's response to the original. In short, it aims to achieve the closest natural equivalence of the translation. Such translation understanding of this point of view has exerted a great controversy, mainly manifested in the above four principles as the principle to measure whether the translation is good sometimes appears stiff and the functionality that translation is supposed to achieve is often overlooked. In order to change this measurement standard and strengthen the concept of function, Nida replaced the theory of dynamic equivalence with the concept of functional equivalence in 1993. Nida proposed that the translation should be smooth and natural, and the content should be vivid and expressive, so that readers' feelings and reactions are similar (谭载喜, 2004, 234). It can be seen that the core of the theoretical framework is functional equivalence, and the purpose of functional equivalence is to achieve equivalence between translation and original text in language function, rather than simple correspondence in language form(叶子南，2013).

Functional equivalence has three principles, namely accurately convey original information and style; The translation should be consistent with the grammar and expression habits of the target language and the reader's response should be similar, which requires the translator to have a full grasp of the connotation and spirit of the original text before starting the translation. Only in this way can the target language reader have an equivalent response to that of the original reader. In order to meet the above three criteria, it is inevitable that there will be irreconcilable contradictions between content and form. In this regard, Nida advocates that content is more important than form, because translators should seek equivalents rather than identical languages. In a sense, that is to emphasize the reproduction of the original information, rather than the preservation of its expression form. In addition, Nida also put forward three criteria for the quality of translation, which can make the audience understand the original text correctly. The translation language is concise and easy to understand, as well as the form is appropriate and attractive to the audience.

Case Study

Dialect reflects the integration of a nation and the inheritance of culture. Sichuan dialect, for example, has retained many ancient and middle ages colloquial expressions and words unique to the ancient ba( ancient Chongqing) language. In each area of Sichuan Province, the pronunciation of Sichuan dialect is also different, and there is often a case of polysemy. The meaning of the same word will change in different contexts.

The meaning of the same word may change in different contexts. In translation, in order to achieve the equivalence of communicative functions, the translator needs to fit the context and choose the most appropriate meaning.

e.g：瓜娃子。

The word "瓜娃子" is a characteristic word in Sichuan dialect. Its meaning can be roughly divided into three categories:(1) indicating nicknames between intimate relationships; (2) meaning that there's something wrong with one's nerves; (3) It means that someone is not smart enough to do something. The literal translation of "melon child" would be ironic if the translator did not understand its cultural context. Here are three examples to understand its interest and meaning.

Example 1：我的小瓜娃子，几天不见，好想你。

Analysis: Obviously, in such case, there is always room for translating the word"瓜娃子" into "darling","dear" and "Sweetheart". In translation, the translator can also understand the relationship between the speakers on the basis of the context, and further achieve functional equivalence.

Example 2：你看那个人在垃圾堆里捡东西吃，怕是个瓜娃子哦。

Analysis：The phrase “瓜娃子” in this sentence means insane, which can be translated as "neurotic insane". It takes a lot of work for the translator to achieve functional equivalence from the complete translation of words and phrases, and to convey the tone of surprise of the speaker.

Example 3：那么简单的事都做不好，真的是个瓜娃子。

Analysis：In this sentence, “瓜娃子”means that someone is not clever enough and not able to do things wisely.

e.g: 抻展

The word "抻展" in standard Chinese means to stretch something out. But in Sichuan dialect, the meaning of the word is quite different. It can be used to describe someone who looks good, or someone who does things well, who is beautiful, who dresses well, etc. In other words, the word is conjugated from a verb to an adjective with multiple meanings. In translation, the translator should first be able to understand the correct meaning of the word in different contexts to achieve equivalence in vocabulary selection, and then adjust syntax, part of speech, tone, etc., so as to make the reader feel roughly the same and achieve functional equivalence.


example 1: 小明你把这道题搞抻展没得?

