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202270081634 关娜 Guan Na 英语笔译(English translation)

The Ancient Architecture Culture in Shanxi

关娜Guan Na, 202270081634

Abstract

Shanxi is acclaimed as "Museum of Ancient China Architecture," because of many well-preserved ancient architectures seen in this place. Bearing ancestors’ wisdom and emotion, these buildings habour certain historical and cultural values. This paper will mainly show the reasons why these architectures are preserved well and some cultural connotations in terms of carving art and ancestral temples.

Key Words

Ancient Chinese architecture, Carving art, Ancestral temples

题目

山西古建筑文化

摘要

山西历史悠久灿烂，文脉绵延不绝，是中国古建筑遗存最多的省份，且品类众多，保存完好，被誉为“中国古代建筑博物馆”。这些建筑承载着先人的智慧和情感，具有一定的历史文化价值。本文将主要从雕刻艺术与祠堂两方面阐述古建筑文化以及其保存完好的原因。

关键词

中国古建筑，雕刻艺术，祠堂

Introduction

Located in the middle reaches of the Yellow River, Shanxi, with its unique mountains and rivers and abundant natural treasures, is deeply rooted in the Chinese civilization, which preserves the most complete memory of the Chinese civilization during the five thousand years. In the long historical evolution, rich and valuable cultural resources have been accumulated, from the famous Buddhist holy land to the incomparable treasure house of ancient architectures, from the hometown of Guan Gong, who is loyal, righteous and courageous, to the home of Jin merchants. Shanxi culture has lasted for five thousand years, distributed throughout the province and every cultural brand is shining with the brilliance of human civilization.

1.The development of ancient architecture in Shanxi

The reasons why these architectures are preserved so well are as follows. First of all, Shanxi is one of the birthplace of Chinese nation, known as the cradle of Chinese civilization. From the Emperor Yan and Huang on, it is a populous and prosperous place. Over time, as the frontiers changed and the cultural center slowly shifted, Shanxi was gradually declining. However, even now, the culture in Shanxi is still antique, occupying a special place. There is such a saying that Shanxi culture accumulated in the long history embodies the essence of Chinese civilization, which has left an indelible mark throughout the history. Secondly, Shanxi, as the Chinese largest province of cultural relics, also lies in residents’ enthusiasms for religious rites and activities, and hearts of worshiping God ancestors. The local people deeply love this place. Even Jin merchants traveled all over the country and overseas, they still cherished and missed their homeland. And when they were old, they would come back to repair their ancestral houses and maintain their clans with honors. Finally, it is inseparable from the unique geographical climate and peaceful environment. It has a dry climate and few termites, which avoids the risk of insect bites. This place is surrounded by mountains on three sides, with its crustal structure relatively stable. In addition, there is rarely big military conflict. Throughout the history, it is less subjected to natural and man-made disasters luckily, becoming Chinese famous cultural relics province. （Li Ting, 2016）

2.1 Carving art and culture

Carving is an important element in traditional Chinese architectural decoration. If the building is compared to the human body, then the carving can be regarded as the clothes worn by the building. It is because of the carving technique that the building or architecture itself becomes more meaningful. The art of ancient Chinese architecture originated in Qin and Han dynasties, flourished in Tang and Song dynasties, and lasted in Ming and Qing Dynasties. The continuous development and progress of architectural technology and art also brought constant changes and updates of the carving art. According to different materials, carving is divided into three kinds: brick carving, stone carving and wood carving, which are largely identical but with minor differences in forms of performance. In Shanxi Province, which has the most civilization on earth, the carving technique has its own style. Temple buildings or architectures in Wutai Mountain, such as Nanshan Temple, Longquan Temple and Guandi Temple in Haizhou, are famous for their stone carvings. The courtyards in Jinzhong area, such as Qiaojia Courtyard and Wangjia Courtyard, are featured with brick carvings. The dwellings of Ming and Qing dynasties, such as Dingcun dwellings in southern Shanxi, are more famous for their wood carvings. Taoist temples occupy a large proportion in Shanxi ancient architecture. As a kind of religious architecture, its architectures naturally pursue long-term preservation, so they mainly focus on stone carving. Talking about stone carving, we have to talk about the shadow wall building in Wutai Mountain. Its colorful forms are generally summed up as "one" shape, goose-wing shape and Chinese character "eight"-shape. Its rich and various carving themes include animal and plant patterns, human figures, scriptures and historical legends. (Zhou Zhuying, 2015)

2.2 Ancestral temples culture

Ancestral temples are the window to understand the spiritual world and cultural connotation of a place. From the perspective of the whole country, Shanxi retains a relatively large number of ancestral halls or temples with relatively intact buildings. Temples are widely distributed and scattered, which can be seen everywhere. Among them, there are more than 30 typical ones, distributed in Taiyuan, Jincheng, Xinzhou, Jiexiu and Yuncheng. Throughout the history, Chinese people have a sense of worship for their ancestors, sages, gods, natural landscapes, etc. Especially in the folk, there are always ancestral halls in every village, offering sacrifices to various objects, from mountain, water, sky and earth to ancient philosophers and patriarchs. Temple styles are also various, with both primitive and exquisite folk houses and magnificent palaces habouring their own characteristics, which have rich cultural connotations and unique artistic values. Among these temples, Jinci is now the largest garden-style temple complex in Shanxi. And for its rich cultural heritage and historic importance, it was proclaimed one of the important cultural relics under the protection of the state in 1961. Its layout is different from other traditional Chinese temple buildings. Along an east-west axis are situated the traditional-style gateway to the compound and a number of major memorial structures, which lead to the passage through to the Holy Mother Hall, the main shrine of the temple complex with auxiliary buildings on either side. The Jinci Temple is closely linked to the Sanjin culture. It not only represents local cultural traditions and ancient architectural features in Shanxi more than 2,500 years ago, but also shows great wisdom and historical legends of the ancient Chinese people to the modern world. Jinci Temple culture is based on the basic social structure of clan and family, which are kept by the traditional agricultural society. The personalization of Jinci temple landscape finally appears in the appearance of Shuyu and the Holy Mother, which reflects Shanxi's unique concept of filial piety and strong local worship and regional concept. (Li Jie, 2013)

Conclusion

In conclusion, carving art and ancestral temples are valuable heritages of ancient architectures culture in Shanxi, which possess distinctive creative characteristics and the marks of the times. They are also reflect the glorious civilization of ancient China.

References

[1]李婷.二十五集专题片《凝固的音符——山西古建筑》导览[J].大众文艺,2016(04):185.

[2]周祝英.五台山佛寺影壁艺术初探[J].五台山研究,2015(02):44-53.

[3]李洁. 晋祠的造园艺术研究[D].北京林业大学,2013.

Terms and Expressions

砖雕brick carving

石雕stone carving

木雕wood carving

祠堂ancestral temples

晋祠Jinci

圣母殿the Holy Mother Hall

Questions

1.Why can ancient architectures in Shanxi be well preserved?

2.According to different materials, carvings can be divided into_, _ and _.

Answers

Correct answers are:

1.First of all, Shanxi is one of the birthplace of Chinese nation, known as the cradle of Chinese civilization. From the Emperor Yan and Huang on, it is a populous and prosperous place. Secondly, Shanxi, as the Chinese largest province of cultural relics, also lies in residents’ enthusiasms for religious rites and activities, and hearts of worshiping God ancestors. Finally, it is inseparable from the unique geographical climate and peaceful environment.

2.brick carving, stone carving and wood carving

Chinese "Hot Water" Culture

郝天钰，Hao Tianyu, 202270081685

Abstract

When a girl gets sick, the most common words she will hear is "to drink more hot water"; When you see an Asian drinking hot water in foreign country, you can quickly determine that it is a Chinese person. Whether the older or younger generation in China, "hot water" seems to be a panacea for all diseases. "Drinking hot water" has long been deeply rooted in the hearts of every Chinese person, becoming one of the most representative Chinese culture.

Key Words

"Drinking hot water", Wellness philosophy, Cultural phenomena, Chinese peculiar

Introduction

"Drink more hot water" has appeared unexpectedly many times in the daily communication of Chinese, and has become a phenomenon of Chinese culture. This paper examines the current situation and historical origin of the "drinking more hot water" in Chinese culture, as well as the humanistic feelings behind this cultural phenomenon, and discusses whether "drinking more hot water" really works and how we should understand this cultural phenomenon. It has been concluded that the unique cultural phenomenon of "drinking more hot water" in China is the result of the development of specific historical reasons, and we should understand the reasons for its formation and treat it rationally.

