20221231 LangCult 9

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Chinese Spicy Food Culture

张祺葳 Zhang Qiwei，202270081677

Abstract

Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. Pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".

Key Words

Pepper, chili, food

题目

中国吃辣文化

摘要

辣椒是在明末从美洲传入中国的，但起初只是作为观赏作物和药物，进入中国。清初，最先开始食用辣椒的是贵州及其相邻地区。嘉庆以后，黔、湘、川、赣几省辣椒种植普遍起来，嘉庆时有记载说，江西、湖南、贵州、四川等地已经开始“种以为蔬”了。

Introduction

Pepper was introduced into China from America at the end of the Ming Dynasty, but at first it was only used as ornamental crops and medicines. In the early Qing Dynasty, Guizhou and its neighboring areas were the first to eat chili. In Guizhou, where salt was scarce, during the reign of Emperor Kangxi (1662-1722), "soil seedlings were used to replace salt". Pepper played a role in replacing salt, which shows that it is closely related to life. From the Qianlong period (1736-1795), a large number of hot peppers were eaten in Guizhou. During the reign of Qianlong, Zhenxiong, Yunnan, which was adjacent to Guizhou, and Chenzhou Prefecture, Hunan, in the east of Guizhou, also began to eat chili. After Jiaqing (1796-1820), pepper was widely planted in Guizhou, Hunan, Sichuan and Jiangxi provinces. It was recorded in Jiaqing that Jiangxi, Hunan, Guizhou and Sichuan had begun to "grow as vegetables".

During Daoguang's reign (1821-1850), the northern part of Guizhou was already in a situation of"every meal must be filled with peppers". The rice wrapped in grain was popular in Tongzhi. The dish used mostly bean curd, that is, water soaked salt and sea pepper, which was used to dip in water, a little like the sea pepper dip in Sichuan Fushun bean curd today.

In some areas of Hunan, hot pepper was not very common during the Jiaqing period, but it was more common among Daoguang, Xianfeng, Tongzhi and Guangxu. According to the Qing barnyard banknotes in the late Qing Dynasty, "people in Yunnan, Guizhou, Hunan and Sichuan loved spicy food", "people in Hunan and Hubei liked spicy food", and "people in Hunan and Hubei could not eat spicy food without pepper and mustard, so there was plenty of soup", indicating that people in Hunan and Hubei had become accustomed to spicy food in the late Qing Dynasty, and they even put pepper into soup.

The record of edible pepper in Sichuan was later than Hubei’s. Neither in the book of Yongzheng's Sichuan Tongzhi nor Jiaqing's Sichuan Tongzhi recorded the cultivation and eating of pepper, and the earliest recorded pepper may be in Jiaqing. From the perspective of the areas where pepper was planted and eaten in Jiaqing, Sichuan, they are mainly located in the Chengdu Plain and the Daba Mountains area in the south and southwest of Sichuan and the borders of Sichuan, Hubei and Shaanxi. After Daoguang, Xianfeng and Tongzhi, Sichuan's edible chilies began to become popular, and even chilies were "planted all over the mountains" in Sichuan. After Guangxu, Sichuan's edible chili was more common. In addition to being widely eaten, there were a lot of records of eating chili in the classic recipes. According to Fu Chongju's Chengdu Overview in the late Qing Dynasty, there were 1328 kinds of dishes in Chengdu at that time. Pepper has become one of the main condiments in Sichuan cuisine, including hot oil sea pepper, sea pepper noodles, etc., especially the double cooked pork in Sichuan cuisine was officially recorded in written records. At the end of the Qing Dynasty, eating pepper has become an important feature of Sichuan people's diet. Xu Xinyu's Records of Traveling in Sichuan recorded that "Sichuan people must choose the most spicy ones to eat, and every meal and dish must be hot."

When did Yunnan begin to eat spicy food? Zhenxiong, Yunnan, which is close to Guizhou, ate hot pepper during the Qianlong Period, but it was not very common in Yunnan during the Qianjia Period. There was no record of chilli in the Tongzhi of Yunnan during the Guangxu period, but people began to eat chilli in large quantities as early as the Guangxu period. According to the Records of Visiting Sichuan by Xu Xinyu in the late Qing Dynasty, his father found in Ya'an that the chili peppers transported into Yunnan every year through Ya'an, Sichuan, were "quantity is nearly hundreds of thousands. The amount of chili peppers eaten by Yunnan people is not less than that of Sichuan people". Therefore, Xu Ke's Qing barnyard banknote at the end of the Qing Dynasty said: "Yunnan, Guizhou, Hunan and Sichuan people are fond of spicy food." According to the records in the Textual Research on the Names and Facts of Plants, edible chili peppers had been planted in Jiangxi during the Jiaqing period. During the Guangxu period, edible chili peppers had become more common in Jiangxi, and now Jiangxi Nankang chili sauce is very famous.

Pepper has been introduced into China for about 400 years, but this foreign spice soon became popular all over China, taking the position of traditional Chinese prickly ash, ginger and cornus officinalis. The consumption of Chinese prickly ash was squeezed into Sichuan Basin, the hometown of Chinese prickly ash. Cornus officinalis almost completely withdrew from the stage of Chinese food spice, and the position of ginger was largely withdrawn from the diet. The introduction of chili into Chinese food is undoubtedly a food revolution. The powerful chili makes it impossible for any traditional spice to compete with it. The revolution was only a little slow due to the constraints of traffic and information at that time.

What about court dishes? one book records the dishes used to celebrate the Lantern Festival on the 15th day of the first lunar month, including "Spicy Rabbit". However, there was no detailed description of what kind of dish it was. In the following Qing Dynasty, a dish named "Spicy Rabbit Silk" also appeared in Tioding Collection. Shredded chicken soup simmer, add yellow rice wine, soy sauce, onion, ginger juice, Chinese prickly ash, and soybean powder to finish the soup.

No pepper is used, but pepper is added, so the name of the dish has the word "spicy". It should have the same taste as the "spicy" in the "spicy live rabbit" in the "Records of Drinking". There are two kinds of flavors without chilli. As for whether rabbit meat is used, why the dish is called "Spicy Rabbit" is an unsolved mystery. In the Records of Drinking, dozens of famous dishes in the imperial court are listed. In addition to the aforementioned "Spicy Rabbit", there is also a dish called "Spicy Soup", which is a soup to drink every morning to prevent cold in November. Nowadays, ginger soup is often drunk to prevent cold. The "hot soup" here may be of the same type. As for other places where pepper is used, none of them has been found.