Analysis: In this sentence, the phrase "抻展" can be described as understand, figure out and so on. While here in this case, it can be thought as" figure out" or "work out". According to the context, we can easily find that its meaning is mainly known as "figure out".

example 2: 她今天穿的还算抻展。

Analysis: In this context, the phrase "抻展" can be translated as "well fitting", "decently"。In order to realize the equivalence of communicative functions, we should pay attention to the change of parts of speech. "抻展" in the original sentence is an adverb, but actually, it is used as an adjective to describe clothes, so it would be better to translate it into an adjective.

example 3: 他长得好抻展啊，不愧是校草。

Analysis: With no doubt, "抻展" in this sentence means "handsome", "good looking", "attractive" and so on. When it comes to describe women, we have more options depending on the context. For a little girl, it can be translated as "cute" and "beautiful". For a young woman, it can be translated as "attractive", "sexy" and so on. An older woman can be described as "intellectual", "elegant"and "graceful".

example 4: 耙耳朵

The word“耙耳朵” originates from a kind of ear in Chengdu bicycle (soft cushion), which is invented by men in Chengdu for their wives so that they could sit more comfortably in the back seat. Some streets in Chengdu can still see a small number of such bicycles. The expression evolved to today, meaning "hen-pecked wife's man ". In Sichuan, the term is both humorous but meanwhile full of praise, because the man who is afraid of his wife shows that he has a deep love for his wife, and also demonstrates that men in Sichuan generally have a kind of virtue. "耙" means "soft", if translated literally as "soft ear", which is obviously wrong, and foreign readers or listeners will not understand its connotation. In order to achieve the equivalence of communicative functions, translators need take the method of free translation, looking for similar western cultural background, such as "hen-pecked husband".

example 5: 假老练

Do you still Remember Tom and Jerry? In the Sichuan dialect version, the cat, originally named Tom, is given a funny name called "fake sophisticated", because in Sichuan dialect, this phrase fits Tom's character, that is, he pretends to have experienced a lot while actually he knows nothing, which is similar a kind of banter of "puffing up your face and pretending to be fat".

In the everyday language of Sichuan dialect, we also often use "fake sophisticated "to describe this type of person. But it is often difficult for the translator to find the corresponding word, with "witling" barely working, but only to achieve equivalence at the lexical level. To truly achieve functional equivalence, the translator should adopt the method of translation and interpretation.

example 5：梭边边

analysis：One of the characteristics of Sichuan dialect is the use of reduplication. Translators all know that reduplication in Chinese is translated into English by omitting translation, adding translation and changing parts of speech and so on to achieve the functional equivalence. Then, the translation of reduplication in Sichuan dialect will also encounter the same problem. For example, "梭边边" means "slip away or evade responsibility", which can not be found in the translation of the corresponding verb, thus the translation has to find a relevant similar translation, saying "avoid responsibility".

Another example is "鱼摆摆", which actually refers to "fish", "pendulum" is just an expression of image in Sichuan dialect, describing fish swimming in the water. A similar phrase is "睡告告", which means "go to bed"or "sleep";"吃莽莽 "which means "have a meal"; "吃嘎嘎" means "eat meat".

There is also the word "火瞟瞟"，which is used to describe "burning pain". In translation, the translator can use addition and free translation in order to achieve the equivalence of its communicative functions; And "光咚咚", which means "without clothes".

There are also AABB-like refrains such as "咔咔咯咯", which means" a corner that is difficult to find". When translating, the translator has to translate it according to the specific context for translating as "corner", "gap", "a place hard to find" and so on.

The above is a translation of some dialects used in daily life. Next, we will talk about the subtitle translation of Sichuan and Chongqing dialects, and discuss how to apply functional equivalence theory through the film anonymous.

With the globalization of the world and the acceleration of the process of cultural diversity, cultural exchanges between countries are becoming more frequent. More and more high-quality Chinese films are going to the whole world through the medium of subtitle translation. To disseminate unique Chinese culture and consciousness to the outside world. A Cool Fish is a Chinese dialect film featured by Chongqing dialect( the southwest dialect). It has been well received in China and received warm response abroad.

