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===Subtitle 3===
 
===Subtitle 3===
 
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
 
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
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In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.
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3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”
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      春夜喜雨
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    （唐）杜甫
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好雨知时节，当春乃发生。
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随风潜入夜，润物细无声。
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野径云俱黑，江船火独明。
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晓看红湿处，花重锦官城。
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Happy Rain on a Spring Night
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Du Fu
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Good rain knows its time right,
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it will fall when comes spring.
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With wind it steals in night;
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mute, it wets everything.
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Over wild lanes dark cloud spreads;
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in boat a lantern looms.
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Dawn sees saturated reds;
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the town's heavy with blooms(Xu Yuanchong,2020,32).
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This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.
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Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
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At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
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As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.
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3.2 An analysis of The Sad Zither through the Method of “San Hua”
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    锦瑟
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（唐）李商隐
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锦瑟无端五十弦，
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一弦一柱思华年。
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庄生晓梦迷蝴蝶，
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望帝春心托杜鹃。
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沧海月明珠有泪，
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蓝田日暖玉生烟。
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此情可待成追忆，
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只是当时已惘然。
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The Sad Zither
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Li Shangyin
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Why should the sad zither have fifty strings?
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Each string, each strain evokes but vanished springs:
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Dim morning dream to be a butterfly;
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Amorous heart poured out in cuckoo’s cry.
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In moonlit pearls see tears in mermaid’s eyes;
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From sunburnt jade in Blue Field let smoke rise.
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Such feeling cannot be recalled again:
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It seemed lost even when it was felt then(Xu Yuanchong,2020,124).
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It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad". 
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This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
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In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow  for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into  "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.
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So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.
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3.3 An analysis of The Mourning Day through the Method of “San Hua”
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    清明
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（唐）杜牧
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清明时节雨纷纷，
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路上行人欲断魂。
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借问酒家何处有，
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牧童遥指杏花村。
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The Mourning Day
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Du Mu
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A drizzling rain falls like tears on the Mourning Day；
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The mourner' heart is going to break on his way.
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Where can a wine shop be found to drown his sad hours?
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A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).
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The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.
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First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.
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Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.
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In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
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Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.
  
 
===Subtitle 4===
 
===Subtitle 4===

Revision as of 02:13, 4 June 2022

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英语笔译 卞王倩 Bian Wangqian 202170081563

Europeanized Chinese and Cultural Factors Behind it
卞王倩

Abstract

The "Europeanized Chinese language" directly originates from translation, and first appeared in the translation of scriptures by Western missionaries in China in the early 18th century. Translation activities in the late Qing dynasty and Modern vernacular Chinese Movement and New Cultural Movement in 1915 contributed to this process. Europeanized Chinese language is mainly manifested in the fact that Chinese language is influenced by English via translation, and thus shows the characteristics of English word formation from the lexical level and syntactic level. In terms of cultural factors behind Europeanized Chinese, the literary translation boom at the end of the Qing Dynasty and the beginning of the Republic of China promoted the formation of a “Western paradigm” in Chinese writing; during the May Fourth Era, scholars rejected traditional literature and favored foreign literature, while advocating the Europeanization of translations; after May Fourth, translators pursued a literal translation style in translating foreign literary works to retain the heterogeneous character of foreign language, which are all involved here. In terms of the effect, Europeanized Chinese language can be divided into benign Europeanization and malignant Europeanization, the former being the positive and the latter negative. In fact, the malignant Europeanized Chinese language has long been criticized by literary scholars and critics in China, but nowadays, against the backdrop of increasingly close cultural exchanges between China and Western countries, a fresh look at the Europeanized Chinese language will bring us new inspiration.

Key words

Europeanized Chinese; Cultural Factors; Literary Translation, Modern Vernacular Chinese Movement; New Cultural Movement

Introduction

Literature Review

Methods and Theories

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

Subtitle 2

Subtitle 3

Subtitle 4

Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 曹姣 Cao Jiao 202170081564

Research on court culture in the Tang Dynasty from the perspective of poem -- take Changhenge for example
从诗歌视角浅谈唐朝宫廷文化——以《长恨歌》为例
曹姣CaoJiao

Abstract

Keywords

Introduction

Definition

1.Court Culture As the special residence of the empire, and the core of the state’s political power, the palace plays an extremely important and special role in the development of human society, especially in ancient Chinese society. Compared with the study of court history, the study of court culture is especially weak. As an organic part of the whole social culture, court culture has not only one side associated with other aspects of social culture, but also one side of its own particularity. The study of palace culture can not only enrich our understanding of the whole social culture, but also enable us to obtain a new perspective on the development of palace literature and art. Therefore, it is very necessary to strengthen the study of palace culture, no matter for the overall study of cultural history or literary history.

As for "court culture", historians and cultural historians seem to have not made a clear definition and interpretation of it. While Liu Zunming, a famous scholar from Hubei University, believes that palace culture should be composed of material culture and non-material culture, and is the sum total of lifestyles, ideology and products created by the imperial aristocracy. Then the scope of court culture should include court architecture, politics, system, economy, religion, education, literature and art, lifestyles in court and so on.

2.The poem the Everlasting Regret and its author Changhenge, also known as The Everlasting Regret(长恨歌), with a romantic realistic means, interprets Li Longji(李隆基) and Yang Yuhuan's（杨玉环） love tragedy against the backdrop before and after the Anshi Rebellion（安史之乱） in the middle Tang Dynasty; at the same time, it covers a variety of themes, such as eulogizing love, lamenting fate and admonishing Kings. The first part of The Everlasting Regret mainly describes Li and Yang's love story and the lavish and luxurious court life, implying an allegory of the emperor's adultery and mismanagement of the country. The second half is full of poignant and sympathetic description of Xuanzong's（唐玄宗，即李隆基） profound love for her, praising the constancy of their love. The whole poem adopts the realistic writing technique of romanticism, so that the narrative and lyric feelings complement each other, which has become the artistic feature of The Everlasting Regret, and also leaves an endless aftertaste and research space for future generations. What’s particularly valuable is that it contains a lot of information reflecting Tang Dynasty court culture life details, and involves the depiction of characters, women’s dress and makeup, court architecture, music of court banquets and so on. In this sense, The Everlasting Regret as unprecedented literature unseen in 10 centuries, is also of great historical value in the study of court culture in the Tang Dynasty.(c.f: Yao Ronghua 2012,121-127)

Bai Juyi was an ancient realist poet. In many of his works, there are descriptions related to the cultural life of the Tang Dynasty court. These descriptions are not made up out of groundless rumor or supposition, but come from his careful observation and speculation on this kind of subject matter, which makes the descriptions appear meticulous and vivid.

Make-up and headgear in The Everlasting Regret

1. On eyebrow makeup “That she outshone in six palaces the fairest face”（六宫粉黛无颜色）, “Until the Lady Yang was killed before the steed”（宛转蛾眉马前死）, “Willow leaves like her brows and lotus like her face”（芙蓉如面柳如眉） and “Eunuchs and waiting maids looked old in palace deep”（椒房阿监青娥老） these four lines depict the female makeup in the imperial court. In the first sentence, "Fendai"（粉黛） refers to beauties in the imperial palace except for Yang, because aristocratic women in the heyday of the Tang Dynasty often adorned their faces and eyes with makeup. However, the two words "fen"(粉) and "dai"（黛） have their own meanings respectively: "fen" is the powder used by ancient women to lighten their complexions; "Dai" is the brunet mineral used when drawing eyebrows, especially in ancient times. According to the differentiated shades, they could produce different eyebrow make-up like black eyebrows or emerald green ones. In this case, “dai” refers to the color of eyebrow make-up. The other three sentences describe eyebrow makeup from the aspect of eyebrow shape, reflecting the two most popular eyebrow makeup forms in the Tang Dynasty – “the willow-leaf shaped eyebrow”（柳叶眉） and “the moth eyebrow”（蛾眉）. The moth eyebrow was the most prominent eyebrow makeup in the Tang Dynasty. It is broad in shape, vaguely ethereal in outline, light and natural in color, and looks like the wings of a moth in appearance, hence the name. As can be seen from the name, the willow-leaf shaped eyebrow is a slender eyebrow makeup similar to willow leaves. It is slightly thick in the middle and tapers at both ends, which can increase the charm of feminine charm. Historical data did not record Yang wearing willow-leaf shaped eyebrows clearly, but from a host of Tang poetry and painting materials, it is easy to judge willow-leaf shaped eyebrows are one of the popular eyebrow makeup styles in the Tang Dynasty, and whether court ladies or ordinary girls are happy to draw it to present their dignified and beautiful amorous feelings. (c.f: Tian Miao 2003,108-112)

2.On clothing and headgear The description of female jewelry in The Everlasting Regret can be seen frequently, such as " flowerlike face and cloudlike hair, golden-headdressed"（云鬓花颜金步摇）, " golden bird and comb with which her head was crowned "（翠翘金雀玉搔头） and " for him to carry back, hairpin and case of gold "（钿合金钗寄将去）. In these sentences, descriptions like “golden-headdressed” or “Zan”（簪）, " golden bird "（金雀）, "Jade headdress"（玉搔头）, "golden hairpin"（金钗）, " case of jewelry "（钿盒） and other things related to women's headgear. Women’s headgears in ancient China were used mainly for hairstyles, with its original function as hair constraint. With the development of society, the specification of women’s headgear became increasingly complex. Consequently, a new feature appeared: headgear was not only the embodiment of a girl well into her adulthood, a demonstration of wealth, and a sign of social status, but also a part of etiquette. There are four main types of headgears mentioned in The Everlasting Regret: Zan, Chai, Buyao, as well as Dianhe or cases of jewelry (inlaid with gold, silver and jewels).

Zan（簪） is the most antique and widely spread in ancient China, also the oldest appliance for hair constraint in China. In the early days, most of them were made of natural materials such as wood, bamboo, animal bone, stone, etc., with practical function in general. By the Tang Dynasty, due to the social function of Zan becoming more and more obvious, great progress had been made in materials selection, production technology and decorative design, etc., and Zan, made of jade, gold and silver, emerald green feathers, and shells, appeared. On top of the change in material, its decorative graphics have also seen great changes, more complex and delicate.

The main function of the Chai（钗） tends to be a decorative one, compared with Zan. Women decorated hairstyles with them in order to project their charm, and show off wealth and status, so the Chai in the Tang Dynasty became the most important headgear. A set of Chai often contains two pieces each, with symmetrical patterns, inserted in hair with one on the left and the other right. However, women in the Tang Dynasty often wore multiple Chai at the same time, and the number of them varied in light of the height of chignon. The higher the chignon was, the more Chai there would be. Unlike Zan, the foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". In The Everlasting Regret, the sentence “keeping one side of the case and one wing of the Chai" tells that Yang Yuhuan broke the golden Chai into two from the part of the Chai thighs, which well embodies the modeling characteristics of Chai thighs.