Conclusion

Even in the Qing Dynasty, pepper still did not enter the court. The Manchu people did not even have the habit of eating mustard seeds. "A Dream of Red Mansions" describes the dishes made of vinegar, as well as various other cooking methods, but hot dishes never appeared.

References

▪Su Xiaonian 苏小年. (2019). 中国吃辣地图里,哪个地方最厉害?.[Which place is the best in the map of Chinese spicy food?] 旅游世界[Tourism World](11), 6.

▪Lan Yong蓝勇. (2001)中国饮食辛辣口味的地理分布及其成因研究[A Study on the Geographical Distribution and Causes of the Spicy Taste of Chinese Diet][J]. 地理研究[Geographic Studies]

▪Xiao Yi小易. (2011). 中国吃辣历史有多久[How long is the history of spicy food in China]. 记者观察:下.[Reporter observation]

▪ Lu, W. X. , & Zhou, J. H. . (2007). The promotion of chinese spicy pepper seeds industry and exploration of its cultural connotation in terms of ecological and economic benefit. Journal of Panzhihua University.

▪Dong, S. , Zhong, B. Y. , & Huang, C. R. . (2018). How do non-tastes taste? A corpus-based study on Chinese people's perception of spicy and numbing food.

Questions

1.When did pepper introduced into China? A. Tang Dynasty B. Song Dynasty C. Yuan Dynasty D. Ming Dynasty

2. Which province first ate pepper? A. Guizhou B. Hunan C.Sichuan D. Jiangxi

3.When did Hunan people widely ate pepper? A. Jiaqing period B.Daoguang period C. Xianfeng period D.Tongzhi period E.Guangxu period

4.In the Qing Dynasty, pepper still did not enter the court. True/Fause

Answers

1.D 2.A 3. BCDE 4.True

Chinese chime

张思诗 Zhang Sishi, 202270081678

Abstract

An ancient large percussion instrument of the Han Chinese, the chime emerged during the Zhou Dynasty and flourished during the Spring and Autumn Period and the Warring States until the Qin and Han Dynasties. China was the first country to manufacture and use musical bells. It is made of cast bronze and consists of flat round bells of different sizes arranged in order of pitch, suspended on a huge bell stand and struck separately with a wooden hammer in the shape of a ding and a long rod to produce different musical sounds, as each bell has a different pitch and when struck according to a musical score, a beautiful piece of music can be played. A group of bells with different pitches is hung on a wooden stand and played by a lady-in-waiting with a small wooden mallet.

Key Words

chime; bronze; pitch

题目

中国编钟

摘要

中国汉族古代大型打击乐器，编钟兴起于周朝，盛于春秋战国直至秦汉。中国是制造和使用乐钟最早的国家。它用青铜铸成，由大小不同的扁圆钟按照音调高低的次序排列起来，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音，因为每个钟的音调不同，按照音谱敲打，可以演奏出美妙的乐曲。引在木架上悬挂一组音调高低不同的铜钟，由侍女用小木槌敲打奏乐。

关键词

编钟；青铜；音调

Introduction

In the 5,000 years of Chinese culture, music has slowly flowed with the history to modern times. Whenever you hear an ancient rhythm, it is like going back in time to the days of small bridges and flowing water and talented people. This is our own Chinese beauty. The Rites of Zhou states that ancient Chinese musical instruments can be divided into the "eight tones" - gold, stone, earth, leather, silk, wood, lagen and bamboo. The chime is a representative of "gold", and is also known as a "national treasure"! Emerging from a time of turmoil, it has been passed down for thousands of years. The chime is an ancient traditional percussion instrument made of bronze, with a combination of flat round bells of different sizes, each with a different pitch. In two dimensions, the chimes are narrow at the top and wide at the bottom, with uneven edges around the mouth. Most of the chimes are beautifully carved and decorated, or lined with elaborate drums, which are known as bell-nipples.

First appearing in the Shang dynasty, the chime was born in the midst of chaos and was popularised in the Spring and Autumn and Warring States, where it remained in use until the Ming and Qing dynasties. It can be said to have emerged from the chaotic times and to have been handed down for thousands of years. The early chimes were mostly made up of three or five pieces, and could play simple old tunes.

The chimes of the Ming and Qing dynasties were completely different from the traditional chimes, not only in form but also in tone, and by this time the music of the chimes had long since lost the majesty and coolness of the chimes. Chimes were generally used for courtly music, and in the early days, they were used for major occasions such as conquests, banquets and rituals, so that in ancient times they were also a symbol of status and power, and only the ruler had the right to use them. In the Poetic Edda, there is a phrase that refers to the chimes: "I use the chimes and drums of music to please my fair lady", and they were also used in large banquets and dances.

Most of the chimes from the Western Zhou period are oval in shape with a narrow top and a wide bottom, and a large number of performance scores were recorded on the bodies of the chimes, the ultimate purpose of which was to facilitate rehearsal and performance, and which accidentally became the carrier of chime culture. From the Qin dynasty onwards the chimes gradually pursued aesthetic appearance, neglecting the effect of the sound itself, and the Qing dynasty's lack of attention to ritual and music led to the gradual loss of many of the finest bronze chime casting techniques. During the Han dynasty, chimes fell into decline, and although they were still a symbol of the status of the emperor, they were far removed from the chimes of the Spring and Autumn and Warring States periods, and were even inferior to those of the pre-Qin period in terms of silencing. After more than 500 years at its peak, the chimes still went into decline.

From the Song dynasty onwards, foreign musical instruments flowed in and other traditional instruments emerged, gradually eliminating chimes from court performance, and by the Qing dynasty they were shaped into mere decorative objects that could not be played. The art of bell casting was lost from the Song dynasty, but when the Zeng Houyi Chimes were unearthed, the Chinese Cultural Affairs Bureau set up the Zeng Houyi Chimes Reproduction Research Group, which succeeded in reproducing a full set of Zeng Houyi Chimes in 1984, and the technology of bell casting came back to light.The recovery of the chime casting technique has led to an increasing focus on the preservation and promotion of traditional culture.