Bodies

"Drink more hot water" appears many times in Chinese social situations, when someone has a cold or stomachache, when a girl suffers from menstrual pain, others often use "drink more hot water" as a comforting response. In today's online culture, "drink more hot water" also means a perfunctory attitude, because people use it as a response to any problem. In Chinese's daily life, "drinking more hot water" is indeed often used as a way for Chinese to cope with some small problems, such as cold, fever, stomachache, cough and so on. Chinese uses hot water as an almost universal elixir, as if it cures everything. In addition, some Chinese, especially the elderly, believe that hot water has a certain health function, and they drink hot water as a health habit to insist on doing it every day, sometimes brewing some tea and Chinese herbal medicines. Why only Chinese like to drink hot water? "Drink more hot water" seems to be a cultural phenomenon unique to China. It does not occur in other countries, not even in Japan and South Korea, which are most influenced by Chinese culture. In countries other than China, most people don't drink hot water all year round, and they even add ice to the water in winter. In some Western homes, there is no such thing as a hot water pot, while in China every family does. In ancient China, there was a habit of drinking hot water, and traces on ceramics found by Chinese archaeologists prove that Chinese had the habit of drinking hot water almost 10,000 years ago. Chinese documents two thousand years ago recorded people's habit of drinking hot water, and in the Analects of Confucius, there is a record that "seeing badly is like exploring hot water"; In Mencius, there is a record of "drinking hot water in winter". However, because of the high cost of ancient fuel, the habit of drinking hot water has only really spread to ordinary households in modern times. In the 70s, government propaganda records included "solving the problem of fuel shortage and improving the problem of drinking boiled water for the masses". The habit of drinking hot water has been promoted to every household for nearly a hundred years, and the government's slogan is "water is not turned on, do not drink". Even in kindergarten, children are taught to drink three glasses of boiling water a day. Nowadays, every Chinese is drinking hot water. Does drinking hot water really work? Can hot water really solve those problems? Drinking hot water is actually drinking boiled water. In the past, when water purification technology was not developed, there were impurities and viruses and bacteria in the water sources that humans drank, threatening human health, so people must drink boiled water to stay healthy. It's an experience that is engraved in our genes. In the Chinese concept, tap water cannot be drunk directly. The reality is that tap water that has not been boiled cannot be directly ingested. According to the water quality survey of relevant institutions, the quality of tap water in China does not meet the standard of direct entrance, and the water that has not been boiled is hard water, and the hard water ions in it will affect the taste and health. I think that because Chinese have the habit of drinking boiled water, China has not invested much energy and money in water purification technology. Traditional Chinese medicine believes that drinking hot water for some people known as yin and cold physique has the effect of enhancing yang qi, and has the function of promoting digestion and absorption, blood circulation, metabolism and so on in the human body. Drinking hot water can also be used as an adjunct to certain ailments, such as cold caused by colds. In addition, according to studies, drinking hot water can relieve the six major symptoms of colds, including runny nose, sneezing, sore throat, cough, cold, and tiredness. Drinking hot water also has a placebo effect. In Chinese culture, elders teach the next generation that drinking hot water is a habit that is good for health, and it is a elixir that can solve various problems, so drinking hot water can make people feel comfortable. However, drinking hot water can also be harmful to health. Some Chinese scholars have found that the intake of hot water and food increases the risk of esophageal cancer by twofold. It is worth emphasizing that this refers to high-temperature drinks and food, more than sixty degrees Celsius.

Conclusion

In conclusion, although hot water is not really a panacea, it is a humanistic concern in Chinese culture representing care and expectation of health. Hot water really works in some ways, but we should treat it sensibly and see your doctor if you have real problems.

Reference

[1]Saketkhoo K, Januszkiewicz A, Sackner MA. (1978). [Effects of drinking hot water, cold water, and chicken soup on nasal mucus velocity and nasal airflow resistance]. Chest .74:408-410. [2]Sanu A, Eccles R. (2008). [The effects of a hot drink on nasal airflow and symptoms of common cold and flu]. Rhinology .46(4):271-5 [3]Wu Xiaohong 吴小红, ZhangChi 张驰.（2012）.中国仙人洞遗址两万年陶器[Early Pottery at 20,000 Years Ago in Xianrendong Cave ,China]. 科学Science. [4]Farhad Islami, Paolo Bofetta, Jian Songren. (2009). [High - temperature beverages and Foods and Esophageal Cancer Risk -- A Systematic Review]. Int J Cancer.125(3):491-524. [5]TaiWeiPing 邰伟平, Nie Guo聂郭, Chen Meng陈梦.(2017). 热食和饮料消费和食道鳞状细胞癌的风险[Hot food and beverage consumption and the risk of esophageal squamous cell carcinoma].药物 Medicine.

Terms and Expressions

1.panacea n. hypothetical remedy for all ills or diseases; once sought by the alchemists 灵丹妙药；万能药 2.humanistic adj. A humanistic idea, condition, or practice relates to humanism. 人文主义的 3.perfunctory adj. A perfunctory action is done quickly and carelessly, and shows a lack of interest in what you are doing. 敷衍的; 潦草的 4.elixir n. An elixir is a liquid that is considered to have magical powers. 灵丹妙药 5.purification n. the act of cleaning by getting rid of impurities 净化；提纯；涤罪 6.esophageal adj. relating to the esophagus 食管的；食道的

Questions

1. The time when hot water culture really became popular in China was: A. in the past hundred years B. twenty thousand years ago C. two thousand years ago D. 10,000 years ago 2. The reasons why drinking hot water has become a habit of Chinese are not included: A. Drinking boiled water to stay healthy is an experience engraved in genes B. Drinking hot water can relieve the symptoms of a cold C. Drinking hot water has a placebo effect D. Drinking hot water is a panacea for everything 3. The reason why tap water in China cannot be drunk directly does not include: A. The quality of tap water in China does not meet the standard of direct drinking B. Tap water in China is hard water, and hard water ions affect the taste of water and human health C. Chinese didn't invest much money and effort in water purification technology D. The publicity effect of mineral water and bottled water merchants 4. The author's attitude towards drinking more hot water is: A. Approve B. Against C. Sensibly D. Doubtful 5. Which of the following is true: A. The earliest documented drinking of hot water in China was 10,000 years ago B. Drinking hot water can lead to a twofold increased risk of esophageal cancer C. TCM believes that drinking hot water can increase yang qi D. The reasons for the popularity of hot water culture in China do not include government promotion

Answers

Correct answers are: 1. A 2. D 3. D 4. C 5. C

202270081704 何茉 He Mo 日语笔译（Japanese translation）

Tradition of group dances outside for elder people

何茉 He Mo，202270081704

Abstract

In public places of China, it is common to see a group of elderly people dancing. This dance is called square dance.In the context of vigorous advocacy of national fitness by Chinese government,square dance, as a kind of recreational fitness dance with wide participation, is popular among elder people.This paper mainly analyzes the origin ,development and types of square dance for the elderly.

Key Words

group dances;square dances;fitness function

Introduction

In China，the group dances outside for elder people are usually called square dances。Square dance is organized in public places by the masses on their own initiative, and the participants are mostly middle-aged and elderly people, among whom there are mostly older women. Square dance is a dance created by non-professional dancers and belonging to the general public。Because of the different nationalities, regions, and groups, so the forms of square dances are also different.

Origin

If we trace the history of dance, we will find that most of dances in the primitive period were group dances, such as the image of dances on the "the painted pottery basin of dancing" excavated in Daitong County, Qinghai Province, which is the "primitive-type square dance" of early humans. Also，the folk dances that have survived through history are basically group dances with different purposes and motives. [1] The earliest group dances were regarded as an important part of religious rituals and were regarded as a primitive religious cultural symbol. With the establishment of Rite and Music System in the Zhou Dynasty, group dances were given a political function. In the Han Dynasty, Liu Bang re-established Rite and Music System and set up "Yuefu". As an official institution to collect and compile folk music in the folk, "Yuefu" opened the channel between folk music and court music, so that the political function of group dances began to shift to entertainment function.[2]

Development

After the 20th century, there were several booms of group dances in China.In 1938, in order to meet the needs of the situation in the war , the Central Committee of the Communist Party of China planned to lead the literary and artistic activities. In 1942, Chairman Mao rectified the unhealthy tendency of Yan'an's literature and arts, which set off a boom of Yangko dances. During the Cultural Revolution, as the public's personal admiration for Chairman Mao reached a climax, people across the country danced Loyalty dances. In a square or a parade line to show their heartfelt devotion to the leader.[3]After the Economic Reform And Open Up,group dances became the embodiment of Chinese people's search for spiritual liberation. At that time，indoor group dances such as social dances and disco dances were sought after by the general public.In the 1990s, with the decline of ballrooms and the construction of squares in many cities, many former social dancers or disco enthusiasts began to turn to squares. In 1995, the State Council promulgated the "National Fitness Program Outline", which gradually promoted the boom of national fitness. The fitness function of square dance is becoming more and more prominent, and more elder people choose to use it as a way to enrich their personal life. In the 21st century, with the development and promotion of the new rural construction movement,square dance gradually spread from urban to rural areas. By now,square dance has become a symbol of popular culture, showing its strong vitality.[4]