As a film with unique characteristics of southwest China, it should achieve the purpose of cultural exchange, which requires that the subtitle translation of the film not only makes the translation response to the original with vivid, appropriate and natural way of good faith to the purpose and the audience, but also on the basis of the text, makes the maximum reduction of emotional attitude, style and characteristics. The goal is to make the audience has a similar spiritual experience with the original audience. It coincided with the Nida's functional equivalence theory, that the purpose is to make the audience's reaction to the translation is basically the same as the original English audience's reaction to the original text. Therefore, the following cases, based on the functional equivalence theory, analyzes the translation strategies used by the film translator and its quality.

example: 你莫骗老子哈。

Translation: Don't you make a fool of me?

Analysis: This scene is the two men( one called "Glass" and the other one is " the Big Head" ) were hiding at the heroin, Ma Jiaqi's home after robing at the phone store. Glass was asking Ma whether the liquid medicine would make him feel painful when the Big Head was applying unction for him. In Chongqing dialect, “莫”means "no", "don't"; the original meaning of the sentence is warming Ma not playing trick on him, but the word " lie" is not able to express the tone of teasing. Therefore, it is translated as" make a fool of me", which has such meaning. Here the literal translation is chosen to accurately express the attitude and convey the original text 's style and message.

example 2: 老子耍女人的时候你娃还在吃鼻屎！

translation: I was already a womanizer when you were still shitting your pants!

The so-called free translation, that is, only faithful to the content of the original text, but not confined to the original text (Meng Qingsheng, 2009). In the example, Glass does not admit that he does not have girlfriend and he is still a virgin. In the original text, "Boose-eating," refers to an unworldly child. If the literal translation would make the foreign audience feel disgusting and unacceptable, the translator is here translated as "shit one's pants", referring to children who pee their pants, and the texts correspond to each other, both faithful to the original text and considering the audience's feelings.

Example 3: 等于是你永远不会睡着嘛？

Translation: Will you never fall asleep?

In the case, the underlined part was omitted in the translation. The translator sacrifices the original form to translate in an appropriate way to show its spirit, essence and content( Zoe, 1995). In this case,Ma is threatening Glass, and if he would leave, Ma will cry out for help. This is what the Glass put forward to deal with Ma's trick. In Chongqing dialect, “等于是”means"难不成”、“难道, which is often in interrogative sentence. There is no exact equivalent words or phrases in English. So the translation delete it. It will not affect the purpose and the audience's understanding of the original text, but make the translation more concise and more in line with the requirements of subtitle translation.

This paper analyzes and summarizes the translation of the subtitle of the film--A Cool Fish--under the guidance of functional equivalence theory. The subtitle translation strategy of Chongqing Dialect is flexible, translation strategies including deletion, reconstruction, literal translation and free translation, all of which are used in the faithful manner. Based on the faithful expression about the original text, the characteristics of Chongqing dialect are fully displayed, and to a large extent, the original retained the appeal and attraction of the audience and the original audience to achieve the same film experience and effect, and finally achieve Nida's "functional equivalence".

Conclusion

Translating dialects is a very interesting practice. Even if it is a simple word, its meaning changes a lot. The translator can choose the most appropriate one from Nida's functional equivalence theory to realize lexical equivalence; Try to achieve syntactic equivalence through appropriately taking use of translating methods including changing the part of speech; Then according to the context and speakers' relationships, grasping the tone of translation, and finally realizing the equivalence of communication functions.

The translator should not blindly pursue the brevity of language to use "hard translation" or "dead translation", which would make the translation hard to understand and inconsistent with linguistic habits of the target language readers. On the contrary, the translator should be appropriately make use of addition, omission, changing part of speech and the word order to make the translation fluent and natural, achieve functional equivalence and truly realize communication between local residents and tourists or readers.