Mr. Robert, husband of the famous female singer Ms. Gong Linna, first saw a replica of the Zeng Houyi Chimes in 2005 and heard the sound of the chimes live, the teacher was instantly blown away, after which he became addicted to chime music and couldn't help himself, wanting to successfully put chime music symbols in modern society, creating "Mountain Ghost" in 2007, and in 2009, with the help of the Hong Kong Orchestra and the National Orchestra Together, they created "Bell Music and Harmony". In 2018, Ms. Gong Linna and Robert used chimes to perfectly interpret Qu Yuan's "Li Sao" on the programme "Classics Flow", allowing the ancient sound that had been dormant for thousands of years to appear on modern television programmes and allowing audiences across the country to appreciate the charm of chimes.

At the Shanghai World Expo the chimes were the face of modern music, and Professor Kong Fan from the University of Science and Technology of China brought his research team to the Shanghai Expo to combine the chimes with modern technology to create a magnetic levitation chime that was a breath of fresh air. With a strong magnet made of rare earth roundness in each chime, which determines the levitating position of the bronze chimes through high speed detection thousands of times per second, this group of magnetically levitated chimes has once again amazed the world.

Conclusion

The sound of chimes, which has been flowing in history for 2,500 years, has finally reappeared through modern technology, presenting us with a visual feast. Among the four ancient civilisations, Chinese culture is the most completely preserved, adapting and surviving in modern times to the last, all of which, apart from the research led by scientists, is inseparable from the many, many heirs and lovers of traditional culture. In this age of colourfulness and diversity, traditional culture deserves its place too!

References

▪ Wang, Qinglei 王清雷. (2021). 编钟、编磬文物的试奏——以海昏侯刘贺墓编钮钟和澄城刘家佳M1钟磬为例[Trials of Chimes and Chime Artefacts - An Example of Chimes and Chimes from the Tomb of Liu He, Marquis of Haihang and M1 Chimes of Liujiajia, Chengcheng]. Beijing: Chinese National Academy of Arts 中国艺术研究院.

▪ Mao, Yue 毛悦. (2022). 西周早期编钟的出土与发现 [The excavation and discovery of early Western Zhou chimes]. Beijing:The Huilongguan School of Beijing No.1 Liuyi Middle School. 北京市第一六一中学回龙观学校.

Terms and Expressions

music score乐谱 tone音律 silencing 消音 palace instruments 宫廷乐器 Zenghouyi Chime曾侯乙编钟 magnetic levitation chime磁悬浮编钟

Questions

1. Who helped Mr. Robert created "Bell Music and Harmony"? 2. Which kind of chime was displayed in Shanghai Expo? 3. When did the technique of making chimes begin to be lost?

Answers

1. Hong Kong Orchestra and Ethnic Orchestra 2. Magnetic levitation chime 3. Song dynasty

Live Streaming Culture in Contemporary China

张婷Zhang Ting, 202270081679

Abstract

With the rapid development of live streaming industry, live streaming has been widely present in people’s daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people’s spiritual culture and entertainment pursuit. This article will give an introduction of live streaming, including its categories, patterns of interaction as well as influence in contemporary China.

Key words

Live streaming, cultural phenomenon, categories of live streaming, patterns of interaction

题目

当代中国的直播文化

摘要

随着直播行业的快速发展，直播已经广泛出现在人们的日常生活中。它不仅是一种经济现象，也是一种文化现象，反映了当代人的精神文化和娱乐追求的倾向和偏好。本文将对直播进行介绍，包括其类别、互动模式以及在当代中国的影响。

关键词

网络直播、文化现象、直播分类、互动模式

Introduction

In The Radio and Television Dictionary, live streaming refers to the post-synthesis and broadcast of radio programs at the same time, and live television broadcast is the broadcast method of producing and broadcasting television programs simultaneously with the occurrence and development process of events.” It can be seen that live streaming firstly appeared on traditional media radio and television stations.

On January 1, 2008, the General Office of the State Council put forward a notice proposing to promote the integration of the Three Networks (telecommunication network, computer network and cable TV network). Until today, the integration of the three networks has experienced twelve years of development. Under the background of the continuous progress of interconnection technology, cell phone has been transformed from a simple communication tool to a multifunctional device integrating communication, TV watching and the internet access. The increasing number of cell phones provides support for the development of cell phone live steaming. Taking advantage of a large number of live streaming platforms, the connotation of network live streaming also transformed from the early program broadcast into the broadcast of life scenes that the general public can participate in, which is a leap forward(Huang Xiao 2018,8). With the emergence of the live streaming boom, many excellent anchors have emerged, such as Li Ziqi, Li Jiaqi, Xiao Yangge and so on. But the huge economic benefits also breeded a lot of live chaos.

Categories of Living Streaming

(1)According to the main body of live streaming, it can be divided into star live streaming, net celebrity live streaming and common people live streaming. Star live is held by actors, athletes and other celebrities with a certain degree of fame and attention in the mass media, the audience of star live is mainly fans. The purpose of star live is often to let fans see the daily life of the stars to close the distance. Net celebrity live is held by the network celebrities who have become popular in micro blogging, short video platform or other social platforms, and some of them are professional anchors. As opposed to stars and net celebrities, the rest of the ordinary anchors who do not have great influence and attention are collectively referred to as common people live.