Buyao（步摇） is another kind of traditional Chinese women's headgear, which is interpreted in an ancient book as: Buyao, with drooping beads over it, will shake the beads as a wearer is walking. Therefore, the name of "Buyao" is taken from the meaning of "shaking as stepping". The buyao vibrates with the steps of women, and the intertwining of beads, jade, gold and silver makes it appear colorful, which can best reflect the graceful bearing of women's vigor and vitality. By the Tang Dynasty, with the increasing prosperity of the social economy and the increasing extravagance and pomp, the etiquette symbolized in gold Buyao started to tamper among the aristocracy and gradually became popular among ordinary people. The popular shape of Buyao in the Tang Dynasty was like " a gold phoenix, with a bottom at below, a pin at the front, decorated with colorful jade beads shaking as stepping by."(Yao Ronghua,2012)

Court banquets

In addition to embodying the deep love between Yang and Li， those two sentences "in revels as in feasts she shared her lord’s delight"（承欢侍宴无闲暇） and “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） can also reflect the frequency of holding court banquets or banquets for all. Court banquet（宫廷宴会） generally refers to the feast held by the emperor for rewarding reasons, attended by officials at all levels and envoys from all over the world, in which court music, dance and acrobatics performances on a certain scale would be arranged. If it was on a larger scale, where even ordinary people may attend, it was called "banquet for all"（酺会）, normally lasting for several days. Rulers held banquets for all, also known as "bestowing banquets"（赐宴）, and the whole country was covered in huge hilarity in the banquet hall during the events. Both the aristocracy and the common people could find their freedom and happiness in the private banquet. Concerning the purpose of bestowing banquets, on the one hand, it was to satisfy the cultural needs of the people as well as seek cohesiveness from them; on the other, was to consolidate its feudal regime, demonstrate the rulers' authority and give benefits to the people. (Yang Guoyu,2016)

Palaces and architectures

Among the names of palaces or places mentioned in the poem, some of which are authentic, while some are fictitious for artistic reasons.

“She bathed in glassy water of Huaqing Pool”（春寒赐浴华清池）, “ in lotus-flower curtain she spent the night blessed”（芙蓉帐暖度春宵”）, “her beauty served the night when dressed in Golden Bower ”（金屋妆成娇侍夜）, “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet describes the content of their life submerged in love, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing scenes; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan as Emperor and Keifei(贵妃), and also render their love story.

In the sentences of " Knocking at the western gate of palace hall, he bade"（金阙西厢叩玉扃）, " days and months appeared long in the fairyland halls"（蓬莱宫中日月长）, "Jin Que" or “ Palace Hall”（金阙）, and "Penglai Palace"（蓬莱阁） both are palaces existing only in Chinese mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace"(昭阳殿里恩爱绝) and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace(七月七日长生殿)” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" (昭阳殿)refers to the palace where they lived together during those years, while "Golden House"（金乌） and "Jade Tower"（玉楼） are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.

Conclusion

In a nutshell, descriptions of women’s appearances and dressings, imperial court life and architecture in The Everlasting Regret were meant to reflect the love between the two, and show us what the history was. On the other hand, regarding this poem as part of the historical materials provides a significant perspective on historical research.

Preferences

  • Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究[Research on the Poem “Changhenge” from the Perspective of Tang Dynasty’s Court Culture].南京师大学报(社会科学版)Journal of Nanjing University (06),121-127.
  • Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究(博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh
  • Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨. 北京社会科学(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201.
  • Tian Miao田苗.(2003).唐代妇女眉妆演变考论. 西北大学学报(哲学社会科学版)(02),108-112.

Terms and Expressions

The Everlasting Regret 《长恨歌》 the Anshi Rebellion 安史之乱 eyebrow makeup 眉妆 headgear 头饰 the willow-leaf shaped eyebrow 柳叶眉 the moth eyebrow 蛾眉 golden-headdressed; Zan 簪 Chai 钗 Buyao 步摇 court banquet banquet for all 酺会 bestowing banquet 赐酺 Huaqing Pool 华清池 Golden Bower（Jinwu） 金屋 Jade Tower 玉楼 Jin Que or Palace Hall: 金阙 Penglai Palace：蓬莱阁

英语笔译 陈路瑶 Chen Luyao 202170081565

Ancient Chinese Values Handed Down Until Today
Chen Luyao

Abstract

Values exist in every society, and with the development and progress of society, values will continue to change and progress. This process is very long. When we study the values of a certain group, we can not only understand the development history of this group, but also investigate the role of social, economic, political, cultural and other conditions that have caused changes in values. Based on the analysis of the development and changes of China's values in different periods, we can grasp the development direction of China's values. At the same time, we can learn from previous experience, take its essence, discard its dross, educate the younger generation with better values, lead the development of Chinese society, and realize the great rejuvenation of the Chinese nation.

Key words

Introduction

Literature Review

Methods and Theories

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 崔晓凡 Cui Xiaofan 202170081566

China Central Plain Culture
Cui Xiaofan

Introduction

The Central Plain of China was the political, economic, cultural and transportation center of ancient China, as well as the place where North and South cultures collided in the country, so there is a saying that "the ancients compete for the Central Plain can only establish the world". Central Plain culture is the sum of material culture and spiritual culture based on the Central Plains region. It is the foundation and backbone of Chinese culture.

Broadly speaking, Central Plain culture is the general term for culture in the middle and lower reaches of the Yellow River. Geographically, it mainly takes Henan as the core and radiates outside to neighboring areas in the middle and lower reaches of the Yellow River. In ancient times, Yuzhou lived in Kyushu, known as Zhongzhou, also known as the Central Plain, including most of Henan Province. Therefore, the Central Plain culture mainly relies on Henan Province. In a restricted sense, Central Plain culture refers to Henan culture. The birthplace of the world's major civilizations, as we all know, is surrounded by the major rivers in its territory, and China has always called the Yellow River the "Mother River". The middle and lower reaches of the Yellow River are the birthplace of Chinese civilization and the cradle of the Chinese nation.

A great quantity of prehistoric cultural artifacts have been discovered in Henan, according to archaeology findings. Four of the eight ancient capitals of China are located in Henan, namely Zhengzhou, Anyang, Luoyang and Kaifeng. Among them, the last capital of the Xia Dynasty was built in Luoyang Yanshi, Zhengzhou in the middle of the Shang Dynasty, and Anyang in the late Shang Dynasty. The civilization of the Xia, Shang and Zhou three dynasties can be said to be the cradle of Chinese civilization. On this basis, hundreds of thought, especially Confucianism, Taoism, Mohism and other ideas, originated in the Central Plain and occupied an prominent position in China's centuries-old feudal ruling mentality, and has been continuously inherited and developed. Therefore, from the perspective of historical development, the main feature of the distinction between Central Plain culture and other regional cultures in China is that it is closely tied to Chinese culture and is the source of Chinese culture. Central Plain culture plays an extremely important role in the formation and development of the Chinese nation and Chinese culture.

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英语笔译 邓阳林 Deng Yanglin 202170081567

A type of verse popular in the Yuan Dynasty
Deng Yanglin

Abstract

Yuan Qu is a literary form prevailing in the Yuan Dynasty, the wisdom of the Yuan scholars, including Zaju and Sanqu, and sometimes it specially refers to Zaju. It embodies unique characteristics in ideological content and artistic achievement and owns a status as important as that of the Tang poetry and Song poem.The three kinds of literatures have become three important milestones in the history of Chinese literature. Generally speaking, the objects depicted and written in Yuan Opera are not limited to beauty, ugliness, elegance and vulgarity and it shows a rich and broad expressive force. Different from Tang poetry and Song poem, Yuan Qu revealed the profound reality of the time in an alternative way, including extensive subjects, plain words, lively forms, fresh styles, vivid description, and changeable techniques. It often describes revolting against the political dictatorship, scolding the dark fighting glory of the society, and is full of the mood of resistance. This paper mainly consists of six parts including introduction, literature review, methods and theories, text and conclusion, aiming at introducing the development process, social value and artistic value of Yuan Qu, so as to gain insight into the social status quo and folk suffering at that time.

Key words

Introduction

Literature Review

Methods and Theories

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 高智慧 Gao Zhihui 202170081568

The History of Chinese Noodles
高智慧 Gao Zhihui

Introduction

Chinese noodles originated in the Han dynasty, which has more than 4,000 years of history. There are many stories about the origin of noodles. To a certain extent, noodles also reflect the cultural traditions and customs of China, which essentially means “human nature” and “worldly common sense”. There are thousands of varieties of noodles in China, according to the classification of the shape of noodles, seasoning gravy, cooking craft, and so on. Many noodles have local characteristics. Noodles are accepted by people from all over the world. The industrial revolution and the development of the food industry realized the transition from a traditional handicraft industry to mass production using machinery. In addition, the invention of instant noodles and their mass production also greatly changed the noodle industry. In essence, noodles are a kind of cereal food, which is the main body of the traditional Chinese diet. It is the main source of energy for Chinese people and the most economical energy food. Adhering to the principle of “making cereal food the main food”, is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet, and promote health. The importance of the status of noodles in the dietary structure of residents in our country and the health impact should not be ignored.

The Origin of Noodles

Chinese noodles originated in the Han dynasty [1]. At that time, they were collectively referred to as cake. When noodles were cooked in soup, it was called soup cake (汤饼). There were various kinds of shapes for noodles, such as sheets and strips. Sheets of noodles are cooked by pulling the dough into sheets and cooking in a pot with boiling water. In the Wei, Jin, and Northern and Southern Dynasties (南北朝), the shapes of the noodles gradually increased. Two special kinds of noodles, called shui yin (水引) and bo tuo (馎饦), were included in the book Qi Min Yao Shu (齐民要术) in the middle ancient era [2]. Shui yin is cooked by pulling the dough into strips as thick as chopsticks, cutting these into segments 30cm long, soaking in a dish of water, then pressing them into flat noodles shaped as a leek leaf and cooking in a pot with boiling water. Bo tuo is especially smooth and delicious. In the Sui, Tang, and Five dynasty periods, there were more varieties of noodles. With the increase of noodle varieties, the methods and techniques of cooking have been continuously improved. There was a kind of cold noodle with a unique flavor, called Leng tao (冷淘), which was appreciated by the great poet Du Fu (杜甫), describing it “as cold as snow when gliding through the teeth (经齿冷于雪)”. There was another kind of noodle with full tenacity, referred to as “one of the seven wonderful health foods”, which has a saying “wet noodles can be used to tie the shoe”. In the Song and Yuan dynasty period, fine dried noodles (挂面) appeared, such as pig and sheep raw noodles (猪羊庵生面) and vegetable raw noodles (素面) sold in Linan (临安) city during the Southern Song period. Until the Ming and Qing Dynasty, there were more varieties of noodles. In the Qing dynasty, five spicy noodles (五香面) and eight treasures noodles (八珍面) were included in Xian Qing Ou Ji (闲情偶寄) by dramatist Li Yu (李渔) [3]. These two kinds of noodles were made of five and eight kinds of animal and plant raw material powder, respectively, and mixed into flour, which were considered as top grade noodles.

The Stories of Noodles

In the aspect of noodles, Chinese people have lots of customs, which essentially mean “human nature” and “worldly common sense” materialized in the noodles. At birthdays, people eat longevity noodles (长寿面); at the time of marriage and moving into a new house people eat noodles with gravy (打卤面), which means flavored life; on the day of lunar February 2 “dragon head (龙抬头)”, people eat dragon whiskers noodles (龙须面) to look forward to good weather. We eat different noodles in different seasons and different festivals.

Famous noodles in China have a unique value of traditional culture. Seafood noodles (三鲜伊面) are also called dutiful son’s noodle (孝子面). According to historical records, Yi Yin’s (伊尹) mother was perennially sick and bedridden. So he made noodles with eggs and flour, and then steamed and fried these noodles. Even if he was not at home it was convenient for his mother to eat these nonperishable noodles. The noodles were added to a soup made with chicken, pig bones, and seafood. Under the tender care of Yi Yin, his mother soon recovered. This was the reason why seafood noodles are also called dutiful son’s noodles. The processing method of seafood noodles in ancient time was very similar to industrialized manufacturing methods of instant noodles in modern times.