Through the above translation and analysis of Sichuan and Chongqing dialect that we can see, Nida's functional equivalence theory is applicable to the translation of dialects. The core of his theory is that the translation should be smooth and easy to translate, which means that after reading, the reader's reaction is similar to that of the original reader and finally achieve dynamic equivalence, that is, to achieve lexical, syntactic, textual and stylistic equivalence, but the ultimate goal is to achieve communicative function. In dialect translation, in order to make the target language audience know the fun and charm of the language and feel the regional cultural characteristics, namely, to achieve the equivalence of communicative functions, in translation, the translator should make appropriate addition, omission and free translation, etc. In the era of globalization, people matter on the one hand keeping pace with the times to speak standardized mandarin and to learn standardized English; and on the other hand, people should well keep the language treasure house left by their ancestors and inherit the characteristics of its nation.

References

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Terms and expressions

relevance theory 关联理论

language function theory 语言功能理论

sociology 社会学

Pygmalion 《匹格玛利翁》

Lady Chatterley's Lover 《 查泰莱夫人的情人》

Wuthering Heights 《呼啸山庄》

The Adventure of Huckleberry Finn 《哈克贝利费恩历险记》

Tess of the D'Urbervilles 《德伯家的苔丝》

functional equivalence theory 功能对等理论

The Theory and Practice of Translation 《翻译理论与实践》

A Cool Fish 无名之辈

Questions

1. How many local dialects in China?

2. which dialect is spoken in Zhejiang Province?

3.Who illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics?

4. The phrase "瓜娃子" means that someone is "smart", true or false?

5.What unique characteristic does the film A Cool Fish featuring?

Anwsers

1.Seven

2.Wu dialect

3.Sánchez

4.False

5. Chongqing dialect

英语笔译 马艳焕 Ma Yanhuan 202170081591

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

Abstract

Folktales, also known as ancient sayings and ancient classics, are mostly spread in oral form, with exaggerated plots and fantasies, which mostly show people's good intentions, and often endure with the course of human growth. The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially shaped in Feng Menglong's "General words of warning the World" in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation. In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination.

===Key words===Differences； adaptation； folktale； The Legend of the White Snake

Introduction

Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories. Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times. The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories.

I. the process of adaptation of the Legend of the White Snake.

1. The Python incident originating from Luoyang in the Tang Dynasty. According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of the Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles." So he attacked it with the Tianzhu mantra, and the snake died a few days later. Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu. 2. The Tang Dynasty‘s Legend —the White Snake In the early 9th century, Yuanhe Year of Tang Xianzong Reign Period, a rich son named Li Huang(李黄）met a beautiful woman in white in the East City of Chang'an. The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days. Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head. The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes. 3. Song Dialect--the Chronicles of the three Pagodas of the West Lake (see the vernacular of Pingshantang in the Qing Dynasty) When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart. With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den. Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas. 4. Ming Dynasty— Feng Menglong's The Lady in White Weighing down the Leifeng Pagoda （《白娘子永镇雷峰塔》）in the Stories to Warn Men(《警世通言》）It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him. Later，they became the couple.After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear. Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife. After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring. Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Leifeng and caught White and Green Snakes in the Pagoda. 5. Qing Dynasty version. During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda". The main framework of the story of the White Snake has been largely completed since then. The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake. Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda. In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman. Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late. 6. Modern adapted version. Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939. The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady. Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man. The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on.

II.The Differences and Reasons of the Adapted Version.