Types

Nowadays, group dances outside for elder people generally refers to square dances. The main characteristics of square dances are collective, self-entertainment, spontaneous and random,and it has developed into many types. In terms of the form of expression, square dances can be divided into five types: the first is the primitive square dance, which is an ancient folk dance form that has not been eroded by "modern culture" and is the closest to the natural geographical environment with a strong local flavor.The second is the innovative modern square dance, which is innovative on the basis of the primitive dance and folk dance with a shorter history. The third is the tap square dance, which is a form of square dance improved on the basis of tap dance,and can effectively exercise the knee and ankle joints of the elderly. The fourth is the stepping square dance, which comes from the ancient stepping dance, and inherited the main features of the stepping dance that dancers need step out in an orderly manner with the clear,soothing and soft rhythm of music. The fifth is the impromptu square dance, which is a kind of free dance that everyone can dance as long as there is music without any restrictions such as time, space, theme, meaning and so on , so this kind of dance adapt to a wide range of people,and may be the true sense of the national fitness dance.[5]

Conclusion

China has the tradition of group dances since ancient times, and it can be said to be the origin of modern square dance.Group dances were mainly for rituals before the Zhou Dynasty.With the change of times. group dances has a function of entertainment. After the 20th century, there were several booms of group dances in China such as the booms of Yangko dance,loyalty dance and social dance.However, it was not until the Economic Reform And Open Up that square dance began to emerge.Especially in the 21st century, with the construction of cities and the growing demands for spiritual culture,square dance has rapidly spread and developed. Because it can both exercise the body and relieve loneliness, it is quite popular among the elderly groups, and has developed into many different types.

Reference

[1]Shi Hong史红.广场舞:正·别·思[Positivie Factor,Distinctive Factor and Ponder about Square Dancing][J].都市文化研究Urban Cultural Studies,2021(02):352-364. [2]Zhu Qing朱青. 论西汉皇室舞人的舞蹈艺术[A Study of the Dance Art of the Imperial Family Dancers in the Western Han Dynasty][D].Shanxi Normal Universty陕西师范大学,2010. [3]Yang Tao杨陶. 我国广场舞的历史演变及发展策略研究[Research on the Historical Evolution and Development Strategy of Chinese Square Dance][D].Shanxi Normal Universty陕西师范大学,2016. [4]Yang Jun,Chen Dongmei杨君,陈冬梅.广场舞的演变历史与城市大众文化属性分析[The History of Public Square Dancing and the Attribute Analysis of Urban Mass Culture[J].城市观察Urban Insight,2021,No.75(05):147-153. [5]Deng Xiaodong邓晓东.广场舞发展进程中的分类研究[On Classifications of Square Dance][J].体育科技文献通报Bulletin of Sport and Technology,2014,22(04):89-90.

Terms and Expressions

the painted pottery basin of dancing 舞蹈彩陶盆 Rite and Music System 礼乐制度 Yuefu 乐府 Yangko dance 秧歌舞 Loyalty dance 忠字舞 the Economic Reform And Open Up 改革开放 primitive square dance原生态广场舞 innovative modern square dance创新现代广场舞 tap square dance踢踏广场舞 stepping square dance 踏歌广场舞 impromptu square dance即兴广场舞

Questions

What was the function of the earliest group dances？ A.entertainment function B.fitness function C.political function D.religious function 2.When did group dance begin to have a political function？ A.In the Zhou Dynasty B.In the Xia Dynasty C.In the Han Dynasty D.In the Qin Dynasty 3.Which of the following booms of group dances were set off during the 20th century？（multi choice question） A.the boom of Yangko dances B.the boom of Loyalty dances C.the boom of social dances D.the boom of folk dances 4.Which of the following belong to the types of square dance?（multi choice question） A.stepping square dance B.tap square dance C.primitive square dance D.impromptu square dance

Answers

1.D 2.A 3.ABC 4.ABCD

202270081708 贺沛 He Pei 朝鲜语笔译(Korean translation)

Chinese Korean National Minority Costume

贺沛 He Pei，202270081708

Abstract

 The Korean culture in China has a deep relationship with the culture of the Korean Peninsula, and the Korean clothing has distinct national characteristics, and with the cultural characteristics of the alpine region. The traditional dress of the Korean nationality is mainly white, which symbolizes purity, kindness, nobility and holiness, presenting a simple and elegant style. Therefore, the Korean nationality is known as the "white-dressed nation".

Key words

Traditional costume; The Korean national minority; National costume feature

Introduction

Clothing is a unique cultural symbol, which represents the development process of human civilization and shows the history of human cultural development. The colorful national costume is the symbol of the history and culture of all ethnic groups, and is an important part of national culture, reflecting the unity of practical culture and aesthetic culture. National dress is one of the symbols that distinguish a nation from other nations, and is also an important symbol of mutual identification among different nations. Our country is a big family composed of 56 nationalities. Due to the different ethnic and different regional cultural differences, various ethnic folk costumes have different connotation and extension in emotional language and culture. As a member of the big Chinese family, the Korean nationality in China also has its own unique and colorful costume culture. In the early 20th century, with the penetration of modern economy, woven fabrics, silk, satin and other fabrics began to be introduced into the areas inhabited by the Korean ethnic group. Influenced by this, the colors of the Korean ethnic group's clothing also became diverse. The traditional Korean costume is gradually formed in the long period of production and life of the Korean nation, which retains the remarkable characteristics of the Korean folk costume. In addition, it also inherited many characteristics of the Central Plains costume in the Sui and Tang dynasties, and has extremely important value in the study of costume history. On June 7, 2008, Korean clothing was approved by The State Council to be included in the second batch of national intangible cultural heritage list.

Costume Style

Most of the Korean people in China are a minority gradually formed after they migrated from the Korean Peninsula to the northeast in the late Qing Dynasty. They live in a concentrated community at the border of China, Russia and Korea. The style of traditional Korean clothing is characterized by natural and soft streamline. The top creates the beauty of lines, while the skirt mainly reflects the beauty of wrinkles through thin pleats, and the pants show the beauty of loose and comfortable style. The Korean traditional men's wear mainly consists of jacket, trousers, vest and robe. The jacket is loose and short, with a collar, but not upright. The collar is lined with white collar, so that it can be disassembled and washed frequently. The right front of the jacket is in the inside, the left front is outside, and the jacket belt is tied on the right chest with a certain style of buckle, mostly in the shape of a half bow. The shoulder is covered in the jacket, with satin as the face and fur or cloth as the inside. It has three pockets, five buttons and different colors and patterns. Pants loose and fat, waist especially fat, from right to left cover, and then tie the belt. Dressed casually and easily, suitable for his habit of sitting cross-legged. Korean traditional women's wear has pants, skirt, jacket, robe, with yellow jacket pink skirt as a typical. The woman's coat was very short, with rounded sleeves and a bow tied with two long straps on the left and right side of the front. The collar is round, the front and the hem are slightly curved, the lines are soft and the colors are varied. The collar and cuffs of the jacket are lined with strips of different colors.

Pattern and Accessory

Korean clothing is perfect only with accessories. Such as exquisite embroidered headbands, embroidered purses and light colored boat shoes. Under the bow tie of traditional Korean clothing, a tassel is often hung. The decoration on the tassel is a jade carving or a small silver sword. There is a loop above and a long silk tassel hanging below, which echoes the costume and forms the overall aesthetic. Among the Korean iconic patterns are long drums and ribbons representing Korean characteristics, symbolizing good luck and joy. The long streamers of the elephant hat form the outline of Changbai Mountain, which together with the long drum and the elephant hat form a symbolic pattern, showing the festive atmosphere and ethnic characteristics.

Color Matching

Although white is the main color of Korean clothing, ancestors have already formed a natural color concept with cyan, purple, yellow, white and black as the main color according to the "Theory of Yin and Yang and the five elements", showing a unique color collocation and reflecting national emotions, which is also the unique characteristics of Korean National Minority Costume. Green and red dresses, yellow and red dresses and rainbow satin are excellent examples of color coordination and matching of Korean clothing.

Conclusion

With the development of the society, the traditional Korean clothing tends to be more diversified, and the characteristics of traditional clothing are often combined in the daily clothing. Traditional national costumes have unique artistic value and practical value, but also carry the national history and culture and humanistic customs. Inheriting the traditional culture is a long way to go. I believe that the Korean traditional dress will still shine in the future.

References

[1]张红梅.浅谈朝鲜族民族服饰的传承[J].商场现代化,2011(06):96 [2]孙菲.浅析朝鲜族服饰特点和形成原因[J].南宁职业技术学院学报,2011,16(04):22-24. [3]沈福实.朝鲜族传统服饰的款式特征研究[J].大众文艺,2017(02):152. [4]李桂淑.朝鲜族服饰的特征与审美内涵[J].装饰,2006(06):17.DOI:10.16272/j.cnki.cn11- 1392/j.2006.06.010. [5] 沈福实.朝鲜族传统服饰的色彩美研究[J].安徽文学(下半月),2010(09):94.