Sichuan (四川) dandan noodles (担担面) (Fig. 1) are known to every family. In the old days, hawkers sold noodles on the street with a shoulder pole, giving the name dandan noodles. There was a pot and stove on the shoulder pole, which made it convenient to cook noodles with full seasoning at any time. The business philosophy of wholehearted customer service is the essence for dandan noodles to stay prosperous.

Qishan (岐山) minced noodles (臊子面) with special flavor, also called ashamed son noodles (臊子面), also has a story in Shaanxi (陕西). Qishan minced noodles were originally called sister-in-law noodles (嫂子面). Previously, there was a poor scholar, whose parents died when he was young. He was raised by his elder brother and sister-in-law. In order to let him read books for fame, his sister-in-law made noodles for him. His sister-in-law was not only good at cooking noodles, but also good at making gravy with meat and vegetables. Oil sprinkled over chili was also mixed in noodles to increase appetite. Under the care of his sister-in-law, he passed the provincial civil service examination as expected under the old Chinese examination system. Therefore, it was also called sister in law noodles. Later, many people followed the example of cooking noodles to seek fame for their children, but repeatedly failed. Feeling shame for their son, the noodles were also called ashamed son noodles, which was pronounced as sào zi in Chinese.

Guangxi (广西) vinegar-pepper old friend noodles (老友面) has a story about friendship. Once upon a time, there was a Zhou teahouse where a customer drank tea almost every day. For a few days, the teahouse owner Zhou found the regular customer did not come to tea. Out of concern for an old friend, he went to visit him. He discovered that the old friend was sick. The shopkeeper quickly made a bowl of vinegar-pepper noodle soup with sautéed garlic and fermented black beans and sent the noodles to his friend. The old friend ate the noodles in a sweat and then recovered. So vinegar-pepper noodles have another name old friend noodles.

The Classification of Noodles

The Industrialization of Noodle Production

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The Nutritional Composition and Health of Noodles

Terms and Expressions

References

G.L. Wang Archaeological discovery: noodles originated in China—four thousand years ago, the noodles were found in Qinghai J Sci Technol China, 12 (2005), p. 52


Questions

Answers

英语笔译 何丽娜 He Lina 202170081569

Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City
He Lina

Introduction

Liangzhu Culture, located in the middle and lower reaches of the Yangtze River between 5,300 and 4,300 years ago, is one of the cradles of the 5,000-year Chinese culture and belongs to the archaeological culture of the late Neolithic Age. Liangzhu Cultural Center is clustered in Liangzhu ruins, Liangzhu and Pingyao towns, Yuhang District, Hangzhou city, Zhejiang Province. Liangzhu site represents the highest achievement of rice-farming in the origin stage of Chinese civilization, and has a wide and far-reaching impact on the development of Chinese civilization for the following five thousand years. It is an outstanding representative site of large prehistoric settlements in East Asia in the development history of human civilization. As one of the sites of early human culture, the Liangzhu Site in China was inscribed on the World Heritage List on 6 July 2019.

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英语笔译 胡良明 Hu Liangming 202170081570

A Study of the English Translation of Chu Ci by Xu Yuanchong Under Three Beauties Principle
Hu Liangming

Abstract

Qu Yuan’s Chu Ci is the first collection of romantic poetry in China, which has a very important position in the history of Chinese literature. In the middle and late 19th century, with the constant contacts and communication between China and foreign countries, domestic and foreign translators began to study and translate the Chu Ci and produced many indepth works. This thesis takes the English translation of Chu Ci by Xu Yuanchong as the research object, takes the Three Beauties Principle as theoretical basis, uses contrastive method, literature research and text analysis method, and analyses the English translation of Chu Ci by Xu Yuanchong from three aspects: beauty in sound, beauty in form and beauty in sense. It is found that Xu Yuanchong used rhetorical devices such as onomatopoeia, repetition, simile, personification and so on to reflect Three Beauties Principle in the process of translating Chu Ci into Chinese. The study can promote[?] the translation of Chinese classical literature by translators at home and abroad, thus promoting[?] the cultural exchange between China and foreign countries, and embody the advantages of Chinese literary theory in ancient Chinese ancient translation, which has an important[?] guiding role for future literary translation.

Key words

Chu Ci, Xu Yuanchong, Three Beauties Principle

Introduction

Literature Review

Methods and Theories

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 黄琼 Huang Qiong 202170081571

Bamboo Weaving in Yiyang Hunan
Huang Qiong

Abstract

Yiyang has a subtropical monsoon climate with high temperatures, cold winters and hot summers, and abundant precipitation. Bamboo mostly likes warm and humid climates, and Yiyang has abundant rainfall and heat, which is an ideal ecological environment for bamboo to grow, thus it is also known as the “Bamboo Capital of China”. Bamboo has always been a representative cultural image in China, which not only contains rich cultural values but also its artistic and economic values. Yiyang has a history of bamboo weaving for hundreds of years, and its bamboo products have long been famous, among which “Xiaoyu Bamboo Weaving Art” is a representative list of national intangible cultural heritage projects, and local bamboo products cover all aspects of production and life. This article not only introduces the art of bamboo weaving but also focuses on the process of weaving bamboo mats as an example to show the charm of Bamboo weaving.

Key words

Yiyang, Bamboo Weaving, Xiaoyu Bamboo Weaving Art, bamboo mat

Introduction

Literature Review

Methods and Theories

The Introduction to Bamboo weaving

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The Procedure of Bamboo Weaving

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 邝雨琪 Kuang Yuqi 202170081572

Chinese Mooncake Culture
Kuang Yuqi

Abstract

Key words

Introduction

Chinese moon cake is the representative food of the Mooncake Festival, or more commonly known as Mid-Autumn Festival. It is a kind of round cookie with various fillings and different artistic patterns on the surface, depicting the legends of the festival and conveying auspicious meanings. During the festival, people sacrifice these cookies to the moon as offerings, eat them for celebration and present them to relatives and friends for good wishes. ......

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III

Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

Terms and Expressions

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Answers

英语笔译 黎溢佳 Li Yijia 202170081573

英语笔译 李思敏 Li Simin 202170081574

英语笔译 李思源 Li Siyuan 202170081575

Chinese Lantern Culture
Li Siyuan

Introduction

Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.

The origin of Chinese Lantern civilization and typical kinds

Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room. Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.

Some common cultural implications of Chinese lantern

Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.

References

[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48. [2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015. [3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.

Terms and expressions

Calligraphy lanterns书法灯笼 Paper-cut lanterns 剪纸灯笼 Lantern Festival 元宵节 Spring Festival 春节 carrier 载体 auspiciousness 吉祥 reunion 团圆 bumper harvest 五谷丰登

Questions

Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?

Answers

Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.

英语笔译 李婷 Li Ting 202170081576

Language Culture in Chinese Cuisine Names
李婷 Li Ting

Introduction

Language and culture are closely related. Language is the carrier of culture and culture is the connotation of language. The language of any nation carries the cultural connotation of the nation. It covers ideological concept, mode of thinking, religious belief, value concept, aesthetic interest and so on. The core of language is vocabulary, and the vocabulary in a specific category reflects the culture in a specific category, such as the vocabulary of dishes, which is the direct or indirect reflection of national food culture in the language vocabulary. Cuisine names is the most representative expression of dish vocabulary. The name of a dish is the first step for people to know a dish. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine it. Therefore, since ancient times, Chinese people have made great efforts in the name of cuisine, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture.

As an ancient saying goes, "Food is the first necessity of the people", food culture has always been an important aspect of Chinese culture. Since ancient times, feasts have been inseparable from various memorial ceremonies, and from seeing off relatives and friends. In the folk custom of funerals, joyful events and some traditional festivals, such as the Spring Festival, Dragon Boat Festival, Mid-Autumn Festival, etc., a grand banquet are held in these occasions. In modern society, business and contract are inseparable from banquet. Nowadays, the functions of banquet are more diversified and important. It can be used to not only contact feelings, enhance friendship, solve disputes, but also improve relations, alleviate contradictions, promote the smooth communication, so as to achieve a harmonious interpersonal relationship and promote the success of the business. Dishes are indispensable in a banquet. It can also be seen that dishes have a very important impact on all aspects of society, and knowing the stories behind dishes will undoubtedly be more conducive to interpersonal communication and enhance one's cultural confidence. (Zhang Huilian, 2009)

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英语笔译 李欣 Li Xin 202170081577

英语笔译 李颖 Li Ying 202170081578

英语笔译 李媛 Li Yuan 202170081579

英语笔译 李梓婕 Li Zijie 202170081580

Confucius Institutes
Li Zijie

Introduction

The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

Overview of Confucius Institutes

Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture

Analysis of the Current Situation of Confucius Institutes (Case Study)

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英语笔译 梁思婷 Liang Siting 202170081581

英语笔译 廖诗韵 Liao Shiyun 202170081582

英语笔译 刘唱 Liu Chang 202170081583

Analysis on Localized Translation of English Games Based on Skopos Theory --Taking League of legends as an Example
Liu Chang

Abstract

At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

Key words

Skopos Theory; Game Translation; League of Legends

Introduction

Literature Review

Methods and Theories

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Conclusion

References

英语笔译 刘乐乐 Liu Lele 202170081584

英语笔译 刘双英 Liu Shuangying 202170081585

The Transmission of Chinese Folk Art

Abstract

Key words

Introduction

China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.

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Conclusion

References

英语笔译 刘婷 Liu Ting 202170081586

Translation and Dissemination of Chinese Contemporary Science Fiction
Liu Ting

Abstract

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insuffcient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

Key words

Introduction

Literature Review

Methods and Theories

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

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Conclusion

References

英语笔译 刘瑶 Liu Yao 202170081587

Dissemination of Chinese Contemporary Literature
刘瑶 Liu Yao

Abstract

Key words

Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

Introduction

Dissemination of Chinese Contemporary Literature in Different Regions

Dissemination of Contemporary Chinese Literature in English-speaking Countries

The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries

Dissemination of Contemporary Chinese Literature in France

Dissemination of Representative Chinese Contemporary Literary Works

Spreading Chinese culture in teaching Chinese as a second language

Conclusion

References

Terms and expressions

Questions

Answers

英语笔译 刘珍 Liu Zhen 202170081588

Chinese Guqin
Liu Zhen

Introduction

The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as "the father of Chinese music" or "the instrument of the sages." The Guqin is a very quiet instrument, with a range of about four octaves, and its open strings are tuned in the bass register. Its lowest pitch is about two octaves below middle C, or the lowest note on the cello. Sounds are produced by plucking open strings, stopped strings, and harmonics. The use of glissando—sliding tones—gives it a sound reminiscent of a pizzicato cello, fretless double bass or a slide guitar. The qin is capable of over 119 harmonics, of which 91 are most commonly used. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Key words

Introduction

Literature Review

Methods and Theories

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 龙翰良 Long Hanliang 202170081589

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

Abstract

At present, teaching Chinese as a foreign language is developing vigorously all over the world. Teaching Chinese as a foreign language (TCFL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a foreign language have also been further and widely carried out. As an important part of national education, teaching Chinese as a foreign language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus， education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture. This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.

Key words

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

Introduction

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a foreign language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a foreign language, has developed to a new period and has attracted many learners. The fundamental purpose of teaching Chinese as a foreign language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently. Language itself serves as a carrier of culture, therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.

Test Assessment

The whole process and teaching activities of second language teaching can be summarized into four links: overall design, textbook compilation and selection, classroom teaching and achievement test. Language testing is one of the four links of language teaching and an integral part of language teaching activities. Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master. The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form. The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China. Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)). The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate. In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: 1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted. 2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test. 3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time. At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching. Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.