1. White snake image. Since the beginning of the story of White Snake in the Tang Dynasty, the image of White Snake has changed greatly. By bringing the new white snake image into the evolution system of the white snake story after the middle of the 20th century, from the perspective of both sexes, we can find that the evolution of the white snake image in the eyes of men can be divided into three stages: banshee, good wife and lover. According to the different descriptions of the white snake by men in these three stages, the emotional type of the human snake goes through the changing process of lust, kindness and love, and the relationship between human and snake changes from alienation to intimacy to alienation under different emotional states. From the point of view of the discourse right of both men and women, this is actually a process in which women represented by White Snake "do not have their own discourse system-being incorporated into male discourse system-begin to establish their own discourse system". The evolution of the image of White Snake is actually a process from a demon to a woman, and then to a truly independent person [1]. The author believes that the evolution of the white snake image is mainly divided into three stages, namely, demon-human-immortal. The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake". Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men. The animalistic side of her transcends the human side. The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market. In the later TV series Legend of the New White Lady, the reason why the White Lady played by Zhao Yazhi was so popular was that she created a perfectly idealistic female image. She was not only beautiful and considerate, but also a gentle and virtuous wife and mother; moreover, she was the embodiment of the Quan Yin Bodhisattva and was the embodiment of the Quan Yin Bodhisattva, completing the transformation from a demon to an immortal, which not only beautified women, but also conformed to the vision of men's expectations.

2. Attitude towards women. The change in the image of White Snake shows a change in attitude towards women. Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status.

3. Storyline. In the process of evolution, the story of the White Snake is constantly enriching and deepening. From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "The Flooding of Jinshan Temple（水漫金山）", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete.

4. The story ends. It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten. White Snake evolved from the tragedy of being suppressed at first to the happy ending of a family reunion later. Before modern times, the ending of White Snake was divided into two kinds, one was Yongzhen under Leifeng Pagoda, and the other was the happy ending of White Snake rescued by his son Xu Shilin's sacrificial Pagoda. But in both endings, White Snake is the passive party and can only wait to be rescued by others. Later, Tian Han adapted the Legend of the White Snake and adapted the ending into the Green Snake to destroy the Leifeng Pagoda and save the White Snake, reflecting the spirit of self-rescue and resistance of the oppressed.

5. The ways of spreading folktales. The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television. At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added. In the past two decades, the rise of the National Cartoon has promoted the development of anime films.

The reason for the change: 1. The decline of totem（图腾） faith. The primitive ancestors worshipped snakes because they believed that snakes had some supernatural power and formed kinship with snakes so that snakes would not harm them, so they chose snakes, a powerful and ferocious natural creature, as the object of tribal worship to show closeness for protection. This lays the foundation for the possibility of human serpent love in folktales. However, since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased. Slowly, people have abandoned their belief in totem, leaving only fear without respect. Snake venom can kill people, the image is ugly and omnipresent, and people feel horrible and disgusting, leaving only the image of harm [2].

2. The influence of the literati's concept of "beauty disaster（红颜祸水）". The white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the evil demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. Warning word, self-evident [1].

3. Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties. Gifted scholars and beauties refer to talented men and beautiful women, and generally refer to talented men and women. The life of ordinary people is not satisfactory. They expect to have a partner with both ability and political integrity and a happy and stable family. The only way for the lower class to change their fate is to get fame, but at that time, most people were often depressed, so they wrote stories about talented scholars and beauty to place their dreams that could not be realized. therefore, when creating the image of the White Snake, it is more inclined toward the wife, expressing people's vision of better family life.

4. Ideological Emancipation Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification.

'5. The Development of Science and Technology The development of science and technology has given birth to a new way of transmission. In an era when there was no television or film, people could only spread stories orally or in writing. With the industrial revolution and the development of information technology, people slowly innovated the presentation of literature, resulting in the emergence of television and movies, as well as later animation.