(2)According to the live content, live streaming can be generally divided into four categories: live show, live game, live pan-life broadcast and live streaming sale. Show live is the earliest type of live streaming, and it requires the anchors to show their talents. Game live is about electronic games, and most of them are competitive games and it has a certain threshold for both parties - the game anchor is generally required to be proficient or at least familiar with the game being broadcast; the audience is at least aware of the game, otherwise they cannot participate well in the live viewing. Pan-life live streaming refers to the live streaming that shows daily life, where the anchor simply sings, casually chats, eats and shows their daily life. It is live and casual and with no rehearsal, and anyone with a device can become an anchor by registering an account. As the fastest growing type of live streaming since 2016, pan-life live streaming is leading the wave of live streaming with a “mobile live for all” approach. Live streaming sale is an emerging commercial activity which aims to sale goods, and it is all about introduction and exhibition of products.(Ye Nanxi 2018,3)

Patterns of Interaction in Live Streaming

(1)Get connected: anchor to anchor interaction This is a way of interaction between two anchors to achieve a more interesting live broadcast and share fans through a common broadcasting room. It is to connect the live rooms of two hosts, and the way to get connected is that the host can choose to connect with a host they are familiar with or be randomly matched by the system. For viewers, they can see both hosts on the same live screen at the same time. The anchors will chat, sing, play games and so on to make the live streaming more interesting, and at the same time the anchor will also recommend their own fans to pay attention to the other anchor. The fans watching the live broadcast do not have the loyalty between traditional idols and fans, so the anchors can achieve the purpose of sharing fans and maximizing benefits.

(2)Pop-ups and gifts: fan-anchor interaction The explosive growth of User Generated Content (UGC) attracts large-scale internet users to join the content interaction, and “gifts and pop-ups” constitute the basic ecology of live streaming culture. Pop-ups gives fans an opportunity to express their emotions, and gifts is another important way for fans to interact with anchors, which first existed in original literature websites, and then was introduced as an innovative payment function by self-media and gradually introduced by major platforms.

(3)Melt media interaction: the establishment of cross-platform fan group Senior anchors do not limit themselves to interacting with their fans briefly on the live platform, but will establish WeChat or QQ fan groups to achieve cross-platform interaction. The establishment of fan groups can make the interaction between fans and anchors more intimate. The fan groups of popular anchors have certain requirements in terms of access qualifications, such as the amount of bounty, frequency of interaction, etc., and anchors will also use fan groups to give back to their fans, such as more interaction, red packets or other benefits.(Wu Yajing 2018,14)

Conclusion

In terms of the influence in contemporary China, on the one hand, live streaming has brought many beneficial effects to people’s lives. People have a new way to learn and express themselves. And also its platform advantages can make it a disseminator of excellent culture and promote people towards cultural confidence and cultural self-awareness(Zhongqing 2019,39).

On the other hand, the trend of network live entertainment is obvious, and overly entertaining and vulgarized content is popping up, which to some extent hinders the spread and popularization of socialist core values. Therefore, restrictions should be taken to standardize live streaming.

Reference

▪ Ye Nanxi 叶南希.(2018). 作为文化生成空间的网络直播及其亚文化研究[A Study of Webcasting as a Cultural Generative Space and its Subcultures].Zhejiang: Zhejiang University 浙江大学.

▪ Wu Yajing 吴亚静.(2018). 文化狂欢视阈下“网络直播”现象及反思[A Study of the Phenomenon of and Reflection on "Live Webcasting" on the perspective of Cultural Carnival].Chongqing: Chongqing University 重庆大学.

▪ Huangxiao 黄肖.(2018) 国内网络直播中的青年亚文化现象研究[A Study of the Youth Subculture Phenomenon in Domestic Webcasts].Hei Longjiang: Hei Longjiang University 黑龙江大学.

▪ Zhongqing 钟晴.(2019). 消费文化视角下的网络直播现象研究[A Study of the phenomenon of webcasting from the perspective of consumer culture].Hunan: Hunan Normal University 湖南师范大学.

▪ Yanbin 颜彬.(2022). 粉丝文化视域下出版直播的内容生产、情感认同与符号建构[Content Production, Emotional Identity and Symbolic Construction of Live Publishing on the Perspective of Fan Culture].编辑之友Editor's Friend(08):50-54+61.

Terms and Expressions

Live streaming 网络直播

The Radio and Television Dictionary 《广播电视辞典》

The Three Networks 三网（电视网、计算机网和有线电视网）

Anchor 主播

Star live 明星直播

Net celebrity live 网红直播

Common people live 素人直播

Live pan-life broadcast 泛生活直播

Live streaming sale 直播带货

Broadcasting room 直播间

User Generated Content(UGC) 用户自己生成的内容

Pop-ups 弹幕

Questions

1、Where did live streaming firstly appear?

A.Mobile phones

B.Traditional media radio and television stations

C.International conference

2、According to the live content, how many categories can live streaming be divided into?

A.Three

B.Four

C.Five

3、Which is the earliest type of live streaming?

A.Show live

B.Game live

C.Pan-life broadcast

4、Did the function of giving gifts first exist in original literature websites?

Ture

False

Answers

1.B 2.B 3.A 4.True

The Imagery in Chinese Classical Poetry

张文琦 Zhang Wenqi, 202270081680

Abstract

The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin and development, the author interprets some common imageries in detail according to three classifications. They are botanical imagery, animal imagery and inanimate imagery.

Key Words

Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery

题目

中国古典诗歌意象简析

摘要

意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。

关键词

中国古典诗歌；意象理论的三次提升；意象的三种分类

Introduction

I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination and divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with, i.e. the objective things in poetry fusing the poet's subjective feelings and aspirations.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow Willow is always employed to express sentiment attached to parting. In Han Dynasty, there formed the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems. By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “子规” or “子鹃” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”(bùrúguīqù), which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such sounds, which evoke their distress and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is to render the poet's appreciation of the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon The moon, with various appellations in Chinese, such as “玉弓”, “银盘”, “婵娟”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. Conversely, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

Conclusion

There’re three major theoretical upgrades before the imagery theory we understand today gradually formed. Due to its rich connotations, profound philosophy and unique spirit, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.

References

▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

Terms and Expressions

Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

Questions

1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

Answers

1.b 2.b 3.c 4.d

Traditional Chinese Culture: Tiger-faced shoes

章颖雯Zhang Yingwen, 202270081701

Abstract

Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.

Key words

Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage

题目

中国传统文化：虎头鞋

摘要

在中国，虎头鞋是一种为小孩所作的手工鞋。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。

关键词

虎头鞋；中国传统文化；非遗

Introduction

The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so from the ancient China, “tiger culture” has begun to spread.

At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; ancient emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; the ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children with the hope of their children could grow up healthily and happily.

Origin

The origin of tiger-faced shoes can date back to the Stone Age.There are a lot of fairy tales about it. According to Quan(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and One day, he helped an old lady to ask a midwife alone. Then the second day, the old lady who had a new-born grandson sent a painting to the young boatman as a present for his kindness.