Means and methods

Teaching Chinese as a foreign language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese. After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly. Therefore, in the practice and research of teaching Chinese as a foreign language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a foreign language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a foreign language; We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a foreign language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object. One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The selection of textbooks should include The textbook should include model texts with Chinese cultural characteristics. For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks. First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture. For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices. This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way. The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison method, simultaneous explanation method, multimedia teaching method, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice method. There are various ways of cultural transmission, and through the survey we learned some basic conditions of teaching Chinese as a foreign language, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a foreign language, the method of physical performance culture teaching is used to help international students learn to master the language, feel and understand the cultural connotation, so that students are interested in culture and treat every learning as a formal stage performance. The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese. However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture. Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.

Textbook Compilation

1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a foreign language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.（1） PracticalityDifferent from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm. The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life. It is the most urgent thing for learners to master. As far as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points. The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.（2） KnowledgeThe so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm. Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.（3） Scientificity1. to teach standardized and common Chinese charactersThe scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible. The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China. In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.2. the organization of teaching content should conform to the law of language teachingThe arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects. The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading. The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results. Characteristics and test evaluation（4） InterestInteresting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook. Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added. In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest. In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.

Classroom Teaching

Classroom Teaching is the basic form of teaching Chinese as a foreign language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language. This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching. The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language. The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching. Therefore, among the four links of teaching activities, classroom teaching is the central link. In other words, classroom teaching is the center of all teaching activities. Other links should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching. The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics. It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability. Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students. At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles： 1. Respect each other among different cultures and adhere to the principle of cultural equality. 2. Disseminate the essence of culture and avoid clamoring for attention. 3. Handle sensitive issues properly and maintain national dignity. In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.

Conclusion

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

Terms and expressions

Classroom teaching 课堂教学 HSK 中国汉语水平考试 Hanban（Chinese National Office for Teaching Chinese as a Foreign Language） 国家汉办

Questions

1.What are four links of the whole process and teaching activities of second language teaching? 2.When was HSK officially implemented? 3.What is the most important link of teaching activities among the four links of teaching activities? 4.What are the principles of spreading Chinese culture in Chinese education abroad? 5.What types of HSK exams are there?

Answers

1.Overall design, textbook compilation and selection, classroom teaching and achievement test. 2.The Chinese Proficiency Test (HSK) was officially implemented in 1990 3.Classroom teaching 4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality. Ⅱ. Disseminate the essence of culture and avoid clamoring for attention. Ⅲ. Handle sensitive issues properly and maintain national dignity. 5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced))

英语笔译 罗姚林 Luo Yaolin 202170081590

Different Local Dialects in China
罗姚林 Luo Yaolin

Introduction

Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

the Origin of Chinese Dialects

Different Features of Dialects in China

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Conclusion

References

英语笔译 马艳焕 Ma Yanhuan 202170081591

An overview on the study of Chinese folk stories
马艳焕

Abstract

Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

Key words

Introduction

Literature Review

Methods and Theories

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

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Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 聂薇 Nie Wei 202170081592

Cultural Factors Behind the Spring Festival Travel Rush in China
聂薇

Introduction

Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27) This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34) With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27) The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)

The evolution of the Spring Festival travel rush

As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32) In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27) In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “ While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27) Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem Longing for Going Back Home in the New Year, “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times The term "Spring Festival travel rush" was first used in 1980 by the People's Daily. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27) With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)

Cultural factors behind the Spring Festival travel rush in China

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

(i) Confucian culture In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28) The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28) It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28) The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

(ii) ceremonial culture In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28) During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28) The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

(iii) institutional culture One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29) The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

Way of relieving pressure from the rush

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

Conclusion

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82) It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82) The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82) Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)

Terms and expressions

Spring Festival travel rush：春运 epic population migration：史诗般的人口迁徙 Confucian culture：儒家文化 ceremonial culture：仪式文化 institutional culture：制度文化 farming culture：农耕文化 patriarchal clan system：宗法制度 clan gathering：家族聚居 displaced people：流民 the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想 affectionate elders and dutiful juniors：父慈子孝 worshiping ancestors：祭祖 paying a New Year call：拜年 putting up spring scrolls：贴春联 the system of urban-rural regional segregation：城乡区域隔离制度 the household registration system：户籍制度 the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化” the Double Ninth Festival：重阳节 statutory long holidays：法定节日长假 thinking of one's relatives every time the festival comes around：每逢佳节倍思亲

References

  • Fan Zhixin 范芷欣.传统文化视角下的“中国春运”剖析[J].鄂州大学学报,2019(2):27-29.
  • Xu Jiachuan 徐家钏.春运:文化口水下的民生之艰[J].浙江经济,2011(4):32-33.
  • Feng Jicai 冯骥才.春运是一种文化现象[J].商周刊,2012(2):82.
  • Xie Linxia 谢林霞.从文化的角度看春运[J].新余高专学报,2008(1):34-36.

Questions

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

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

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

Answers

1.40days 2.Tourists 3.Confucian culture

英语笔译 孙丽君 Sun Lijun 202170081593

Chuanjing Work Songs
Sun Lijun

Introduction

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

The History of Chuanjiang Work Songs

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents. From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42). However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

The Features of Chuanjiang Work Songs

The Geographical Distributions of Chuanjiang Work Songs

The Inheritance of Chuanjiang Work Songs

The Translation of Chuanjiang Work Songs

Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 仝雨梦 Tong Yumeng 202170081594

The Influence of Chinese Traditional Philosophy in Contemporary Times
仝雨梦

Introduction

Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

The Evolution of Chinese Traditional Philosophy

The Representative Schools of Thought

The Influence in Contemporary Times

Conclusion

References

Terms and Expressions

Questions

Answers

英语笔译 童略雅 Tong Lueya 202170081595

A Brief Analysis of the Influence of Artificial Intelligence on Translators
Tong Lueya

Abstract

The Internet, big data, artificial intelligence and other information technologies in the digital age have brought profound changes to the development of human society. Of course, translation is also affected without exception. Artificial intelligence is quietly changing the process of translation and the identity of the translator. Over recent decades, AI has developed rapidly and has been widely used in various fields. It has become the inevitable trend of social development. As a special human activity, translation has developed from the early mechanical machine translation to the current computer-aided translation (CAT), which is the embodiment of the integration of artificial intelligence technology and translation, and more and more people hold that this technology will replace manual translation. Based on the current development of AI and translation technology, this paper will explore the influence of the AI on translators, and then attempt to give some suggestions to them, so as to make full use of artificial intelligence to lead the development of translation and form a good situation of complementary advantages and mutual benefit.

Key words

Artificial intelligence; translator; influence; machine translation

Introduction

Literature Review

Methods and Theories

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

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Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 庹树梅 Tuo Shumei 202170081596

Translation and Dissemination of Chinese Fairy Tales in the English-speaking World
Tuo Shumei

Abstract

Chinese fairy tales are a literary style created by ancient Chinese people in the process of working life through long-term social practice. It is a literary style with a strong and distinctive national character, and is a bright and dazzling pearl in the treasury of Chinese culture. Internally, it is a source of cultural confidence, and externally, it is a channel for overseas readers to understand Chinese history, culture and society. Nowadays, with the increasingly frequent cultural exchanges between China and foreign countries, the English translation of Chinese mythological stories can help foreign readers better understand Chinese customs and traditions, and deepen their understanding of Chinese culture. Therefore, in order to tell Chinese stories and spread Chinese voices well, it is indispensable to tell Chinese Fairy Tales, spread Chinese mythological imagination and explain Chinese mythological wisdom. The first chapter of this paper analyzes Chinese Fairy Tales from the perspective of its translation status and strategies in the English-speaking world. The second chapter analyzes Chinese Fairy Tales from the perspective of its dissemination in the English-speaking world and their dissemination strategies. Chapter 3 analyzes Chinese Fairy Tales from the perspective of how to improve its translation and dissemination in the English-speaking world. Chapter 5 analyzes Chinese Fairy Taliesin the English-speaking world from the point of view of its translation and dissemination significance.

Key words

Introduction

Literature Review

Methods and Theories

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

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Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 王思琪 Wang Siqi 202170081597

英语笔译 王亚娟 Wang Yajuan 202170081598

Filial Piety in China
Wang Yajuan

Introduction

Filial piety has been a trait of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been enjoying priority and regiment to other qualities in the political and cultural life of traditional Chinese society. China's patriarchal social system predestines filial piety to go through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic. (Xiao Longhang 2006) Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach them. In feudal society, when the system was highly prosperous, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety, and briefly compare and contrast filial piety in China and the West, aiming to give an analysis of the development of filial piety in China.

The Evolution of Filial Piety in China

The Values and Limits of Chinese Filial Piety

Comparison of Chinese and Western Filial piety

Conclusion

Terms and Expressions

References

Questions

Answers

英语笔译 肖冬晴 Xiao Dongqing 202170081599

On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating Cooperative Principle
Xiao Dongqing

Abstract

As a common linguistic phenomenon, verbal humour is an important part of our daily communication. Grice’s cooperative principle is one of the major principle of pragmatics which is ubiquitous in people’s daily conversations. Therefore, it could provide a new perspective from which we analyse verbal humour. Chinese sketch comedy, also known as Chinese Xiaopin, is an art commonly performed by a group of comic actors or comedians presenting a series of short, amusing scenes called “sketches”. This thesis intends to work out the mechanisms of verbal humour in Chines sketch comedy from the perspective of violation of cooperative principle. It reveals in this special art form the violation of quantity maxim, quality maxim, relation maxim as well as the manner maxim in the process of analysing and proves that the violation of cooperative principle could avoid taking verbal humour at face value and arouse deeper thinking about this topic.

Key words

Verbal humour; Chinese sketch comedy; cooperative principle

Introduction

Humour plays an important role in people’s daily conversations. As a kind of lubricant of verbal communication, it creates an easy and comfortable environment, provides a happy and relaxing atmosphere and helps bring interlocutors closer. As a result, harmonious interrelationships could be maintained. Researches and studies on this topic at home and abroad could date back to as early as the 4th century B.C. when the ancient Chinese poet Qu Yuan composed “There in front of me remains nothing but vastness and silence(眴兮杳杳，孔静幽默)” in his masterpiece The Nine Elegies, meaning vastness.

However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping(2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Jie(2003), on the other hand, analyzed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling(2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.

Abroad, researches on humour are multidisciplinary, involving anthropology, psychology, sociology, linguistics, semiotics and artificial intelligence which are ultimately centred on superiority theory, release theory and incongruity theory. For instance, Charles Gruner explained that wonder is an essential element of humour and that there is always a “winner” and a “loser”in humourous contexts. Freud the representative figure of release theory analyzed the mechanism of humour from the perspective of psychoanalysis and divided jokes into intentional ones and unintentional ones.(Cai Hui, Yin Xing, 2005:5) Kant was said to be the first to denote humour from the perspective of incongruity theory who pointed out that humour comes from a sudden twist from expectation and the uuachievability of it.(Cai Hui, Yin Xing, 2005:5)

From all the above, it’s clear that the studies on humour are basically centred around linguistics, literature and figures of speech while researches abroad are involved with more disciplines ranging from anthropology to AI. What’s worth mentioning is that although humour was first brought forward in China, researches on this topic went through a far longer history in the west which could date back to the ancient Greek times. Therefore, it’s necessary to work further on this subject. This thesis will adopt the cooperative principle to analyse the relationship between verbal humour in jokes and the violation of the principle in which the theoretical basis of cooperative theory and the classification as well as the detailed analysis will be covered.