The value and significance of the continuous adaptation of folktales

1. Enrich the content of folk stories. In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education but also enriches people's recreational life because of its cultural connotation. The Legend of the White Snake develops from a single story ending at first to a happy ending with ups and downs later, which shows that the adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales. 2. It helps to expand the audience and promote the inheritance of intangible cultural heritage. The legend of the White Snake in Hangzhou, Zhejiang Province is a bright pearl in Chinese folk literature. The characters such as Bai Niangzi, Xu Xian, Fahai, and Xiaoqing express the broad masses of people's desire for the liberation of human nature and are the precious spiritual and cultural heritage of the Chinese nation. Because of a large number of ancient traditional customs preserved in the legend, the Legend of White Snake has become one of the oral heritages with the richest folk cultural information in China and was selected into the first batch of the national intangible cultural heritage list in 2006. The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales. 3. A peek into the change in society and the change in people's thinking. Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness. In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love. As the director of the Legend of the White Snake said, the heroine Bai 11 has a certain embodiment of modern female values on self-growth and how to pursue more powerfully and autonomously, reflecting the way modern men and women think about love. It emphasizes the positive materialism that the leading actors are unwilling to succumb to the arrangement of fate and strive to rewrite their own destiny and protect the people in the world[4].

Conclusion

If folktales want to spread forever and endure, they must be integrated into the spirit of the times through innovative means and spread the old culture in new forms. The reason for the adaptation of the Legend of the White Snake is not only the influence of the creator's subjective factors but also the limitation of objective factors such as the cultural concept and the development of science and technology at that time. It is this kind of adaptation that not only makes people see the traditional culture contained in folktales, but also injects new vitality into Chinese traditional culture, brings new educational significance to each generation, and gives folktales more connotations of the times. to meet the trend of today's historical development, in line with the aesthetic taste of more people. And by virtue of novel ways of presentation to attract more audiences and promote the spread of Chinese culture.

References

  • [1]Chen Shunan陈舒楠（2018）.由妖到人:从两性视角看白蛇形象的演变[J].中华女子学院学报,2018,30(05):97-102.DOI:10.13277/j.cnki.jcwu.2018.05.013.
  • [2]Fang Hongying方红英(2014). 白娘子形象演变研究[D].曲阜师范大学Qufu Normal University.
  • [3]Song Luyun,Li Wanjiao宋璐云，李婉娇（2020）《白蛇传》：白娘子的前世今生_故事 (sohu.com)。
  • [4]https://xueqiu.com/5868117133/110046322

Questions

1. The Legend of White Snake is one of four folktales of China, True or False? 2. Why have people abandoned the belief of snakes in totems? 3. When was The Legend of White Snake listed as intangible cultural heritage?

Questions

1. True 2. Since the agricultural economy, people have gradually been able to correctly understand nature, and their ability to dominate nature has gradually become larger, so the worship of snakes has also decreased. 3. 2006

英语笔译 聂薇 Nie Wei 202170081592

Cultural Factors Behind the Spring Festival Travel Rush in China
聂薇

Introduction

Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)

The evolution of the Spring Festival travel rush

As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)


(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem Longing for Going Back Home in the New Year, “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)


(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the People's Daily. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)

Cultural factors behind the Spring Festival travel rush in China

The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)


(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, The Divine Child, says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)


(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)


(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)


(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Way of relieving pressure from the rush

Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)

The prevalence of the Anti-Spring Festival travel rush

In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)

Conclusion

No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)

Terms and expressions

Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲

References

  • Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].鄂州大学学报Journal of Ezhou University (2):27-29.
  • Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].浙江经济Zhejiang Economy (4):32-33.
  • Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].商周刊Business Weekly (2):82.
  • Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].新余高专学报Journal of Xinyu High School (1):34-36.
  • Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].新纪实New Chronicles (1):84:87.
  • Fei Xiaotong 费孝通.(2013).乡土中国[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.

Questions

1.How long does the Spring Festival travel rush usually last? A.30 days B.40 days C.50 days D.60 days

2.Which one of the following group is not the main reason that results to the rush? A.Migrant workers B.Students C.Those planning to visit relatives D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion? A.Confucian culture B.Taoist culture C.Buddhist culture D.Christian culture

Answers

1.40days

2.Tourists

3.Confucian culture

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