Terms and Expressions

朝鲜族服饰：Chinese Korean National Minority Costume 朝鲜半岛：Korean Peninsula 白衣民族：white-dressed nation 阴阳五行说：the Theory of Yin and Yang and the five elements

Questions

What is the Korean Nationality also called ? What period of characteristics have Chinese Korean National Minority Costume inherited ? What do long drums and ribbons symbolize ?

Answers

The white-dressed nation. The Sui and Tang dynasties. Good luck and joy.

202270081686 侯永芬 Hou Yongfen 英语口译(English interpretation)

The Popularity of Chinese Han Clothing(Hanfu) among Young People

侯永芬 Hou Yongfen，202270081686

Abstract

From the cultural performance into the public life, the integration of Hanfu and daily life is in a progressive state. Several years ago, Hanfu came into the public eyes and was performed on many occasions. In recent years, it is common to see young people wearing Hanfu to take photos. Especially during holidays and festivals, there are more people wearing Hanfu and the cultural atmosphere of these places are matched with the cultural connotation of Hanfu. This paper would briefly analyze the phenomenon of the revival of Hanfu.

Key words

Chinese Han clothing, popular, young people

题目

汉服在年轻人中越来越流行

摘要

从文化表演到日常生活，汉服与日常生活的融合处于一个渐进的状态。几年前，汉服进入了公众的视野，并在许多场合表演。近年来，经常能看到年轻人穿着汉服拍照。尤其是在节假日，穿汉服的人比较多，这些地方的文化氛围与汉服的文化内涵相匹配。本文将简要分析汉服的复兴现象。

关键词

汉服， 欢迎度，年轻人

Introduction

The so-called "Hanfu", also known as Han clothing, Han clothing, fine clothing. In the Chinese literature, it has three meanings: first, it refers to the clothing of the Han Dynasty in Chinese history; The second is the "national costume" of Huaxia, Han or Han nationality; Third, the clothing of the Han nationality. In recent years, Hanfu has become a visual symbol of China's Renaissance, as authorities promote greater national pride and cultural confidence. A fashion-conscious younger generation, encouraged by the authorities, has turned Hanfu into a way to express themselves and tie it closely to historical traditions.（Song Huimin,2021,28）

The phenomenon of the popularity of Hanfu

Hanfu has become popular on the streets of major Chinese cities in recent years, as more and more young people see wearing it as a fashion statement and cultural identity. Hanfu first appeared in the public eye in November 2003, when Wang Letian, a worker, took to the streets wearing the Hanfu he sewed. This is regarded as the starting point of the "Hanfu Revival Movement". Fang Wenshan, also a Hanfu lover, launched the Xitang Hanfu Cultural Week in 2013, encouraging young people to wear Hanfu and go out into the streets of the ancient town. When asked why he was so interested in Hanfu, Fang said in a later interview, "The recognition and attribution of that clothing make me feel that it's a pity not to promote it. Cultural identity can change our life, and add business value into Hanfu." He also believes that Hanfu needs to be modernized.( Zhuang Pinghi,2021,10)

Hanfu includes a variety of costumes from different periods in Chinese history. The popular styles at present mainly come from the Tang, Song, and Ming dynasties. They usually consist of flowing robes in bright colors and delicately embroidered skirts. The Hanfu nowadays is not the same as what people wore in ancient times, but the trend still has a positive effect on the promotion of authentic Hanfu displayed in museums and other places.

The reasons of the popularity of Hanfu among young people

There are many good costumed drama series in recent years. Many young people are attracted by these clothing and want to imitate the characters because they look beautiful in Hanfu. Nearly 70% of young people said the main reason they buy Hanfu is to promote traditional culture, with "good looks" listed as a secondary reason. (Danniel Bell,2019,56) But according to media reports, most Hanfu fans still tend to wear Hanfu only when taking photos with friends or during traditional festivals. Hanfu emphasizes the aesthetic taste of elegance and elegance, and its wide clothes and large sleeves are very suitable for the slow and leisure pace of life. People's consumption of modern Hanfu focuses more on its aesthetic and symbolic functions.

The meaning of the popularity of Hanfu

China, with a history of five thousand years, is getting stronger and stronger. In the whole process of the great rejuvenation, the Han costume, as a garment, can be seen as a good start. The revival of Hanfu is the reconstruction of national confidence and the revival of culture. Clothing is just a carrier of the whole five thousand years of Chinese civilization. If through a piece of clothing, one can read the history and understand the events of that year and see through the essence of history in the repetition as well as eliminate the dross and take its essence, then the clothing will have its real meaning. Only when people have a strong interest in Hanfu will they want to learn more about it to restore its historical accuracy."(Zhao Wenjing,2019,38)

Conclusion

If through a piece of clothing, one can understand the events of that year, read the history to clarify one's vision, see through the essence of history in the repetition, eliminate the dross and take its essence, then the clothing will have its real meaning. From the small circle to the scene performance, to the traditional festival wearing traditional costumes, to the Hanfu wedding coming-of-age ceremony, to the daily park to take beautiful photos. Hanfu seems to be getting closer and closer to us. Maybe one day, inadvertently, in the street, there will always see one or two people wearing Han clothing, but no one will be surprised, because, this is our clothing ah. The best way to preserve tradition is to adapt it to modern life. "We have set the goal of building a strong culture by 2035. I believe that during this period, we will see the continued popularity of traditional clothing.

References

Song Huimin 宋慧敏. (2021). 汉服热传播现象研究 [Research on the spreading phenomenon of Hanfu Hot]. 英语世界 The World of English(10) 28-32. Zhuang Pinghi 庄屏卉. (2021). 年轻人推动汉服文化复兴 [Young people are promoting the revival of Hanfu culture]. 英语世界 The World of English(8)10-12. Danniel Bell 丹尼尔贝尔. (2019). 年轻人为何痴迷汉服 [Why are young people obsessed with Hanfu]. 疯狂英语 Crazy English(2)55-56. Zhao Wenjing 赵文静. (2019). 汉服热对中华文化传播的意义 [The significance of Hanfu Hot to the spread of Chinese culture]. 中国日报 China Daily(2)38-39.

Terms and Expressions

China's Renaissance 中国式文艺复兴 cultural connotation 文化内涵 cultural identity 文化认同 Hanfu Revival Movement 汉服复兴运动 Xitang Hanfu Cultural Week 西塘汉服文化周

Questions

How many different meanings does Hanfu has? According to media reports, when do most Hanfu fans wear Hanfu? What are the popular styles of Hanfu at present mainly come from?

Answers

3. When they are taking photos with friends or during traditional festivals. The Tang, Song, and Ming dynasties.

202270081687 胡欣怡 Hu Xinyi 英语口译(English interpretation)

Taboos in Chinese Culture

胡欣怡Hu Xinyi,202270081687

Abstract

Every culture has its own taboos, and Chinese culture is no exception. Taboos are the products of society and culture, and they appeared a long time ago in Chinese history. Generally, taboos mean "not allowed" or "forbidden". As a product of traditional society, taboos exist in every corner of life and affect our life. For example, taboos can be seen in people's names, digits, objects, people, festivals, etc. This thesis mainly introduces and analyzes the aspects above.

Key Words

Taboos, Culture, Communication

题目

中国文化中的禁忌

摘要

每种文化都有自己的禁忌，中国文化也不例外。禁忌是社会文化的产物，在中国历史上由来已久。一般来说，禁忌的意思是“不允许”或“禁止”。禁忌作为传统社会的产物，存在于生活的每一个角落，影响着我们的生活。例如，禁忌出现在人名、数字、春节、赠礼等方面。本文主要从以上几个方面进行介绍和分析。

关键词

禁忌，文化，交流

Introduction

Every country and nation in the world has different cultures, and each culture has different taboos. These taboos come into being with the emergence of culture, change with the popularization of science, and are left behind by the tide of the development of the times. most of them are charm and symbols that we can't lose. Today, when the language is not yet common in the world, failure to understand the taboos and folk customs between countries will form a major obstacle to people's social communication activities, especially in the field of cross-cultural communication, and even lead to disputes and riots. In daily communication, breaking taboos often leads to serious consequences such as the breakdown of friendships, the failure of deals, ethnic conflicts, and so on. Therefore, it is necessary to have a certain understanding of cultural taboos, avoid unnecessary conflicts and promote the harmonious development of society. (Hou Jianjun,2007,24)