Cooperative Principle

Conversational implicature as the core principle of pragmatics theory was first proposed by Oxford philosopher Herbert Paul Grice. Grice noticed that in daily conversations people do not say thing directly but tend to imply them. He believes that there is some regularity in conversation. “Our talk exchanges do not normally consist of a succession of disconnected remarks, and would not be rational if they did. They are characteristically, to some degree at least, cooperative efforts; and each participant recognizes in them, to some extent, a common purpose or set of purposes, or at least a mutually accepted direction.”(Herbert Paul Grice, 1975:45) In other words, we seem to follow some principle like the following: “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.”(ibid.) And this principle is known as COOPERATIVE PRINCIPLE, or CP for short.

To further specify the CP, Grice introduced four categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several sub-principles.

The use of terms such as “principle” and “maxims” does not mean that the CP and its maxims will be followed everywhere. Despite the wide use of CP in daily conversations, people would more often than not violate these principles in actual communication. When basic communication is interfered, it’s common for people to notice the violation of CP. As a result, the hearer has to make efforts to figure out the implicature so as to understand what the speaker means. Conversational implicature, in fact, is the direct cause of humour. Speaker only violate CP to achieve a sense of humour when the hearer manages to interpret the conversational implicatures under the surface and enjoys the pleasure brought by humour.

An Overview of Cooperative Principle Violation in Chinese Sketch Comedy

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

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Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 肖佳莉 Xiao Jiali 202170081600

The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times
Xiao Jiali

Abstract

The Spring and Autumn period and warring States period is a very bright history in Chinese history, and a hundred schools of thought contend in such an era. Many scholars and schools of thought have emerged in this era, and these thoughts have had a very far-reaching impact on later generations. Zhuzi refers to the representatives of Guan-tzu, Lao-tzu, Confucius, Zhuang-tzu, Mozi, Mencius, Xun-tzu and other academic thoughts in the pre-Qin period, while Baijia refers to the representatives of Confucian, Taoist, Mohist, famous, Legalist and other academic schools. The hundred schools of thought are the general name of the pre-Qin academic thought figures and factions.So why was the Spring and Autumn and warring States period the coruscating period of all schools of thought in the pre-Qin period? This period basically laid the foundation of Chinese traditional culture or Sinology, and since then there have been almost no major breakthroughs or achievements.

Key words

Introduction

Literature Review

Methods and Theories

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Subtitle 4

Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 谢晓莹 Xie Xiaoying 202170081601

The Acrobatic Fighting in Peking Opera
Xie Xiaoying

Abstract

Key words

Introduction

Literature Review

Methods and Theories

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Conclusion

References

英语笔译 熊嘉玲 Xiong Jialing 202170081602

英语笔译 颜媛 Yan Yuan 202170081603

英语笔译 杨心怡 Yang Xinyi 202170081604

英语笔译 杨紫微 Yang Ziwei 202170081605

Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"
Yang Ziwei

Abstract

Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

Key words

Xu Yuanchong; “San Hua” ; Tang poetry

Introduction

For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

Literature Review

In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua". In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

Methods and Theories

Research method: Literature analysis. By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission. Theories: "San Hua"--Equalization,deepenization and generalization.

Subtitle 1

The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture. The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry. The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well. It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories. 

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao,1994:22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."
No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

Subtitle 2

Main Ideas of Xu Yuanchong’s Literature Translation Theory 2.1 An introduction to Xu Yuanchong Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone. 

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods. Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence. Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems: (1)白雪却嫌春色晚，故穿庭树作飞花。 But white snow dislikes the late coming vernal breeze, It plays the parting flowers flying through the trees. In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes. (2)随意春芳歇，王孙自可留。 Though fragrant spring may pass away, Still here's the place for you to stay. This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life. In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents. (3)相见时难别亦难，东风无力百花残。 It’s difficult for us to meet and hard to part； The east wind is too weak to revive flowers dead. In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization. Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation. In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

Subtitle 3

The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua” In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua” 

      春夜喜雨
    （唐）杜甫

好雨知时节，当春乃发生。 随风潜入夜，润物细无声。 野径云俱黑，江船火独明。 晓看红湿处，花重锦官城。

Happy Rain on a Spring Night Du Fu Good rain knows its time right, it will fall when comes spring. With wind it steals in night; mute, it wets everything. Over wild lanes dark cloud spreads; in boat a lantern looms. Dawn sees saturated reds; the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything. Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City. At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion. As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua” 


   锦瑟

（唐）李商隐 锦瑟无端五十弦， 一弦一柱思华年。 庄生晓梦迷蝴蝶， 望帝春心托杜鹃。 沧海月明珠有泪， 蓝田日暖玉生烟。 此情可待成追忆， 只是当时已惘然。

The Sad Zither Li Shangyin Why should the sad zither have fifty strings? Each string, each strain evokes but vanished springs: Dim morning dream to be a butterfly; Amorous heart poured out in cuckoo’s cry. In moonlit pearls see tears in mermaid’s eyes; From sunburnt jade in Blue Field let smoke rise. Such feeling cannot be recalled again: It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad". This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea. In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers. So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua” 

   清明

（唐）杜牧 清明时节雨纷纷， 路上行人欲断魂。 借问酒家何处有， 牧童遥指杏花村。

The Mourning Day Du Mu A drizzling rain falls like tears on the Mourning Day； The mourner' heart is going to break on his way. Where can a wine shop be found to drown his sad hours? A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet. First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation. Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers. In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc. Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

Subtitle 4

The Influence of Xu's Translation Theories

Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 张国浩 Zhang Guohao 202170081606

The Influence of Electronic Language on Chinese Language and Culture in the Internet Age
Zhang Guohao

Abstract

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

Key words

New media; Electronic language; Language culture

Introduction

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

Literature Review

Methods and Theories

Subtitle 1

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

Subtitle 2

Subtitle 3

Subtitle 4

Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 张姣玲 Zhang Jiaoling 202170081607

英语笔译 张瑞 Zhang Rui 202170081608

An analysis of honorifics between Chinese and English
张瑞 Zhang Rui

Abstract

The purpose of this paper is to study the use of honorifics in modern languages and the expressions of politeness in address forms. In this paper, English and Chinese are selected to study the corresponding expressions by means of data collection and analysis. The results show that the use of honorifics is influenced by language habits, cultural backgrounds, social changes and other aspects, and the development direction of honorifics is explored.

Key words

Honorific; personal pronouns; Comparison

Introduction

Literature Review

Methods and Theories

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References

英语笔译 赵宇翔 Zhao Yuxiang 202170081609

Zhao Yuxiang: Dunhuang Frescoes In Contemporary China
赵宇翔Zhao Yuxiang

Abstract

Key words

Introduction

Introduction On Mogao Grottoes Introduction On Dunhuang Frescoes

The origin of Dunhuang civilization

The Origin of Mogao Grottoes The Origin of Dunhuang Frescoes

Dunhuang Frescoes Are Enjoying New Life: Taking the Skins in Honor Of Kings As Examples

Yu Jian Fei Tian (Meet A Flying Apsaras)

Yu Jian Shen Lu (Meet A Fairy Deer)

Yu Jian Hu Xuan (Meet A Huxuan Dancer)


The Future Inherence And Development Of Dunhuang Frescoes

Terms and expressions

Questions

Answers

英语笔译 郑冬琴 Zheng Dongqin 202170081610

英语笔译 钟青 Zhong Qing 202170081611

论文标题
Zhong Qing

Abstract

The History of Imperial China is a series of general histories of China edited by Canadian historian Timothy Brook, which was published in Chinese by China's CITIC Publishing House in 2016. This article collects the administrative terms of each dynasty in the History of Imperial China, and explores the translation methods of them. There are a total of 201 administrative terms, spanning the six stages of the Qin and Han Dynasties, the Southern and Northern Dynasties, the Sui Dynasty, the Tang Dynasty, the Yuan and Ming Dynasties, and the Qing Dynasty. According to the statistics, % of the Chinese administrative terms use the word-for word translation method, % subtraction, and % amplification. It is found that in the same book, the same administrative term has different translations, badly affecting readability and coherency. In addition, many administrative terms are rendered into the counterpart in the foreign official system, which may be misleading to the reader. By analyzing the translation strategies of the administrative terms in the History of Imperial China, this paper intends to fill some gaps in the study of English translation of administrative terms, and to provide reference for the translation of administrative terms in the English translation of Chinese works in the future.

Key words

History of Imperial China; Administrative Terms; Translation Strategy; Consistency

Introduction

Literature Review

Methods and Theories

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Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 周皓熙 Zhou Haoxi 202170081612

英语笔译 周哲 Zhou Zhe 202170081613

Confucian Teaching Thoughts
周哲

Abstract

Key words

Introduction

Ancient Chinese education is part of the brilliant and diverse ancient Chinese culture, the foundation on which it has been sustained and developed, and the driving force behind its constant innovation. It was passed down from generation to generation through ancient Chinese education. The school education, social education, family education and education in all kinds of craftsmanship were the guarantee of the continuity and development of all kinds of ancient Chinese culture, without which it would have been difficult to create, perpetuate and develop ancient Chinese material and spiritual civilization.

During the Western Zhou dynasty, there was not only a national school but also a country school, which gradually formed a systematic education based on ritual, music, archery, royalty, calligraphy and mathematics. During the Spring and Autumn and Warring States periods, private schools began to develop as a new form of educational organization, and a number of masters emerged, such as Confucius, Mo Zi, Mencius and Xun Zi, who shone with their wisdom. Ancient Chinese education is a humanistic one. It takes the cultivation of a gentleman as the sole purpose and focuses on teaching people virtue and wisdom rather than mere knowledge. It attaches particular importance to moral education and virtue cultivation, emphasizing moral integrity, ethics and lofty spirituality, advocating the development of ambition, and highlighting a sense of moral responsibility. It also promotes the spirit and broad-mindedness. China has gradually formed a long-term and profound educational tradition, starting from Confucius and Mencius, Lao Zi and Chuang-Tzu, and down to Song and Ming philosophy, all paying special attention to self-cultivation by attaching great importance to inspiring students’ self-awareness and initiative, to be persistent in their determination, to refrain from excessive indulgence and to do self-examination and good deeds, and to be subtle and prevent the gradual corruption. In this way, a series of principles and methodologies of moral education and cultivation with unique Chinese characteristics have been gradually developed.

Literature Review

Methods and Theories

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语笔译 朱丽娟 Zhu Lijuan 202170081614

英语口译 段小蝶 Duan Xiaodie 202170081615

Chinese Movies Going Global
Duan Xiaodie

Abstract

With the acceleration of China's economic and social development and the process of globalization, the going global of culture has become one of the unecessary parts of China's construction in the new era. China's cultural transmission is achieving remarkable results in many aspects, such as foreign trade and exchanges of culture, And China's position in international societies is becoming prominent, and China's voice is gradually gaining attention. However, at the same time, the difficulties that have emerged when Chinese culture has gone out cannot be ignored; the international competitiveness of cultural products is weak, the concept of international dissemination is unscientific, there is a lack of a reasonable system of evaluating results, and there is still a certain distance between the overall situation and the goal of a culturally strong country. As a kind of cultural medium, the film has become an important value carrier under the globalization, and is an important link and key to the cultural outflow; the cultural outgoing movement has also created a platform and opportunity for the international dissemination of the film. The international spread of literature and film helps the enhancement of the soft power of Chinese culture. Therefore, under the perspective of cultural outgoings, from the microscopic point of view, through the interpretation of chinese film cases and the analysis of the experience of other countries' films and television, we can sum up the development status of international transmission of Chinese television and film, and put forward countermeasures and suggestions for the overseas broadcast of Chinese films and television, which have great practical significance and research value.