In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl, and they got married. Several years later, a local official wanted to rob of the beauty, the girl was extremely afraid.

The old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son. After that, the little boy worn the shoes to save his mom. When the boy arrived, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite,so finally, the boy saved his mom.

Design

In most areas of China, the main colors of tiger-faced shoes are red and yellow. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144)

As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)

Implied meaning and value

In traditional Chinese culture, parents have high expectations for their kids.

The Chinese parents use kinds of ways which might be superstitious to protect their kids from dangers.Therefore, tiger-faced shoes are of great significance for them. Tiger has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yang, “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statement implied that those who wear tiger head shoes will be a healthy, auspicious and happy person.

Tigers have strong life, and the Chinese people praise highly of it, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.

Conclusion

As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. In today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.

References

Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education.

Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643.

Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202.

Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151.

Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72.

Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144. Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社.

Trems and Expressions

dog doesn’t eat dog 虎毒不食子

Tiger-faced/ tiger-head shoes 虎头鞋

Tiger Talisman 虎符

the intangible cultural heritage 非物质文化遗产

Questions

1.What does tiger-faced shoes like in Henan province?

2.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false?

3.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

4.How do we flourish our fine traditional culture?

Answers

1.Tiger head shoes in Henan have rough shape and strong local flavor.

2.True

3.The sovereign power of the ruling class.

4.Inheriting and spreading the culture of tiger-faced shoes, as well as making innovation constantly.

Chinese Horseface Skirt

Zhang Yuyan张玉燕,202270081681

Abstract

Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasty, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.

Key Words

horseface skirt; history; structure; patterns; colors

摘要

马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。

关键词

马面裙、历史发展、结构特征、图案纹样、色彩搭配

Introduction

When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named as “mamian”, and the skirt itself is called mamianqun (also horseface skirt) (Cai Liming 1993,379).

The word “Ma Mian” first appeared in the Ming Palace(Qi Ziyu 2012，2). And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So, what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal but independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of the texture, decoration, and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt evolved from a general skirt for men and women to a skirt only for women, and more forms appeared, such as pleated skirt, yuehua skirt, and fengwei skirt. In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

The Structure of Horseface Skirt

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization, and horseface skirt is a kind of “Shang”, which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other. The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband functions to gird the waist with the help of beltloops. It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

The Patterns of Horseface Skirt

Let’s move on, and learn about its patterns! There are two types of horseface skirt patterns -- separate embroidery patterns and large embroidery patterns,among which the separate embroidery patterns account for the majority. Each pattern conveys a different meaning. Taking the animal patterns “dragon” and “phoenix” as an example, in the long history of China, dragon and phoenix are considered to be auspicious. They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines. Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）,which conveys the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony, which represents wealth and nobility; the undefiled lotus, which symbolizes purity; the golden chrysanthemum, which represents longevity; and lily, which represents sacredness and holiness, friendship and a bright future (Sun Hui ,Wu Yue 2017,11).

The Colors of Horseface Skirt

Generally speaking, in terms of color, horseface skirt can be divided into solid color horse face skirt and colorful horseface skirt (such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness, which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness. Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors, such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attractive. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity, thus making more peoplef fall in love with horseface skirt.

Conclusion

The horseface skirt did originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I still sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world.

That’s all! Thank you for your careful reading!

References

▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

Terms and Expressions

1.horseface skirt/ mamianqun 马面裙 2.Ming Palace 《明宫史》 3.shape and structure 形制 4.yuehua skirt 月华裙 5.fengwei skirt 凤尾裙 6.skirt door 裙门 7.skirt flank 裙胁 8.waistband 裙头 9.skirt couplet 裙联 10.beltloops 袢带 11.clothing form 服装形制 12.solid color horseface skirt 素色马面裙 13.colorful horseface skirt 五彩马面裙 14.separate embroidery patterns 独立的刺绣图案 15.large embroidery patterns 大面积刺绣图案 16.The Yi (the upper garment) and Shang (the lower skirt) 上衣下裳 17.prosperity brought by the dragon and the phoenix 龙凤呈祥

Questions

1.The word “Ma Mian” first appeared in______. A.Bible B.Ming Palace C.Journey to the West D.The Seventh Day

2.Spin skirt is designed for_____. A.women’s donkey riding B.men’s donkey riding C.children’s donkey riding D.women's horse riding

3.____represents wealth and nobility. A.The undefiled lotus B.The golden chrysanthemum C.The beautiful Lily D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design. A.Parada B.Dior C.Chanel D.Gucci

Answers

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

The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games

周晓兰 Zhou Xiaolan,202270081682.

Abstract

‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can be seen as a good example of how the world has embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.

Key Words

China Chic, Traditional Chinese Culture, Beijing 2022 Winter Olympic Games

题目

“国潮”之崛起：以2022北京冬奥会为例

摘要

“国潮”将独特的中国文化元素融入最新潮流，代表着以中国文化为中心的设计趋势。随着中国本土时尚潮流的日益流行，越来越多的年轻人开始关注中国传统文化。而2022北京冬奥会恰如其分地展现了国潮正在融入世界潮流。本文将以2022北京冬奥会为例，探究国潮之崛起。

关键词

国潮，中国传统文化，北京冬奥会

Introduction

China Chic, or Guochao, is a new type of youth culture with ‘China’ as the core, ‘Chic’ as the expression, ‘culture + technology’ as the driving force, and ‘integration + innovation’ as the main direction of development(Cao Wenfang 2022, 92). And the impact of China Chic has been expanded across various categories, including obvious ones like fashion and cosmetics, and others like architecture, technology, automobiles, and so on. As it develops, China Chic increasingly manifests Chinese people’s ambition of reviving traditional heritage in a modern context and reflecting the profound pride in their national identity (Coco Wu, Harry Kinnear, Maya Madhusoodan, 2020). Incorporating unique cultural elements into the latest trends, Beijing Winter Olympics serves as a good example of the rise of China Chic. China took the chance to introduce its most distinctive cultural elements, through the Games’ logo, mascot, ceremonies and so on. And this paper will introduce the China Chic in the event, through Games’ opening ceremony, mascot, and sports clothing.