Names

In China, it is considered extremely impolite to address elders and superiors by their first names. In ancient times, the names of emperors, officers, and ancestors were all taboo objects, which should be avoided as far as possible when speaking and writing. The words used in the emperor's name, including homonyms, are forbidden to be used on all occasions, so there are various taboo methods such as changing to synonyms or synonyms. For example, Gaozu of the Han Dynasty was called Bang, so all the words "邦（Bang）" were changed to "国（Guo）" in the documents of the Han Dynasty. When every new emperor ascends the throne, there are always a large number of people who must change their names. In modern society, the first name is no longer taboo, but the family address is usually used when talking to elders in the family, and social address is usually used when talking to the leader of the unit, which is a common social etiquette. However, there are few such taboos in Western culture, and in some places children can call their elders by their first names, which is considered rebellious in China, Japan, and most of Asia. (Jiang Xiaoping,2001,75)

Numbers

Seeing from the cultural sources, the numbers 6,8,9, and even numbers, except for 4, are the favorite numbers of the Chinese people from ancient times. This is a very good example of Chinese euphony culture. In the long history of cultural development, the phenomenon of pursuing these numbers is very popular. Number"8" is auspicious because it sounds the same as "发"(fa), which means"be going to get more and more prosper and wealth"; and"9" sounds the same as "久"(jiu), which means"longevity" and"forever" in Chinese. Number 4 is considered an unlucky number in China. Chinese people try their best to avoid using the number"4" because it sounds like" 死"(si) in Chinese, which has the meaning of"death" in English. It is very common to find there is no Number 4 Bus in many Chinese cities and no Room Number 4 in the hospital. In some Chinese traditional Festivals especially during the Spring Festival, it is the first taboo to say the number 4. The telephone number which contains a"4" always has a discount to attract consumers, because few people are willing to buy an "unlucky number".( Yan W J, Wang Y R,2001)

Spring Festival

Don't sweep the floor on the first day of the Lunar New year. Sweeping the floor on the first day of the Lunar New year means that all the wealth of the year will be swept away. If you accidentally spill something, it's OK to sweep, but don't sweep outside. The rubbish should be stored first and then dumped in a few days. Do not say words with bad meanings such as death, killing, pain, illness, etc. This kind of remark is unlucky and cannot be said during the Spring Festival. Besides, asking for debts is not allowed at this festival. It usually means taking things from others, which will bring bad lucks to others and ourselves. Moreover, children had better not cry or be criticized. Everyone hopes that this year can get off to a good start, so we hope that the family will be harmonious, warm, and happy during the Spring Festival. Children crying can ruin their luck, and children who are scolded during this period may be considered to be scolded throughout the year. (Zhao D Y,2002) It is also forbidden to break things during the Spring Festival, which means that many things will not be smooth and successful, and at the beginning of the year, everyone pays great attention to perfection. Don't quarrel during the Spring Festival. We often say that peace makes money, and peace is the most precious thing. Quarrels during the Spring Festival may also affect the fortune of the year. (Li Guojiang,2013,71)

Gifts

There are also many taboos about giving gifts. Gifts are originally intended to convey good friendship and deepen people's feelings, but if they violate some taboos because they do not understand, they will cause misunderstandings. Clocks cannot be given as gifts. Because giving clocks means “送钟” in Chinese, which implies “let somebody go die”. It is considered unlucky; green hats cannot be given to a man as a gift, and the word "green hat" has a special meaning in China, that is, one’s wife cheating; chrysanthemums are flowers for funerals, so chrysanthemums, no matter what color they are, should not be given as gifts. In many places, it is also taboo to give "pears" and "umbrellas", because both of them imply “separation”; shoes are generally not suitable as gifts, because if the shoes are relatively small and do not fit, it means "穿小鞋（wear small shoes）", and it means retaliation and embarrassment. Knives, swords, and other sharp weapons are easy to hurt people, and as the saying goes, there is a saying that "make a thorough break", which is used to give people away. So it is generally not given as a gift. (Qian W,2007,214)

Conclusion

The scope of cultural taboos is very broad. When communicating with people from other nationalities and countries, it is necessary to understand cultural taboos. In this way, many conflicts and misunderstandings can be avoided and good relations can be established.

References

[1]侯建军.中西文化禁忌比较[J].商场现代化,2007,(22):243-244.

[2]蒋晓萍.跨文化交际中的言语与习俗禁忌[J].衡阳师范学院学报(社会科学),2001(01):75-78.

[3]Yan W J, Wang Y R . A Comparative Analysis of Preferences and Taboos in Numbers between Chinese and English[J]. Overseas English, 2011.

[4]李国江.春节与禁忌信仰[J].济南大学学报(社会科学版),2013,23(01):71-76+92.

[5] Zhao D Y. On the Chinese Taboos in Traditional Festivals[J]. Journal of Dalian College of Education, 2002.

[6] Qian W, Razzaque M A, Keng K A. Chinese cultural values and gift‐giving behavior[J]. Journal of Consumer Marketing, 2007, 24(4):214-228.

Terms and Expressions

Taboo 禁忌

Spring Festival 春节

Numbers 数字

Names 名字

Gift 礼物

Questions

1.[T/F] In ancient times, the names of emperors, officers, and ancestors were all taboo objects, which should be avoided as far as possible when speaking and writing.

2. Which of the following numbers is considered unlucky?

A.6

B.8

C.4

D.9

3. During the Spring Festival, what are the things that should be avoided?

A.Sweep the floor on the first day of the Lunar New year.

B.Say words with bad meanings

C.asking for debts

D.Scold children

E.All of the above

4.[T/F] Clocks, umbrellas, knives and swords should not be given as gifts.

Answers

The correct answers are: 1.T 2.C 3.E 4.T

202270081688 黄安安 Huang Anan 英语口译(English interpretation)

Chinese Clan Culture

黄安安Huang Anan,202270081688

Abstract

The clan, a uniquely Chinese marker, is a family in which family members grow and gradually form a clan in order to reproduce offspring. In ancient times, a large family would have many descendants, and we often speak of eighteen generations of ancestors, also showing the prosperity of the clan, as well as the development and longevity of the clan culture.

Key Words

Clans; Clan culture; Clan origins; Ancestral halls;

题目

中国宗族文化

摘要

宗族，是中国独有的标记，在一个家族中，为了繁衍后代，家族成员不断增长，渐渐地形成一个宗族。古代中，一个大家族，会有许多后代，我们常说祖宗十八代，也表现宗族的昌盛，同时也是宗族文化的发达与悠久。

关键词

宗族;宗族文化;宗族起源;祠堂;

Introduction

The clan culture, as a social phenomenon that is cognate with the feudal dictatorship, has continued to develop in the vast rural areas of China despite fundamental changes in the political and economic foundations. Apart from political and economic factors, this is also closely related to the logic of clan culture's own development, which is rooted in the characteristics of rural Chinese society, such as immobility, closed society, kinship and differential order.（Tao Qin，2016，29）.The clan system, in a broad sense, is a group of people linked by blood, who form an inseparable group through fixed rules, with institutions, possessions, ways of changing their heritage and rules of mutual assistance and is a miniature of a nation. This is why the phrase "the country is a big family, the family is a small country" is actually a description of the clan system.

The Origin of the Clan

There is a difference between a clan and a family. A clan can be a family, but a clan is a family with the same surname and consists of several families with a very large number of members and a long history, and of course there was a family first and then gradually developed into a clan, which is an evolutionary process. And the clan is predominantly male, after all, in Chinese society it is the male who inherits the clan. From ancient times, when humans lived in groups, families began to appear, while in a clan, it was all the same surname. The origins of surnames in China are very early, dating back to the Xia, Shang and Zhou periods, while during the Spring and Autumn periods, the Hundred Chinese Family Names gradually took shape, with many surnames representing a vassal state, and this was all due to the formation of the feudal system.（Qian Zongfan,1987,117）

Ancestral Halls in China

Each family name has its own ancestral hall in different places, built in memory of its ancestors, and this becomes a place for future generations to remember their ancestors. Ancestors who have made a name for themselves are also listed on the tablets. The construction of ancestral halls or clan halls differs according to the place. Ancestral halls are built by a single family name, such as the Li Ancestral Hall and the Chen Ancestral Hall. Whereas in the north there are relatively few ancestral halls and many clans rely on genealogical records, in the south they are relatively numerous and flourishing, all due to various historical reasons. Among the famous ancestral halls in the south are those of the Hakka culture, which is relatively unique and belongs to the Han culture. As a result, its ancestral hall culture is relatively strong, and the Hakka people also attach importance to their own clan culture. In order to highlight the grandness and clan culture of the ancestral hall, excellence was pursued in the construction. The architecture is rational and the craftsmanship is exquisite, highlighting the strong clan culture. Ancestral halls are generally two, three or five halls. The unique architecture built in Chinese style has high requirements for murals, carvings and calligraphy. As the ancestral hall is a sacred place for the Hakka people, it is one of the more glorious of the township buildings, ornately decorated and magnificent in scale, making it instantly recognizable.（Chang Jianhua，2021） Why did the Chinese build ancestral halls? In ancient times, feudalism prevailed in China, in an authoritarian system divided into several parts, 1: the regime, 2: the divine power and 3: the clan power. Regime was the business of the court, divine power was the power of the gods and ghosts of heaven and earth, mostly derived from religion, and clan power was the power of the patriarch of a clan. In believing in ghosts and gods, the Chinese invented a number of rituals to worship them in respect. There is a set way of speaking about the heaven and the ghosts and gods. In the vast rural areas, when an old man dies, a master comes to overtake him, which is inherited and proves that the Chinese respect their ancestors.（Lu Pinwen,2018,118）