Key words

Chinese Movies; Culture Going Global; Countermeasures and Suggestions

Introduction

Literature Review

Methods and Theories

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References

英语口译 方楚晗 Fang Chuhan 202170081616

Bullet Screen in Chinese Online Video Sites
Fang Chuhan

Abstract

Key words

Introduction

“Bullet screen”, or “dan'mu” in Chinese, is an emerging new feature on online video sites in China and Japan, which allows real-time comments from viewers to fly across the screen like bullets. Mostly used for virtual nods and zingers, this “social viewing” feature is phenomenally popular with the younger crowd.

Literature Review

Methods and Theories

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References

英语口译 胡雯雯 Hu Wenwen 202170081617

Chinese Baijiu Culture
Hu Wenwen

Abstract

Chinese Baijiu can be compared with wine in France, but it is made of rice. We have a long history of Chinese Baijiu, which develops with our own culture. And more importantly, we have cultivated a kind of special culture about Baijiu on the table.

Key words

Introduction

Baijiu is one of the main beverages in Chinese people's life. China has a long history of baijiu making, with a wide variety of famous bajiu spreading with a good reputation at home and abroad. Yellow rice wine is one of the earliest baijiu in the world. About 3000 years ago, in the Shang and Zhou dynasties, the Chinese people created the liquor koji double fermentation method and began to brew a large amount of rice wine. Chinese Baijiu has permeated the entire 5000 year history of Chinese civilization. It plays an important role of literary and artistic creation, cultural entertainment, food and cooking, health care and other aspects in Chinese people's life. Chinese Baijiu culture is an important part of Chinese food culture. Wine is one of the most ancient foods of mankind. Its history almost began with the history of human culture. Since the emergence of baijiu, as a material culture, baijiu has a variety of forms. Its development process is synchronized with the history of economic development. Baijiu is not only a kind of food, but also has spiritual and cultural value. As a kind of spiritual culture, it is embodied in many aspects, such as social and political life, literature and art, and even people's attitude towards life, aesthetic taste and so on. In this sense, drinking is not just drinking but also drinking culture. As to drinking etiquette, Chinese people pay attention to people with whom they drink . It depends on who they drink with and what they want, to be more specific, the atmosphere of drinking; drinking etiquette reflects the respect for drinkers. Who is the host ? Who is the guest? What about the fixed seats and toast sequence for them respectively. When toasting, you should start from the host. If the host doesn't finish, others are not qualified to propose a toast. If you mess up the order, you will be punished. The toast must start from the most distinguished guest. Your container must be full when toasting, which also shows respect for the person you drink with. The younger generation should take the initiative to toast the elders, which is the same for the juniors and superiors, and we also regard‘ bottom-up’ as a sign of respect. When we talk about purpose of drinking，Chinese baijiu is often used as a tool. People drink for pursuing something they hope for other than alcohol itself. Green plum baijiu is used to prove who is a hero; Beimoting is used to eliminate all the worries within you; The Seven Sages singing wildly in the bamboo forest and drink to seek refuge in spirit. In the eyes of Chinese people, baijiu is more used as a tool for communication. Therefore, there is a lack of scientific and systematic theoretical analysis and evaluation of baijiu itself in Chinese baijiu culture, and more attention is paid to the wonderful effect brought by drinking baijiu.

Literature Review

Methods and Theories

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语口译 黄天琪 Huang Tianqi 202170081618

Marriage Culture in China
Huang Tianqi

Introduction

Marriage is something related to all of us. It is the start of family and kinship. Most of our life will be spent within a marriage. And an unhappy marriage will ruin many things. This starts by lowering the quality of our life, then threatening the life of our children, and forming a family without happiness and warmth. Eventually, this will have a bad impact on the harmony of the society. Judging from all these, we can see that how important marriage is to our life and society. Besides, marriage represents not only a union between couples, but also a union of two families. In the past, marriage was often arranged by parents, while today’s young people prefer to choose spouse that they love by themselves. However, it is still common that parents hold sway over the marriage of their children. Marriage culture is a part of social culture, which can reflect people’s mentality and views towards marriage in a particular period. In the following, marriage system, wedding customs, and dissolution of marriage will be covered.

Marriage System

From the earliest group marriage to monogamy, marriage system has become increasingly rigorous, which is conducive to ensuring family stability and social peace. China went through primitive society, slave society, feudal society, modern society, and it is now contemporary society. The characteristics of marriage system in each period are distinctive. From the evolution of our marriage system we can see that each change has been in line with the change in the political and economic system. The marriage system is a guarantee of social stability, and the main evolutionary history includes the following periods. 正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

Wedding Customs

Dissolution of Marriage

Conclusion

References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语口译 兰绮 Lan Qi 202170081619

Chinese Panda Diplomacy
Lan Qi

Introduction

Gift-giving is a common courtesy in diplomatic activities. And this kind of diplomatic culture has a profound history. Via exchanging gifts, a cordial and friendly bond can be built upon two countries. Diplomatic gifts are not only limited to some still-life items, but also can be some living creatures, such as animals. China has a history of presenting panda as a diplomatic gift to forge diplomatic relations with other countries, which is known as Chinese Panda Diplomacy. Panda, listed as an endangered species in 2008 and a vulnerable species in 2016, is endemic to China. It’s the national animal or say, national treasure of China. It is recorded that panda diplomacy can date back to the later Tang Dynasty when Emperor Wu ever gave two pieces of skin of pandas as a gift for foreign envoys. And after the founding of People’s Republic of China, China has been carrying out diplomatic activities through giving panda as gifts, lend panda to other countries for traveling exhibitions or signing commercial leases of pandas to show friendliness. In the 26 years from 1957 to 1982, China gave a total of 23 pandas to 9 countries. Panda, as a national treasure of China, has served as a messenger of friendship abroad many times and has made indelible contributions to the development of friendly relations with foreign countries.

Origin and History of Chinese Panda Diplomacy

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Reasons for Panda as an diplomat

Meaning of Panda as an diplomat

Disputes over Panda as an diplomat

Conclusion

英语口译 李丹 Li Dan 202170081620

Differences of Tea Culture between China and the UK
Li Dan

Abstract

The British afternoon tea, with various ingredients such as sugar and milk, is popular all over the world and is completely different from the traditional Chinese tea. But there is in fact a connection between the two. The English afternoon tea was developed after the introduction of Chinese tea to the UK and its localisation. Originated in China, it was first used as a medicinal herb, and was later influenced by Confucianism, Taoism and Buddhism, resulting in a distinctive Chinese tea culture. Tea was introduced to Europe in the 16th century, and many countries began to consume it, except for the long-established Britain which established a British tea culture distinct from that of China, changing not only its native way of life, but also influencing the spiritual life of its citizens. However, instead talking about the similarities between the two, the author is just going to focus on the differences. Chinese tea and the British tea vary in types, utensils, etiquettes, which is overt, yet they are also quite different in their development and philosophies. After that the reasons behind them would be discussed. In doing so, the paper intends to deepen the understanding of both, and to make reflections on how to pass on traditional Chinese culture.

Key words

tea culture; traditional Chinese culture; differences

Introduction

Literature Review

Methods and Theories

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语口译 李立飞 Li Lifei 202170081621

Memes in China
李立飞

Abstract

This paper discusses the distinctive features of memes in China in the context of digital culture. As China is a more politically complicated country and has a totally different mindset compared with Western countries, memes in China are usually closely related to every Chinese citizen's life, rather than only confined to a certain circle (such as video games and anime). In this paper, I will analyse Chinese memes in 3 dimensions: Geng(梗), Biaoqingbao（表情包）, and Guichu（鬼畜）, which represents text, picture and video respectively.

Key words

memes; digital culture; netizen

Introduction

A meme is an idea, behavior, or style that spreads by means of imitation from person to person within a culture and often carries symbolic meaning representing a particular phenomenon or theme. A meme acts as a unit for carrying cultural ideas, symbols, or practices, that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. Supporters of the concept regard memes as cultural analogues to genes in that they self-replicate, mutate, and respond to selective pressures. In the vernacular discourse of netizens, the phrase “Internet meme” is commonly applied to describe the propagation of content items such as jokes, rumors, videos, or websites from one person to others via the Internet. According to this popular notion, an Internet meme may spread in its original form, but it often also spawns user-created derivatives. .....

Literature Review

Methods and Theories

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References

  • Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.

英语口译 莫雨婷 Mo Yuting 202170081622

Chinese Animal Symbolism
Mo Yuting

Introduction

Since ancient times, people started living with the existence of animals. Due to different geological environments, cultural backgrounds, customs, and religions, the symbolic meanings of animals vary in different countries. Animal symbolism evolves with languages and cultures. According to Claire Kramsch: “On one hand, language as an integral part of human being permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps permeate the culture, and the changes in language uses reflect the cultural changes in return.” (Claire Kramsch, 1998). In the past, China was an agricultural society in which animals played an important role in people’s daily life. Some animals have been tamed by human beings, while others are still wild animals. For different animals, Chinese people have different attitudes and emotions. And many symbolic meanings of animals will show up in myths, fables, fairy tales, proverbs, idioms and etc. The earliest Chinese animal symbolism could date back to the Western Zhou period (1046-771BC). The Book of Songs, one of the earliest anthologies of verse in China, used various animals, such as horses, rats, fish, birds, etc., to narrate stories and express emotions. These animals are given different symbolic meanings. Animal symbolism evolves with Chinese culture, and it takes the Chinese language as a carrier. Chinese people are very familiar with the 12 animal zodiac, and some of the 12 animal symbolic meanings have changed with time. It shows a strong relationship between symbolic meanings and Chinese culture. In addition, many Chinese idioms will use animal symbolism to express different meanings. For instance, the Chinese four-character idiom “龙腾虎跃” (spirited dragon and dynamic tiger) shows a positive meaning, while “贼眉鼠眼” (people with furtive eyes) has a negative meaning. This article will focus on the 12 animal symbolism in the Chinese zodiac and animal symbolism in Chinese four-character idioms and show more details by giving more related examples and pictures.

Animal symbolism in Chinese zodiac

Rat

Ox

Tiger

Rabbit

Dragon

Snake

Horse

Goat

Monkey

Rooster

Dog

Pig

Animal symbolism in Chinese four-character idioms

Teferences

Terms and expressions

Questions

Answers

英语口译 彭慧璇 Peng Huixuan 202170081623

Foot Binding in China
Peng Huixuan

Introduction

Foot binding, a custom of breaking and tightly binding the feet of young girls in order to change their shape and size, persisted in China for a millennium. Feet altered by foot binding were known as lotus feet, and the shoes made for these feet were known as lotus shoes. The different sizes of feet are different levels of "lotus", feet longer than four inches are called “iron lotus”, those about four inches are called “silver lotus”, and those shorter than three inches are “gold lotus”. In late imperial China, bound feet were considered a status symbol and a mark of feminine beauty.