The 24 Solar Terms in the Opening Ceremony

The 24 solar terms, having been developed throughout Chinese history since about 3,000 years ago and listed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016, are so important to Chinese people that it appears both creative and natural for Zhang Yimou to employ and showcase them as a unique part of Chinese civilization to the world (Yang Yang, 2022). Hailed as China’s fifth greatest invention, the solar terms developed by ancient Chinese as a calendar to guide agricultural production and reflect some natural phenomena and human life.

The opening ceremony started with a countdown of the 24 solar terms instead of using numbers, delighting the audience, as the first of the 24 solar terms-- “Beginning of Spring” fell on this very day. The countdown of the 24 solar terms shows the unique understanding of Chinese nation towards time. What’s more, Zhang used beautiful poems and proverbs to explain the characteristics of each solar term, while incorporating modern technology to show them in video. Many netizens praised this idea as a show of Chinese Romance. Such combination of traditional culture and modern technology shows the vitality of Chinese culture and the wisdom of Chinese nation.

Mascot

Being eyecatchers that help create an Olympic atmosphere, mascots serve to demonstrate the ideas of the host, and the history and culture of the host country (Yin Ziqiang 2022, 10). Bing Dwen Dwen is the panda mascot for Beijing Winter Olympics. Bing means ice in Mandarin, representing purity and strength. Dwen Dwen means sincerity, health, vitality and loveliness, representing the strong body, tenacious will and inspiring spirit of athletes. As a national emblem for China and a significant symbol for foreigners to learn about China, giant pandas are under first-class protection, revealing core Chinese values of harmony between man and nature.

Bing Dwen Dwen wears a full body shell out of ice which connotes both winter sports and China’s space dream. Its head shell is decorated with flowing bright-colored lines symbolizing the track of winter sports and the 5G technology. What’s more, colorful ribbons and the black and white panda present traditional Chinese aesthetic thought of contrast and unity. Bing Dwen Dwen not only captures the profound cultural heritage, but also shows the Olympic spirit and the development of modern technology.

Thanks to its chubby and lovable look, Bing Dwen Dwen has soon become a smash hit around the world. Bing Dwen Dwen souvenirs have been sold out in online stores and customers have to wait in long lines at offline stores to try their luck. As a new online celebrity representing the Winter Olympics, cute and adorable Bing Dwen Dwen was liked and followed by athletes and journalists from around the world who were incredibly enthusiastic about taking photos with the mascot. Bing Dwen Dwen even became a trending Olympic topic on Twitter, building a bridge of communication across national borders and bringing China Chic to the world.

Sports Clothing

During Beijing Winter Olympics, Young athletes wore sports clothing bearing Chinese elements, such as dragons, pandas, tigers, the Great Wall, traditional Chinese painting, and Beijing Opera facial makeup, which surprised world audience. Perfectly combining the functionality, nationality and artistry, the sports clothing can realize the free wearing under the change of temperature and scene, which helps to enhance the performance of Team China (Ma Yan, 2021).

It is worth mentioning that the “golden dragon coat” of Eileen Gu, a rising Chinese sports star, spreads China Chic to the world. The “golden dragon coat” was designed by herself to spread Chinese culture, featuring a golden Chinese Dragon on the reverse of the clothing. Dragon is a symbol of China, and descendants of dragon refer to Chinese nation (Yin Sairui 2022, 50). It reveals the spirit of forging ahead. In Chinese culture, gold symbolizes nobility, brilliance and glory. Therefore, the golden dragon coat serves as a brilliant display of Chinese culture. What’s more, incorporating modern fashion trend in its style, this coat is a perfect example of China Chic. Gu’s spectacular performance in the Olympic Games also offers a great opportunity to show China Chic to the world. And this coat is now in the collection of the Olympic Museum in Lausanne, Switzerland. As a result, more and more people start to pay attention to Chinese fashion brands which present the rich culture and traditional elements of China through the intuitive way of dressing (Zijing Han, Duo Xu, Rujia Zheng, 2022).

Conclusion

Beijing Winter Olympics introduces China Chic to the world and show the vitality of Chinese culture. It also demonstrates that Chinese culture is stepping onto the international stage. Therefore, it is necessary for China to take the advantage of China Chic to spread traditional Chinese culture, turning such youth culture into national culture.

References

Cao Wenfang 曹雯芳. (2022). “国潮”文化的符号呈现与价值建构策略——以北京冬奥会中的“国潮”设计为例 [The Symbol Presentation and Value Construction Strategy of ‘China Chic’ culture: A case study of ‘China Chic’ design in Beijing Winter Olympics]. 科技传播 Science and Technology Communication 14(20) 92-95.

Coco Wu, Harry Kinnear, Maya Madhusoodan 吴可可, 哈利·金尼尔, 玛雅·马杜萨乌丹. (2020). Embracing the Emergence of New ‘China Chic’ [迎接国潮]. Campaign Asia-Pacific 媒介与营销 2020-8-24.

Ma Yan 马艳. (2021). 功能与艺术结合 北京冬奥会制服装备亮相 [The Combination of Functionality and Artistry: Beijing Winter Olympics uniform equipment]. 中国工业报 China Industry News (004).

Yang Yang 杨洋. (2022). The Time of Our Lives [我们生活的年代]. China Daily 中国日报 2022-2-19.

Yin Sairui 尹赛瑞. (2022). 从龙字字义的角度探究龙的中国文化意蕴 [Study on the Cultural Connotation of Dragon from the Perspective of Its Literal Meaning]. 今古文创 JinGu Creative Literature (28) 49-51.

Yin ZiQiang 尹子强. (2022). 北京冬奥会吉祥物跨文化传播研究——基于符号学视角 [Study on Cross-Cultural Communication of Mascots of Beijing Winter Olympics from the Perspective of semiotics]. China Newspaper Industry (18) 10-11.

Zijing Han, Duo Xu, Rujia Zheng 韩子静, 徐铎, 郑汝嘉. (2022). China-Chic: From Chinese Elements to International Trend [国潮：从中国元素到国际潮流]. Advances in Social Science, Education and Humanities Research 社会科学、教育与人文研究进展 (664) 2022-6-1.