The importance that the Chinese attach to their clans

As a country with a long heritage of civilization, it also attaches great importance to the transmission of its own culture. Compared to other countries, Chinese culture is unique in the world. The clan culture is also part of Chinese culture and the importance attached to the clan is also a way of identifying with the culture. In the minds of the Chinese, it is the glorious wonders created by our ancestors that are remembered by our descendants, and this has led many people to respect their forefathers. And the construction of a clan temple is a way of honoring our ancestors and reminding future generations of the hard work of their ancestors. In the south, a clan name, the building of a clan shrine, is very necessary. In the Chinese clan culture, the words "glorify the ancestors" are still occasionally uttered by successful people who believe that working hard to move forward is the way to "make a name for oneself and glorify the ancestors". The emperor and the local government would also award a plaque to a person for his or her performance or righteous deeds, and the family would hang it in the ancestral hall as an honor. It was a great honor for the family to become a legally recognized and distinguished clan.（Zhong Jiayan,2011,185）

Conclusion

The clan culture is the cultural root of a family name, and the Hundred Family Name is one of the cultures of the Chinese nation. To build a clan house in order not to interrupt one's own culture means not to let the culture be uninterrupted, as well as to value one's own culture. From the origins of the clan to the formation of the clan culture, this is part of the long history of Chinese civilization. From a world perspective, Chinese culture is brilliant and unique, and clan culture is a long-standing part of Chinese culture.

References

[1]陶勤.乡土社会与宗族文化——浅谈中国农村宗族文化的乡土根源[J].文化产业研究,2016(03):29-39. [2]常建华.明清南方宗族研究的新探索(2015—2019)[J].中国区域文化研究,2021(01):3-21. [3]钱宗范.中国古代原始宗法制度的起源和特点——兼论宗族奴隶制和宗法封建制[J].北京社会科学,1987(02):117-120. [4]钟嘉妍.社会形态与宗族文化——略论中国宋代以来的宗族变化与发展[J].黑河学刊,2011(11):185-189. [5][1]卢品文.祠堂文化特色及其保护研究——以长汀为例[J].中小企业管理与科技(中旬刊),2018(12):118-119.

Terms and Expressions

宗族Clan 祠堂Ancestral Hall 百家姓 Hundred Chinese Family Names 分封制The Enfeoffment System 客家Hakka 诸侯国Vassal State 

Questions

1.The origins of our family name can be traced back to which period? . A.The Xia, Shang and Zhou periods. B.The Spring and Autumn periods. C.The Warring States period. D.The Song Dynasty. . 2. What are the reasons for establishing a ancestral temple？ . A.For the development of the clan. B.To glorify our ancestors. C.In memory of our ancestors. D.To carry on the family tradition. . 3.What are the logical roots of clan culture's own development.（Multiple choices） . A.immobility. B.kinship. C.differential order. D.closed society. . 4. What are the cultural roots of clan culture . A.Hundred Chinese Family Names. B.First name. C.Given name. D.Family name. .

Answers

Correct answers are: 1.A 2.C 3.ABCD 4.D

202270081689 黄舒威 Huang Shuwei 英语口译(English interpretation)

Chinese Residential Architectural Style in Different Regions

黄舒威Huang Shuwei 202270081689

Abstract

中国各地的居住建筑（又称民居）是各地居民自己设计建造的具有一定代表性、富有地方特色的民家住宅，是一种最基本的建筑类型。它包含住宅以及其延伸出的居住环境，在世界建筑史上出现最早，分布最广，数量也最多。由于中国疆域辽阔，民族众多，各地的地理气候条件和生活方式都不相同，因此，各地人居住的房屋的平面布局、结构方法、造型风格以及细部特征样式也不相同，淳朴自然而又有着各自的特色。 Residential buildings (also known as folk houses) in various parts of China are representative and local residential buildings designed and built by local residents themselves, which are the most basic building type. They include residence and their extended living environment, which are the earliest, the most widely distributed and the largest in the history of world architecture. Due to China's vast territory, numerous nationalities, and different geographical and climatic conditions and lifestyles, the plane layout, structural methods, modeling styles and detailed characteristics of the houses that people live in are also different, which are simple, natural and have their own characteristics.

Key words

Residential buildings; geographical conditions; lifestyle

Introduction

China is a large agricultural country. Local culture is the basis and blood of Chinese culture, and is the most national and colorful part of Chinese culture. Among them, a large number of ancient villages and towns and ancient folk buildings with considerable cultural value are the most precious heritage with national characteristics in China and the aesthetic representation of Chinese traditional culture. Residential buildings are representative symbols and cultural carriers in Chinese traditional culture. Among them, the most distinctive ones are Shanghai Longtang in the east of China, the Yaodongs in the north of Shaanxi in the west, the Stilted Building in the south, and Beijing Siheyuan in the north.

Shanghai Longtang

Longtang, a unique residential form in Shanghai, was once inseparable from the lives of thousands of Shanghai citizens. Many stories, allusions, celebrities and memories are closely linked with Shikumen and pavilions. It can be said that without a lane, there would be no Shanghai, let alone Shanghainese. Lane formed the most important architectural features of modern Shanghai; Alleys constitute the most common living space for millions of ordinary Shanghainese; Alleys constitute the most important part of the local culture of modern Shanghai. Longtang, the name given by Shanghai people to lane, is not only different from the traditional Jiangnan dwellings in China, but also different from any western architectural form. However, it always has more or less traces of traditional Chinese architecture and more or less external architectural influence. It can best represent the characteristics of modern Shanghai's urban culture, and it is also the most direct product of modern Shanghai's history.

Yaodongs in the North of Shaanxi

The first yaodongs were underground dwellings that date back to the 2nd millennium BC, China's Bronze Age, and according to Chinese tradition, the Xia Dynasty. People dig caves in the cliff on the edge of the loess slopes with the floor rectangular and the top arched. In front of the cave is an open space for lighting and ventilation, so that the user does not feel the space to be oppressive. According to the number of cave openings, the yaodongs can be further classified into the three-hole type, two-hole type, and single hole type. A typical example is the city of Yan'an. The main structure is the soil wall, and the interior is reinforced with wooden piles. The beams and columns bear the load, forming a structure intended to prevent the cave from collapsing. The usual method of this construction process is to use rock for the wall base, and clay as the top tile. In order to reinforce the cave and reduce costs, walls are made of clay inside and stones outside.

The Stilted Buildings in South

It is said that the ancestors of Tujia people moved to western Hubei because their hometown was flooded. At that time, there were towering ancient trees, thorns, wolves, tigers and leopards everywhere in western Hubei. The "dog claw shed" built by Tujia people was often attacked by beasts. In order to be safe, people set fire to the stumps of trees. Bamboo was buried inside. The light of fire and the sound of firecrackers scared away the attacking beasts, but they were often threatened by poisonous snakes and centipedes. Later, an old Tujia man came up with an idea: he asked the boys to use big trees as shelves, bind wood, spread wild bamboo strips, put shelves on the top to cover the roof, build large and small air houses, eat and sleep on them, and never fear the attack of poisonous snakes and beasts again. This method of building "air houses" has spread to more people, They all built "air houses" according to this method. Later, this kind of "air housing" evolved into today's stilted buildings.

Beijing Siheyuan

Siheyuan dates back as early as the Zhou period, and has a history of over 2,000 years. They exhibit outstanding and fundamental characteristics of Chinese architecture. They exist all across China and are the template for most Chinese architectural styles. Siheyuan also serves as a cultural symbol of Beijing and a window into its old ways of life. Modern Beijing's population boom has made housing one of city's biggest challenges. Siheyuan today are typically used as housing complexes, hosting multiple families, with courtyards being developed to provide extra living space. The living conditions in many siheyuan are quite poor, with very few having private toilets. In the 1990s, systematic demolition of old urban buildings took place in Beijing under rapid economic development. Many siheyuan are being torn down to address the problem of overcrowding, and have been replaced by modern apartment blocks.

Conclusion

The reasons for the formation of the regional culture of local dwellings are in fact multifaceted. It is not only restricted by the diverse ways of life and production customs of the local people, but also restricted by the diverse natural environment and resource conditions. The huge differences of marine culture, grassland culture and Central Plains culture determine the rich and colorful image signs of local culture. Therefore, the mature construction ideas and the formation of the construction legal system reflected in the Chinese vernacular dwellings are basically derived from the subjective collective wisdom creation of the people under the objective environmental regulations, and can not be separated from the infiltration and cultivation of the Chinese traditional root culture for thousands of years.