There are various views on when foot binding began, including the Xia dynasty, Shang Dynasty, Spring and Autumn period, Sui dynasty, Five Dynasties and Ten Kingdoms period, and Song Dynasty. According to the scholar Gao Hongxing’s book “The History of Footbinding”, foot binding began in the late Northern Song Dynasty and entered its heyday in the Ming and Qing Dynasties. (Gao, 1995:1) Later, the popularity of foot-binding spread to women of all social ranks. After the overthrow of the Qing Dynasty, Sun Yat-sen officially banned foot-binding. During the May Fourth Movement, foot-binding became the target of the revolutionary movement, with many denouncing the destruction and oppression of women by foot-binding. After the founding of New China, foot binding was completely abolished, and Chinese women were completely liberated from that.

In this article, the author provides further details on the history and specific process of foot binding. At the same time, the reasons for foot binding will be further discussed in detail, including cultural and social factors. In addition, the paper will describe the impact of foot binding on Chinese women, on China, and on the world in general. Finally, the views on foot-binding will be mentioned, as well as traditions similar to foot-binding in other countries, such as the Victorian corset and their impacts.

Origin and History of Foot Binding

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Practice of Foot Binding

Reasons of Foot Binding

Impacts of Foot Binding

Views and Interpretations of Foot Binding and Similar Practice in Other Countries

Conclusion

References

[1]高洪兴. 缠足史[M]. 上海文艺出版社, 1995.

Terms and expressions

iron lotus铁莲 silver lotus银莲 gold lotus金莲

Questions

Answers

英语口译 时友洁 Shi Youjie 202170081624

Makeup Revolution in Ancient China
Shi Youjie

Introduction

Makeup involves dressing and grooming in terms of its broad sense, while in a narrow sense, it refers to the makeup on one's face. By applying cosmetics, a particular feature of the face will be highlighted to be more charming. In ancient China, makeup is generally called “粉黛（fen dai）”，“打扮（da ban）”，“容妆（rong zhuang）”, and in most circumstances, females tend to makeup more than males. Ancient China has witnessed a clear process of evolution about makeup, in which women's makeup in different dynasties will be mainly displayed and analyzed in this paper. Throughout history, only a few words about makeup has remained owing to the traditional preference of ancient Chinese. On the one hand, the history book prefers to narrate a male with his story of nobility, virtue or great success, or record events of historic importance, leading to a shortage of details about public daily lives, not to mention the makeup. On the other hand, the ancient Chinese artists root for preserving the essence and aroma rather than the details and forms of a painting. This is why modern archaeologists have found it difficult to investigate ancient Chinese makeup. As hard as it may be, some types of makeup in different dynasties can be accessed by a small number of records. Despite a few historical sources, to learn the evolution of make is still significant, for it is not only the aesthetics but also the national context of ancient China that is behind the makeup. Analysis of ancient Chinese in a visual aspect is only scratching the surface, while the economic, political and cultural background that makeup mirrors is worth studying further. Many of the unearthed artifacts about makeup can be traced back to prehistoric times at the earliest, which allow us to study makeup customs such as body painting, tattooing, ear piercing, etc at that period. But it was not until the Western Han and Eastern Han Dynasties that the makeup culture was formed with a standard aesthetic appreciation. Subsequently, distinctive aesthetic preferences were bred in Wei, Jin, Northern and Southern Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties respectively. This paper will focus on makeup preferences in four major times: prehistory, the Western Han and Eastern Han Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties, with an aim to provide insights about the integration between makeup and historical background.

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References

Terms and expressions

Questions

Answers

英语口译 伍佳惠 Wu Jiahui 202170081625

Chinese Dragon Culture
Wu Jiahui

Introduction

The Chinese dragon, also known as long, loong, or lung, is a legendary creature in Chinese mythology, Chinese culture, and Chinese folklore as a whole. For thousands of years, the dragon has permeated all aspects of Chinese society, becoming a cultural cohesion and accumulation. The dragon has become a symbol of China, a symbol of the Chinese nation, and a symbol of Chinese culture. To every Chinese descendant, it carries national emotions.

The creature can be found in the mythology of many ancient cultures, but nowhere else in the world is the creature quite so revered as in China. The Chinese dragon is a benevolent creature that delivers fertilizing rain to the earth. Strength, good luck, and awe-inspiring might are the spiritual meanings of the dragon. The oriental dragon is widely regarded as a spiritual or supernatural sign of heavenly power. As a result, it has long served as the emperor’s symbol.

The Chinese dragon is easily identified by its long serpentine body which is usually wingless, and its anthropomorphic face with beards. The dragon is considered the most auspicious year sign, so the image is embroidered on the robes of emperors, portrayed in the most valuable materials, such as gold jewelry and jade sculptures. In addition, it has endless references in performing arts and literature.

Generally speaking, the dragon was everywhere in ancient China and looms as large nowadays in the Chinese psyche as ever.

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References

Terms and expressions

Questions

Answers

英语口译 夏晶 Xia Jing 202170081626

On Differences of Table Manners between China and West
Xiajing

Abstract

Key words

Introduction

Manners are different in every country. Some manners that we consider are polite in China are not necessarily polite in other countries. We are more familiar with the dining separately in the West and dining together in China. Chinese people advocate the values of collectivism, so Chinese people like to eat together that the table atmosphere in China is lively and harmony. And the Chinese hosts like to serve the dishes for their guests. But in the West, as western philosophy tends to focus on individualism and personal development, individualist values predominate in western countries. So, people just like to eat the food on their plate. What’s more, it is not a mistake although western people can’t understand the way we serving dishes to guests. This is just a cultural difference between China and West. Likewise, table manner culture is a part of the diet culture, and the difference between Chinese and western cultures. Sometimes, different etiquette is an important reason of misunderstandings between different cultures, leading to the failure of intercultural communication. Learning the differences and the origin of table manners between China and the West in the aspect of various religions belief, values and cultural connotations, not only can enhance the understanding of the target language culture, but also can perform well during cross-cultural communication, so as to avoid the misunderstanding caused by improper behavior or manner. In addition, communication etiquette becomes more and more important as the bridge and ties to link communication among people. Avoiding abruptness and rudeness, which ensure the activities of diplomacy can successfully. Therefore, understanding table manners habits and characteristics is of great importance to promote the development of Chinese diplomacy.

Literature Review

Methods and Theories

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References

Sizhi Xiong. The Mystery of Chinese Diet. [M] Henan. Henan people press. 2014.

英语口译 向师琦 Xiang Shiqi 202170081627

The Collision between Confucian Culture and Chinese Modernist Literature
Xiang Shiqi

Abstract

Key words

Introduction

Confucian culture is a cultural school with Confucianism as its guiding ideology. Confucianism was created by Confucius in the Spring and Autumn Period, who advocated blood relations, social achievements, self-cultivation and moral rationality. Its central ideas are forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness. In the new era of socialism with Chinese characteristics, inheriting the essence of Confucian culture plays an important role in promoting China's socialist modernization. The inheritance of Confucian culture can effectively promote the five-pronged construction of China's political, economic, cultural, social and ecological civilization. Each of us should be the disseminator of excellent traditional culture and contribute to the great rejuvenation of the Chinese nation.

Literature Review

Methods and Theories

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Conclusion

References

  • [1]张奇.儒家文化的传承及其当代启示[J].边疆经济与文化,2021(05):110-112.

英语口译 向望 Xiang Wang 202170081628

Fandom Culture in China
Xiang Wang

Introduction

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

The Evolution of Fandom Culture

Comparison of Fandom Culture between China and Other Countries

The Impact of Fandom Culture

Conclusion

References

Terms and expressions

Questions

Answers

英语口译 徐舞 Xu Wu 202170081629

英语口译 张静芝 Zhang Jingzhi 202170081630

英语口译 张旻丰 Zhang Minfeng 202170081631

日语笔译 曹梦然 Cao Mengran 202170081632

日语笔译 胡梦琪 Hu Mengqi 202170081633

Huangmei opera
Hu Mengqi

Introduction

Huangmei opera, formerly known as Huangmei tune, tea - picking opera, originated from Huangmei, Hubei province, and developed in Anqing, Anhui Province. Huangmei Opera, together with Beijing Opera, Yue Opera, Pingju Opera and Henan Opera, is known as the "Five Major China Operas." It is also one of the main local operas in Anhui Province. There are also professional or amateur performing groups of Huangmei Opera in Hubei, Jiangxi, Fujian, Zhejiang, Jiangsu, Hong Kong and Taiwan, which are widely welcomed. Huangmei opera is a kind of opera which is formed and developed gradually by folk song, Yangge, Tea Song, pick-tea lantern dance and flower - Drum tune, which precedes the countryside and then enters the city. It has absorbed the factors of Han opera, Chu Opera, Gaoqiang opera, tea - picking opera, Peking Opera and many other operas, and gradually formed its own artistic characteristics. Huangmei Opera's singing is simple and smooth, with bright and quick lyric, good at expressing emotions. The performance is simple and meticulous, famous for its authenticity and vivacity. A song Fairy Couple makes Huangmei opera popular in the north and south of the river, and has a high reputation overseas.

Development

The development history of Huangmei opera was roughly divided into three stages: The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The tunes produced and spread to the three provinces of Anhui, Hubei and Jiangxi were influenced by the local opera performances and combined with some folk arts, gradually forming some small operas. Further development led to the complete story of the operas. From the Reign of Emperor Kangxi and Emperor Qianlong of the Qing Dynasty to the reign of Emperor Guangxu, the traditional repertoire was very rich, and artists could perform more than 200 plays. Among them, many were based on Huang Mei's real people and real events, such as Dacidian and Cross the Jieling and so on; Some were the People's dissatisfaction with class oppression, the disparity between the rich and the poor, and their yearning for a free and beautiful life at that time. Such as Buckwheat story, Fairy Couple and so on; Some also showed the life segments of rural workers, such as Spinning cotton yarn, Selling bucket basket and so on. The second stage was from the Revolution of 1911 to 1949. At this stage, Huangmei Opera gradually became professional and moved from the rural stage to the urban stage. After Huangmei opera entered the city, it was co-organized with Peking Opera, and was influenced by Yue opera, Yang Opera, Huai Opera and Pingju Opera from the North in Shanghai, which changed greatly in both the content and form of the performance. In addition to the arrangement and transplantation of a number of new plays, the music has also carried out a preliminary reform of the traditional singing, and the content was more understandable. The third stage is from 1949 to now. After the founding of the People's Republic of China, Huangmei opera has been rapidly restored and developed. Anhui Province Huangmei opera troupe was established in Hefei in 1953. Thirteen counties in Anqing area have also set up professional troupes. In 1954, Huangmei opera Fairy Couple participated in the East China Opera observation and performance conference and was successful. The play was also made into a film twice, causing a sensation at home and abroad. A number of newly created and adapted outstanding plays such as Emperor's Female Son-in-Law and Hillock of Sand have been staged one after another. In Hong Kong and Macao, there was a prosperous scene of Huangmei opera sung in Mandarin and Cantonese. Decades after the liberation of huangmei opera has created a large number of outstanding actors, in addition to have outstanding contributions to huangmei opera singing art Yan Fengying, Wang Shaofang older generation of artists, such as young and middle - aged actors such as Ma Lan, Han Zaifen also won the audience's attention and love.

Features

Tune:Huangmei Opera's singing style belongs to the plate - Type variation, which has three major tunes: Coloratura, Choi Tune and Main Tune. Coloratura is mainly used in small operas, the melody is simple, beautiful and cheerful, with a strong atmosphere of life and folk song minor color; Choi tune‘s melody is cheerful, has been widely used in the Coloratura small operas. The main tune is commonly used in the traditional original opera of Huangmei opera, which is divided into flat words, fire attack, two lines and three lines, among which flat words is the most important singing tune in the original opera, with serious, solemn, beautiful and generous melody. Huangmei opera is known for its lively lyricism, simple, fresh exquisite and moving singing, with rich expressive force, and easy to understand, easy to popularize, loved by the masses around. In the musical accompaniment, the early Huangmei opera by three people to play the drum, cymbals, small gongs, big gongs and other percussion instruments, at the same time to participate in the vocal accompaniment, known as "three strokes and seven singing." After the founding of the People's Republic of China, Huangmei opera formally established the accompaniment system with Kao-hu as the main instrument.