Terms and Expressions

China Chic/ Guochao 国潮

The 24 solar terms 二十四节气

UNESCO 联合国教科文组织

Intangible Cultural Heritage 非物质文化遗产

Beginning of Spring 立春

Mascot 吉祥物

Bing Dwen Dwen 冰墩墩

Beijing Opera facial makeup 京剧脸谱

Golden dragon coat 金龙战袍

Eileen Gu 谷爱凌

Olympic Museum 奥运博物馆

Questions

1.What else could China Chic be called?

A.Chinese Culture. B. China trends. C. Guochao .

2.What can present China Chic in the Bejing Winter Olympics? (multi-choice)

A.Logo. B. Ceremonies. C. Mascot.

3.Which day is the opening ceremony of the Beijing Winter Olympics on the Chinese lunar calendar?

A.Spring Equinox. B. Beginning of Spring. C. Awakening of Insects. D. Grain Rain.

4.What are the Chinese elements on the sports clothing of young athletes? (multi-choice)

A.Dragons. B. Pandas. C. The Great Wall. D. Cat

5.Which athlete competed in the ‘golden dragon coat’?

A.Eileen Gu. B. Ma Long. C. Zhang Jike.

Answers

Correct answers are:

1.C

2.ABC

3.B

4.ABC

5.A

202270081702 周子豪 Zhou Zihao 英语口译(English interpretation)

==A Brief Introduction of Chinese History of Petting

Zhou Zihao, 202270081702

Abstract

This chapter is on petting in Chinese history. Pets had been considered to be a component of Western lifestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China.

Key Words

Pet, Ancient Chinese History, Dogs

摘要

本文粗略介绍了中国从古代以来蓄养宠物的历史，希望在史料中总结出中国人养宠物的大概特点与历史变化，描绘出中国人对待动物与宠物的态度以及行为变化。

关键词

宠物，中国古代文化，狗

Introduction

Chinese were thought not so pet-friendly as Westerners, especially for its notorious dog-eating, and petting is indeed never considered by people home or abroad as a long-prevailing habit of Chinese. In fact, even nowadays petting in China cannot be described as anything related to “popular”. According to 2021 Chinese Pet Industry White Paper, the number of dog-and-cat owners totalled to 68.44 million in 2021 and was expected to increase to 71.68 million which took up only 5.12% of China’s total population. Other “non-traditional” pets, say, birds, other small mammals, reptiles are even rarer to public sight. Even though pet-owner are still a small proportion in China, petting is surely gaining more and more attention publicly and politically.

Historical Overview of Chinese Petting

Petting hasn’t been a popular thing since ancient times. For an agricultural country like China, “unpragmatic” animals like dogs and cats used to be quite uncommon because they were not beneficial for farming (Custer, 2021). Nevertheless, there were a few famous pet-lovers documented for their adoration for certain animals. In Pre-Qin periods, the emperor Yi of Wei loved raising cranes. The elegant and purely-white bird was terribly doted on by the emperor Yi who even ranked them with their appearances and qualities and “remunerated” them in accordance with their given “official positions” (Zuo, 2007). Zang Wenzhong, a contemporary of Yi, was obsessed with another unusual animal¬¬—turtles. Like Yi the emperor, Zang cosseted his pets by accommodating the turtles in luxury palaces and that solicited commotion leading to his own doomed end. Interestingly their pampery was harshly chastised by Confucius as a breach of ethical conventions. At that time petting had been exclusive for upper classes with wealth and power who despite the stereotypes of abusing animals pampered their pets with obscene extravagancy. During the Tang Dynasty (AC 618¬¬¬—AC 907) the royal members started raising exotic animals tributed by foreigners as their pets such as elephants, lions, and rhinos in the palace. At the same time petting was gaining popularity among public, and it was presented by the paintings that some people from middle and lower classes had small-sized pets like chicken, dogs, and cats. Animals were no longer merely food resources and pets were more than a time killer but an emotional support and religious and spiritual symbol as well (Li, 2017). Literati would also rest their hopes and sentiments on certain animals in poems. With an increasing demand in petting, a pet-friendly system was also built to condemn the animal-abusers and to compromise who thus lost their pets. In the Ming Dynasty (AC 1368¬¬—AC 1644), Wen Zhenheng recorded then elegant lifestyle of upper literati in his book Zhang Wu Zhi and described their choices of pets in one chapter. In the book Wen deemed pets as “a necessary art for those who live in solitude amongst the hills and woods” (Wen, 2015). By “necessary”, however, Wen meant it for upper class still since the book was written for them. In the Qing Dynasty (AC 1636¬—AC 1912), Man people brought with them nomadic culture and horses and birds were the majority of their choices of pets (She, 2019). In late Qing Dynasty people carrying a bird cage were common to be seen in the teahouses in Beijing as the symbol of their social statue. During the Cultural Revolution in 1960s and 1970s, pets were regarded as the component of the lifestyle of capitalism and therefore strictly forbidden. Pet owners have no choice but to hide, abandon, and even kill their pets. It was surely the most terrible era for pets and their owners. Nowadays in the 21th Century more and more Chinese have pets. Research showed that the pet market in China has increased 60% every year (Pitt, 2021). Analysts also expected that China’s pet industry will multiply 10 times that of a decade ago to 66 billion dollars. Even though petting system in China is still immature and still some people regard pet as emotionless animals, a more convenient society is being built for animal-lovers. Moreover, pets can get new jobs in cat-or-dog café and even make an income on social media. People’s attitude towards pets also changed a lot. Take dogs as example. Chinese used to treat dog as a source of meat. However, today the majority of dogs are viewed as companions and usually treated as family members (Coren, 2018).

Conclusion

In conclusion, pets were rare in ancient China, and most people who had pets were those in higher classes. Their pets were uncommon and exotic animals such as birds and fishes instead of dogs and cats. It is since the Tang Dynasty that people from lower classes started to have small animals as pets. However, in ancient times pets gained little popularity in general. In modern times with the increase of middle class and the influence of western culture, people’s attitude towards pets changed and dogs and cats are more accepted by public. Even though China has not been the most pet-friendly country, a mature petting system is now being built.