Terms and Expressions

The Stilted Buildings 吊脚楼

the top arched 拱形顶

Tujia people 土家族人

demolition 拆除

References

[1]汤诗旷,谭刚毅.当代视野下的民居传承与聚落保护——中国民居建筑学术研究回望[J].南方建筑,2021(04):112-117.

[2]王芳惠.浅析上海弄堂建筑文化的变迁[J].艺术品鉴,2016(08):351.

[3]程玲,李禹辰.陕北窑洞建筑的发展与变迁[J].中国地名,2019(10):60.

[4]刘丹宇.土家族吊脚楼营造技艺及对现代建筑的启示[J].中国建筑装饰装修,2021(11):106-107.

[5]宋词.传统北京四合院在现代居住建筑中的延续分析[J].城市建筑,2022,19(04):136-139.DOI:10.19892/j.cnki.csjz.2022.04.36.

Questions

1. Longtang is a unique residential form in ______ A. Beijing B. Guangzhou C. Shanghai D. Xi’an

2. The ancestors of Tujia people moved to Hubei because ______ A. Their hometown was flooded B. Their hometown was invaded by infiltrators C. They were nomads D. There were lots of business opportunities in Hubei

3. Siheyuan dates back to ____ A. the Western Zhou Period B. the Eastern Zhou Period C. the Tang Dynasty D. the Han Dynasty

4. (多选)In front of the cave of a yaodong is an open space for: A. Ventilation B. Farming C. Lighting D. Having fun

Answers

1.C 2.A 3.A 4.AC

202270081635 姜雨露 Jiang Yulu 英语笔译(English translation)

Cultural Output in the Translation of Chinese Science Fiction—Taking the Three-body problem as an example

姜雨露Jiang Yulu, 202270081635

Abstract

Science fiction often contains many cultural elements. In the translation of such literary works, appropriate translation strategies can achieve cultural output. In the English translation work of the Three-Body Problem, through transliteration, literal translation and other translation strategies, the translator retained the original source culture and helped targeted readers fully understand the original, so as to achieve the purpose of cultural exchange and promotion.

Key words

science fiction; the Three-Body Problem; translation strategies; cultural output

Introduction

On August 23, 2015, the first representative of the Three-Body Problem, created by Liu Cixin and translated by Liu Yukun, won the Hugo Award for Best Novel at the 73rd World Science Fiction Conference. It was the first time for an Asian person to win this award, and also an important step for Chinese science fiction to go abroad. An important reason for its success is the excellent translation. The translator not only accurately translated the author's intention and the content, but also promote the output of Chinese culture.

The cultural elements of the Three-Body Problem and its translation strategies

Although the Three-Body Problem is a science fiction novel, it contains rich cultural elements. The historical background of the novel is during the period of the Chinese Cultural Revolution, and many of the contents involve Chinese historical allusions and historical figures, so how to deal with these contents with relevant strategies is a major difficulty in the translation of this work. Its translator Liu Yukun believes that the biggest challenge in this translation lies in culture, not language. For example, because of lack of some relevant cultural background knowledge, a large number of historical figures in the translation are just names for foreign readers. So on the basis of faithfulness to the original, the translator made a few small changes to help them understand the original work. Meanwhile, the characteristics of Chinese culture were retained, which allows foreign readers to feel its charm and achieve cultural output.

Analysis of the cultural value of the alienation strategy of the Three-Body Problem

In the English translation of the Three-Body Problem , Liu mostly applied alienation strategy, including transliteration, literal translation, annotation method and adding some footnotes. Here are some examples.

（一）human names

（1）ST: “我是汪淼，真对不起，这么晚打扰。”

TT: “This is Wang Miao. I’m sorry to be calling so late. ”

In this sentence, The translator translated the name "汪淼" into “Wang Miao” according to the Chinese pinyin transliteration, not into “Miao Wang” according to the custom of English name.

（2）ST:“大史，你把烟熄了，这儿的烟味够浓了。”常伟思说。

TT: “Da Shi，put out your cigarette. There’s enough smoke here，”General Chang said. He called Shi Qiang by a nickname．

In this sentence, the translator transliteration “大史” into “Da Shi”, and added “He called Shi Qiang by a nickname” to help English readers understand that “Da Shi” is a nickname. The translation retained the Chinese appellation habits, which is a kind of propaganda of Chinese appellation customs and culture.

（二）Chinese historical figures and the names of the dynasties

ST：“周文王不是战国时代的人吧?”汪淼问。

TT：“I don’t think King Wen (of Zhou) belongs to the Warring States Period，” Wang said．

In this sentence, the translator transliterates the name of the historical figure “King Wen of Zhou” and the name of the dynasty “Warring States”, before adding a footnote on the same page that “The Warring States Period lasted from 475 BC to 221 BC．But King Wen of Zhou reigned much earlier, from 1099 BC to 1050 BC. He was considered the founder of the Zhou Dynasty, which overthrew the corrupt the Shang Dynasty”. In this way, the Chinese traditional culture and its history can be familiar with foreign readers, thus realizing cultural output.

（三）Chinese food culture and customs

ST：她回到住处，取了饭盒去食堂，才发现只剩下馒头和咸菜了。

TT：She went back to her room，picked up her lunch box，and went to the cafeteria. Only Mantou buns and pickles were left．

In this sentence, “馒头” was transliterated as “Mantou” in Chinese pinyin, and then used the category word “burns” to synthesize it, which not only allowed readers to understand that it is food, but also help them have a general idea of its shape and raw materials. More importantly, this translation is used to make the Chinese word Mantou reproduced in English text.

（四）ancient Chinese philosophical figures and their thoughts

ST：“他认为，一切都要合乎礼，宇宙万物都不例外。”

TT：“He believed that everything had to fit li，the Confucian conception of order and propriety, and nothing in the universe could be exempt from it. ”

In this sentence, the translator directly transliterated "礼" into “Li” and expounded its connotation, instead of translating into courtesy, etiquette and other words. In this way, once English readers hear or witness “Li”, they will know that this is the proposition of ancient Chinese Confucianism.

Conclusion

With the progress of information technology and the deepening of globalization，the Chinese science fiction translation has no longer stayed on the surface of language translation, it has pay more attention on the cultural value behind the original works.

References

Liang Haowen 梁昊文. (2019). 中国当代科幻小说外译及其研究述评 [Translation and research review of Chinese Contemporary Science fiction]. 佳木斯大学社会科学学报 Journal of the Social Sciences of Jiamusi University (30) 41-46.

Chen Fangrong 陈芳蓉. (2017). 类型文学在美国的译介与传播研究——以《三体》为例[A Study on the translation and communication of genre literature in the United States—Taking the Three-Body Problem as an example]. 浙江师范大学学报 Journal of Zhejiang Normal University (3) : 96-102.

Wei Shanshan, Xie Jiankui 韦珊珊，谢建奎. (2020). 科幻小说《三体》中文化缺省翻译补偿探索[Exploration of cultural deficiency translation compensation in the science fiction novel The Three-Body Problem].英语广场 English square(4): 27-28．

Chen Fangfang 陈芳芳.(2019). 阐释学运作理论视域下《三体》文化负载词的英译研究[English translation of the Three-Body Problem under the perspective of hermeneutic operation theory]. Dalian: Dalian University of Technology 大连理工大学．

Yang Chunlin 杨春林.(2017). 英译本异化策略之文化价值探讨[Discussion on the cultural value of the English translation of the alienation strategy]. 厦门广播电视大学学报 Journal of Xiamen Radio and Television University(04): 31-36.

Terms and Expressions

the Three-Body Problem 《三体》

the Hugo Award 雨果奖

King Wen of Zhou 周文王

the Warring States Period 战国时期

Transliteration 音译

literal translation 直译

Annotation 注译

Questions

1.Which award did the Three-Body Problem win?

2.Who is the translator of the Three-Body Problem?

3.What translation method was mainly used in the English translation of the Three-Body Problem?

A Nationalization

B Alienation

4.What translation strategies of alienation were used in the English translation of the Three-Body Problem?

A Transliteration

B literal translation

C Free translation

D Annotation

E Adding footnotes

5.How did the translator translate“礼”in the English translation of the Three-Body Problem?

A courtesy

B etiquette

C Li

D rites

Answers

1.the Hugo Award for Best Novel

2.Liu Yukun

3.B

4.ABDE

5.C

202270081636 蒋正君 Jiang Zhengjun 英语笔译(English translation)

Modern Applications of Traditional Chinese Color

蒋正君Jiang Zhengjun, 202270081636

Abstract

Color exists everywhere in people’s life like air. Traditional Chinese color has its unique style and cultural characteristics, which are quite different from western color system. Traditional Chinese color not only has visual experience in aesthetics, but also contains profound cultural connotation. In this article, we will explore the formation and contents of traditional views of color in China, and further look into its modern applications in people’s life.

Key Words

Traditional Chinese color; film aesthetics; Chinese brand design; rail transit

摘要

色彩就像空气一样，在人们的生活中无处不在。不同于西方色彩体系，中国传统色彩有其独特风格和文化特征。中国传统色不仅具有审美的视觉体验，还蕴含着深厚的文化内涵。本文将探讨中国传统色彩观的形成及其内涵，并进一步挖掘其在现代生活中的应用。

关键词

中国传统色 电影美学 国货品牌设计 轨道交通

Introduction

As one of the earliest countries who know how to apply colors to production and life, China puts forward the five-element theory during the Warring States Period. People learn flowing colors through seasons, nature, production and life. Combining “meaning” and “image” together, traditional Chinse color went through from generation to generation. At the same time, they are applied to traditional Chinese cultures such as Chinese painting, architectures and handcrafts, embodying the spirits of Chinese culture, ultimately ending up with a system of traditional Chinese color. Nowadays, traditional Chinese color still remains a great significance to people’s modern life (Chen Xiaoye 2022, 119). Therefore, the rest parts of this article will proceeds as follows. The first part will discuss the formation and contents of color in China; the second part will talk about the modern applications of traditional color through Chinese films aesthetics, Chinese brand design and rail transit; the third part is to make a conclusion to this article.

The Formation and Contents of Traditional Views of Color in China

Different from the western color system, traditional Chinese color can not completely adapt to the western color theory, which reduces the complex color phenomenon to the basic elements under the guidance of Newton's optical thoughts, and analyzes people's perception and psychological reaction to color from quantitative indicators such as hue, lightness and purity. In the study of traditional Chinese color, we not only need to do classification in physical science, but also pay attention to the cultural attribute, humanistic connotation, national custom and the symbolic meaning behind it. Traditional Chinese color not only condenses the changes of color, fragrance, taste and shape in life which compose the movement of resonance between man and nature, but also integrates various thoughts such as universe, ethics and philosophy into color, becoming a unique emotional expression of the Chinese nation. The oriental color cognition and expression is self-contained and spread. The five elements theory affects Chinese culture profoundly. The view of five colors in China is derived from the five elements. "Earth" has the ability to grow all things, implying the color of center and yellow; "Wood" symbolizes plants, meaning spring, east and green; "Fire" has the property of heat, meaning summer, south and red; "Gold" can be used to make weapons, meaning autumn, west and white. "Water" has the property of cold, meaning winter, north and black. Thus, a colorful and orderly world of traditional colors has been created (Chen Xiaoye 2022, 119), (Zhang Kangfu 2017, 30-32).

Application of traditional Chinese color in film aesthetics

The aesthetics of the film is embodied in sensibility, based on the psychological activities of characters and starting from the perspective of the audience, so as to bring audience a new visual experience and subjective feelings (Zhu Yuerong 2015, 67). The film Shadow directed by Zhang Yimou has already made its world premiere at the Venice Film Festival. Different from his previous movies, its theme colors are black and white (Xu Yingtao 2014, 148-149), emphasizing the traditional color aesthetic style. The overall style is like an ink painting immersed in water, with aesthetic frame, wide scene, and different color. There is no exaggerated color design but gray-white performance mood. In this way, the movie expresses ink-staining effect and shows that human nature is not simply black or white (Huaguo Cui, Jang Dongyeu 2018,468). Therefore, reasonable color collocation and processing pay attention to the inner activities of the characterization, effectively rendering film atmosphere, thus shaping images of characters and adding great charm to film (Huaguo Cui, Jang Dongyeu 2018,466).

Application of traditional Chinese color in Chinese brand design

Looking for design inspiration from Chinese color allusions, Chinese brands use traditional Chinese colors to empower brand image, establish cultural consensus and emotional connection with consumers, promoting product sales. Take the White Rabbit （大白兔奶糖） as an example, which is a milk candy brand. In 1950s, it combined red and blue together. Having a strong recognition, it becomes a memory of a generation. In 2022, the Poetic Dance: The Journey of a Legendary Landscape Painting （《只此青绿》） on Spring Festival Gala, took the famous painting A Thousand Li of Rivers and Mountains （《千里江山图》） as its stage background. In this drama, dancers’ costumes were designed in traditional Chinese colors of mineral blue and mineral green. The magnificent beauty of the famous painting and the beautiful posture of dancers vividly showed the aesthetic characteristics of Song Dynasty. After going viral, the Poetic Dance also cooperated with a new domestic brand Zhuyeqing and entered into consumable industry. The packaging design of Jingxin gift box, owned by Zhuyeqing, takes inspiration from the color of dancers’ costumes, which helps the brand to build cultural background and keeps up with the cultural demands of consumers for domestic brands (Chen Xiaoye 2022, 121).

Application of traditional Chinese color in Rail Transit

China's rapid economic growth has brought great development to urban rail transit, which provides great convenience for urban residents ' daily travel (Xu Dan 2022, 13). Color application in visual guidance system of urban rail transit is based on people's cognition of color, and is an important method to convey subway guidance information. Taking the design of visual identification system of Shanghai rail transit as an example, the Shanghai Line 1 opened in May 1993 chose red as its identification color; Line 2, in 1997, used green as its color; Line 3 opened in 2000 bore yellow; Line 5, in 2003, had purplish red as its color; Line 4 embodied purple in 2005. In the following 13 years from 2007 to 2020, Line 6 to Line 18 were opened in succession, with colors of orange, blue and light blue, etc. As far as the huge Shanghai rail transit line system is concerned, the distinction and selection of the identification color of each line can not only realize its visual guiding role more conveniently, but also reflect the cultural heritage and national feelings of a city. By this way, rail transit skillfully integrates the elements of traditional Chinese color into people’s daily life (Xu Dan 2022, 14).

Conclusion

Traditional Chinese color not only has visual experience in aesthetics, but also contains profound cultural connotation. Understanding and applying traditional color correctly can enhance the national charm of Chinese design, harvest emotional resonance, and really rejuvenate the Chinese culture of oriental aesthetics and ancient wisdom.

References

Chen Xiaoye陈肖烨.(2022).传统色在国货品牌视觉形象设计中的应用. [Application of The Traditional Colors of China in Domestic Brand Design]. 绿色包装(11),119-122. Zhang Kangfu张康夫. (2017)色彩文化学[M]. 杭州: 浙江大学出版社, 2017.4:30-32. Huaguo Cui & Jang Dong-yeu.(2018).The Study of Traditional Color Aesthetics in Zhang Yimou's Films——Taking Shadow for Example..(eds.)Proceedings of 2018 7th International Conference on Social Science,Education and Humanities Research(SSEHR 2018)(pp.484-486).Francis Academic Press,UK. Zhu Yuerong. (2015).The Style of Color Aesthetics——Taking Zhang Yimou's Film as an Example [J].Journal of Research on Journalism (18): 67-67. Xu Yingtao. (2014).The Color Aesthetics in Zhang Yimou's Movie Qiuju Lawsuit [J]. Journal of Films and Literature, No.600 (3):148-149. Xu Dan徐丹.(2022).轨道交通为载体的传统色彩传承与创新应用研究. [Research on the Inheritance and Innovative Application of Traditional Color based on Rail Transit]. 美与时代(上)(07),13-17.

Terms and Expressions

Meaning意 Image象 Warring States Period战国时期 Newton牛顿 Hue色相 Lightness明度 Purity纯度 Five elements theory五行学说 The view of five colors五色观 Earth土 Wood木 Fire火 Gold金 Water水 Shadow《影》 Zhang Yimou张艺谋 Venice Film Festival威尼斯电影节 White Rabbit大白兔奶糖 Poetic Dance: The Journey of a Legendary Landscape Painting《只此青绿》 A Thousand Li of Rivers and Mountains《千里江山图》 Mineral blue石青 Mineral green石绿 Zhuyeqing竹叶青 Jingxin gift box静心礼盒

Questions

1. When did China put forward the five-element theory? A. Warring States Period B. Qin Dynasty C. Spring and Autumn Period D. Tang Dynasty 2. What color does the element "Water" symbolize? A. white B. red C. gray D. black 3. What are the brand colors for White Rabbit in 1950s? A. white and red B. white and blue C. red and blue D. blue and green 4. What is the stage background of the Poetic Dance: The Journey of a Legendary Landscape Painting （《只此青绿》）? A.Nymph of the Luo River （《洛神赋图》）B. A Thousand Li of Rivers and Mountains （《千里江山图》）C. Along the River During the Qingming Festival （《清明上河图》）D. Dwelling in the Fuchun Mountains （《富春山居图》）

Answers

Correct answers are: 1. A 2. D 3. C 4. B