References

Li Xingxing李星星. (2017). 宠物与唐代社会生活 [Pets and Social Lives in the Tang Dynasty]. Hefei: Anhui University安徽大学. She Yanwen佘燕文. (2019). 清代宠物饲养及其社会生活意义研究 [A Research on Petting in the Qing Dynasty and its Social Meaning]. Nanjing: Nanjing Agricultural University南京农业大学. Wen Zhenheng文震亨. (2015). 《长物志》. Jingsu: Jiangsu Literature and Art Publishing House. Zuo Qiuming左丘明. (2007). 《左传》. Beijing: Contemporary World Press. Coren, Stanley. (2018, February 21). What Is China's Current Attitude Concerning Dogs? Retrieved from https://www.psychologytoday.com/us/blog/canine-corner/201802/what-is-chinas-current-attitude-concerning-dogs Custer, Charles. (2021, September 8). How Does Chinese Culture View Dogs? Retrieved from https://www.thoughtco.com/dogs-in-china-687349 Pitt, Juliette. (2021, June 9). What has caused China’s booming pet economy? Retrieved from https://daoinsights.com/opinions/what-has-caused-chinas-booming-pet-economy/

Terms and Expressions

(This is an informative article with no professional jargons necessary to be affixed.)

Questions

1. How many cat-and-dog owners were there in China in 2021 according to 2021 Chinese Pet Industry White Paper? . A. 98.15 million B. 80.04 million C. 68.44 million D. 71.68 million . 2. What was Confucius’ attitude towards the fact that people pampered their pets? . A. Agreeable B. Indifferent C. Objective D. Criticising . 3. Why pets were abused during Cultural Revolution? . A. Pets were considered as a part of capitalism B. People wanted to eat them C. Pets were not practical for farming D. All of above . 4. Pets were popular among every class in China since ancient times. . A. True B. False

Answers

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

Opera:Lv opera(of Shandong Province)

庄昊康Zhuang Haokang, 202270081713

Abstract

Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

Key Words

Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

题目

戏曲：山东吕剧

摘要

吕剧又名扬琴琴戏，是中国八大戏曲之一，山东省最具代表性的地方戏曲，是国家级非物质文化遗产。 在山东省的大部分地区以及江苏、安徽和东北部分地区流行。 它起源于山东省北部的黄河三角洲，由山东秦蜀演变而来。 它的音乐属于板腔，也唱曲牌。 主要伴奏乐器有直琴、扬琴、三弦、琵琶，被誉为"吕戏四大件"。它语言简洁生动，歌声优美悦耳，深受广大人民群众的喜爱。

关键词

吕剧;文化遗产;歌剧;音乐形式;表演艺术

Introduction

Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

Conclusion

The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

References

Siu, Wang-Ngai, and Peter Lovrick. Chinese Opera [electronic Resource] : Images and Stories / Siu Wang-Ngai with Peter Lovrick. Seattle : Vancouver, BC: U of Washington ; UBC, 1997. Web.

Thorpe, Ashley. Performing China on the London Stage. London: Palgrave Macmillan UK, 2016. Web

He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

Terms and Expressions

shuoshu 说书

Qilu people 齐鲁人民

Huimin County 《惠民县志》

Huji village 胡集村

Book Fair 书会

qinshu 琴书

Guangrao 广饶

Boxing 博兴

board cadence 板腔

Siping cavity 四平腔

two boards 两板腔

lying fish 卧鱼

Questions

1.Lv Opera originated in______. A.Yangtze River Delta B.Yellow River Delta C.Pearl River Delta D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______. A.lyrical and lingering B.high and aggressive C.soft and distant D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera? A.traditional plays B.modern plays C.new historical plays D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province? A.the east B.the north C.the west D.the south

Answers

Correct answers are:

1.B

2.A

3.D

4.C

CORRECTIONS ARE MARKED IN BRACKETS.

Abstract

Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

Key Words

Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

Introduction

Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

Conclusion

The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

References

He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

Terms and Expressions

1. shuoshu 说书 2. Qilu people 齐鲁人民 3. Huimin County 《惠民县志》 4. Huji village 胡集村 5. Book Fair 书会 6. qinshu 琴书 7. Guangrao 广饶 8. Boxing 博兴 9. board cadence 板腔 10. Siping cavity 四平腔 11. two boards 两板腔 12. lying fish 卧鱼

Questions

1.Lv Opera originated in______. A.Yangtze River Delta B.Yellow River Delta C.Pearl River Delta D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______. A.lyrical and lingering B.high and aggressive C.soft and distant D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera? A.traditional plays B.modern plays C.new historical plays D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province? A.the east B.the north C.the west D.the south

Answers

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

Chinese Culture and A Child’s Education

Wellsand, Benjamin, 202111080018

Abstract

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

Key Words

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

题目

中国文化与儿童教育

摘要

当涉及到长达数十年的根深蒂固的儿童教育文化和问题迅速老龄化的人口时，中国的社会状况从未如此沉重。 中国长期以来对亲属关系的忠诚和集体主义相互依存的社会结构使父母对孩子产生了周期性的关注，因为一个人照顾另一个人以确保一个富有成果的经济未来。 1950 年代的独生子女政策不仅有助于降低出生率，而且无意中允许为独生子女的未来预留大量资金，以确保理想的经济成功。 中国共产党已经认识到过去的政策给国家的未来带来的挑战，并正在寻求对教育文化进行革命性的改革，以使中国家庭能够成长，而不用担心错过一个有利可图和充实的未来。 家庭单位。 现代中共和古代哲学家孔子对家庭在中国社会未来健康发展中所扮演的重要角色的理解是一致的。

关键词

集体文化; 孝顺; 亲属文化; 私立教育; 标准化测试

Introduction

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子 (house), 车子 (car), and 票子 (money) are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 (Double First-Class Initiative) higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 (chicken baby) parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 (to bring up children for the purpose of being looked after in old age) is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

Conclusion

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

References

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Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [2].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [3].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [4].

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Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [10].

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Terms and Expressions

房子, 车子, and 票子 the three common conditions for marriage: a house, car, and money; 养儿防老 to bring up children for the purpose of being looked after in old age; 鸡娃 a parenting style known as "chicken babies"; 双一流 the Double First-Class Initiative of Chinese universities

Questions

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

Answers

1. A

2. C

3. C

4. C

5. C

6. False