Types of Roles:After the performance of the whole opera, the types of the roles gradually developed into the lead, the female lead, the painted face, the old lead and clown. Although there is a division of types in the profession, few people specialize in one profession. After the 19th year of the Republic of China, Huangmei opera troupe often performed with Hui and Beijing Opera troupe. Due to the need of performing plays, there appeared some new roles, but they were not fixed. At that time, the Huangmei troupe was mostly semi - Professional, with only 12 people in general. Due to the small number of people in the troupe, when performing the whole opera, it was often an actor who has to play several roles. Therefore, in Huangmei opera, although the roles in the opera are standardized, the actors do not have strict branches.

Dress and makeup:The costumes of Huangmei opera are the continuation of the traditional costumes of the Han nationality, but most of them were in the Tang, song and Ming dynasties. Compared with Beijing Opera costume, it is less colorful, gorgeous and coquettish, more elegant and beautiful, natural and meaningful, forming a romantic period of its own. Huangmei opera makeup heavy eyebrows. Different from Beijing Opera's thick ink description of the eye outline, gorgeous face, Huangmei opera costumes pay attention to Halo dye, pay attention to the charm, similar to the ancient lady's light makeup, true and simple. For example, the young lead’s eyes rises, eyebrow peak slightly gathered, elegant and beautiful; the female lead eyes with feelings, looking forward to between, natural a stretch of billows romance in them.

Current situation of the development

Huangmei Opera has gone through a lot of difficulties from its origin to its development. It is not easy to be loved and recognized by the public and successfully listed in the first batch of national intangible cultural Heritage list approved by The State Council on May 20, 2006. However, Huangmei Opera is also facing severe difficulties and crises both in the inheritance and development at home or the transmission and export abroad.

Domestic problems of Huangmei Opera:First, there is a shortage of students majoring in opera in art colleges： "Opera industry should be able to withstand loneliness. In today's society, people are becoming more and more impetuous, and fewer and fewer people are willing to learn opera. At the same time, the depressed opera market has led to low wages and made many people reluctant to study opera." Although the local government has invested a lot, Huangmei Opera colleges and universities still face practical problems such as fewer students and employment difficulties for graduates. When considering future employment prospects, many Huangmei Opera lovers will choose majors with wider employment channels, resulting in a serious shortage of students majoring in Huangmei Opera. Second, the construction of professional courses needs to be strengthened: Professional colleges are limited by resources and funds, as well as performance venues, personnel integration, follow-up costs, return on investment and other restrictive factors, and it is difficult to build professional practice and training platforms for students by their own strength, which affects the construction of relevant majors. Opera performance is a very practical art, and there are few opportunities for students majoring in Huangmei Opera to participate in large-scale performances. Only some excellent students can get the practice opportunity to perform on stage, which affects the educational effect of Huangmei Opera to a certain extent. Some art students unilaterally think that performing skills and vocational skills are the first, and cultural courses are only secondary courses, or even redundant. They focus on professional skills and performance training, and do not pay enough attention to the learning of cultural courses. The third is the professional teachers to grow: Because of the financial support, their scale and supporting policies and reasons, related colleges and universities currently facing the teacher education level is not high, through teachers, inadequate protection of the professional guidance, age, levels of structural imbalances, Huangmei Opera teacher talent construction in local colleges need to be strengthened. Due to regional economic conditions, material benefits, academic research platforms and other objective reasons, it is difficult for local undergraduate universities to introduce high-level professionals.

Abroad problems of Huangmei Opera (Take English-speaking countries as an example):First, the difficulties in the translation of Huangmei Opera scripts mainly focus on the rhythm of lyrics, sentence style and translation of padding syllables. In the process of script translation of Huangmei Opera, if the above language features of script lyrics cannot be translated flexibly, the beautiful singing style and profound cultural connotations of Huangmei Opera will be difficult to convey to foreign audiences. The second is the controversy over the use of Huangmei Opera translation. The academic circle has not reached a consensus on whether the translation of Huangmei Opera should be used as lyrics or subtitles. Different purposes directly affect the strategies adopted in translating scripts into English. If it is directly used in English singing, in addition to factors such as the rhythm of the lyrics, it is necessary to consider the equivalence of the pinyin of the script lyrics and the syllables of the English lyrics, so as to match the rhythm of the accompaniment, which undoubtedly greatly increases the difficulty of English translation. If it is only used for subtitle, the problem of syllable equivalence is not considered, but how to present subtitle in actual performance is a big problem. Simultaneous interpretation is bound to affect the audience's hearing effect, and rolling English subtitles on the stage will interfere with the audience's line of sight. These problems can’t be properly solved, which is also an important reason why Huangmei Opera can’t open the market in foreign countries. The third is the acceptance of Huangmei Opera by foreign audiences. Compared with the language-centered forms of western operas, Huangmei Opera relies more on singing, costumes, dancing and music. This huge difference in the form of expression is bound to affect the cultural acceptance of Huangmei Opera. If we blindly cater to the cultural acceptance mentality of the Western audience and change the performance form of Huangmei Opera, it will lose its charm. How to improve the foreign audiences‘ acceptance of Huangmei Opera while retaining its unique charm as far as possible is a long-term proposition to be faced in English translation of Huangmei Opera.

Solutions and Summary

There are many things we can do to address these development challenges.

Solutions to domestic problems: Increase support for Huangmei Opera education: Relevant departments should continue to increase input in manpower, finance, material and other aspects of Huangmei Opera art education, strive to break the limitations of performance venues and practice, and build a more scientific new mode of artistic talent training. Anqing, where Huangmei Opera is popular, has a good cultural foundation and humanistic concept of Huangmei Opera. Art colleges and universities should make full use of their cultural resources, establish cooperative relations with other schools at all levels, implement policies such as exemption of examinations for majors and tuition subsidies, and ensure high-quality students to enter the inheritance field of Huangmei Opera. Colleges and universities should set up art appreciation courses of Huangmei Opera, show cultural characteristics of Huangmei Opera, effectively inherit local opera culture, and train students' artistic sentiment and artistic style of discovering, appreciating and loving beauty. Innovating the teaching form of Huangmei Opera: The basic artistic accomplishment of opera performers is a compulsory course of Huangmei Opera and other opera education, and it is also the most basic and important link of traditional opera teaching practice. In the art teaching of Huangmei Opera, theory teaching should be combined with the creation and arrangement of opera fragments to improve the basic skills and professional skills of actors. Innovating classroom teaching content, enhancing students' perception of artistic beauty and appreciation of opera culture, and comprehensively improving the performance skills of opera major students; Professional teachers should lead students out of the classroom, visit the daily rehearsals and professional performances of the troupe, enter the park and other places, and join the Huangmei Opera ticket club, feel the strong atmosphere of the folk Huangmei Opera, so as to enhance the appeal of opera culture; Using multimedia and other modern technological means; Set up online course selection system, create wisdom classroom, combine with opera theory teaching research results, improve the practical effect of course teaching. Integrating opera culture gene into campus culture construction: Colleges and universities should give play to the important role of student organizations and associations in the inheritance of traditional opera, encourage opera societies to actively carry out opera culture activities, promote and inherit opera culture. Professional colleges and universities can build characteristic campuses full of cultural elements of Huangmei Opera and create a rich atmosphere of opera culture by building buildings with elements of Huangmei Opera, designing cultural signs of Huangmei Opera in the campus landscape, promoting Huangmei Opera art with propaganda boards and electronic screens, etc. "At the same time, using appropriate media to spread the practice of inheriting Huangmei Opera, an intangible cultural heritage, will greatly enhance the effectiveness of inheritance. The use of media can make the spread of cultural characteristics become more prominent, cultural identity is easier.

Solutions to foreign problems: The translation of the cadence, sentence style and backing words of Huangmei Opera needs to be flexible. In the process of English translation, it is appropriate to adopt the domestication translation method, or alternative methods such as Rhyme, alliteration or assonance. The style of the sentence carries the beauty of the melody of Huangmei Opera. In the process of English translation, it is also appropriate to adopt the domestication translation, referring to the English poem foot. Such as iambic foot, trochaic foot, anapaestic foot, dactylic foot and meter (tetrameter and pentameter) to realize the change of the lyrics of Huangmei Opera. A large number of interlining words exist in the lyrics of Huangmei Opera. Although they have no real meaning, they reflect the psychological emotions of the characters and cannot be translated. In the process of English translation, transliteration, annotation and other means should be used as appropriate to retain the rhyming effect of the script lyrics of Huangmei Opera to the maximum. Clarify the auxiliary position of Huangmei Opera translation in the process of external communication. The charm of Huangmei Opera lies in its singing and beautiful stage form. In order to successfully spread the culture of Huangmei Opera, the key lies in making foreign audiences intuitively feel the audio-visual charm of Huangmei Opera performance. The translation of Huangmei Opera can remove language barriers for foreign audiences to appreciate it better, but it cannot change the auxiliary role of Huangmei Opera translation in the external communication of Huangmei Opera culture. After leaving the stage, the culture of Huangmei Opera was translated into English as a general literary work, and the external dissemination of Huangmei Opera became rootless water. Therefore, the translation of Huangmei Opera should be used as subtitles rather than lyrics for performances. There are two situations when the translation of Huangmei Opera is used as subtitle. One is to record the Huangmei Opera repertoires into audio and video products or upload them to video websites. In this case, English or bilingual subtitles are required. Another kind is in view of the Huangmei Opera Troupe live performances, the situation is more complex, because both in the stage provides electronic English subtitles or provide simultaneous interpretation for overseas audience, is bound to affect the audience's visual and sound effects, the most feasible way is before the performance, to provide the audience play introduction and translation of manual, not lost in the audience as much as possible in the plot, In order to enjoy the stage performances of Huangmei Opera Troupe. Formulate a long-term plan for English translation and external communication of Huangmei Opera. In essence, the English translation of Huangmei Opera belongs to the act of "translation". Under the current national conditions of "cultural power" and "going out" of Chinese opera, there is an urgent demand to promote the traditional excellent culture of China. However, in the process of external communication of Huangmei Opera, the nature of blending from "marginal culture" to "central culture" determines that its cultural acceptance is not high in the early stage of communication. For nearly half a century, the "going out" project of Chinese opera, which has been adhering to the "faithful" translation, has achieved little effect in the overseas market, which also indicates that the translation and external dissemination of Huangmei Opera will be a long and tortuous process.

summary: In general, as an important cultural heritage, huangmei Opera has the obligation to make efforts for its survival and development, whether it is the government, the society, the troupe itself or the general public.

References

[1]Li Li李莉.安徽黄梅戏场域的历史变迁与审美特质[Historical changes and aesthetic characteristics of Anhui Huangmei Opera field ] [J].安庆师范大学学报(社会科学版),2022,41(02):28-31.

[2]Ding Aihua丁爱华,Zhu Jun朱军.黄梅戏英译：现状、问题与对策[Present Situation, Problems and Countermeasures of Huangmei Opera ] [J].北京印刷学院学报,2021,29(S2):70-72.

[3]Chen Changwen陈昌文,Sheng Xia盛霞.新世纪以来黄梅戏发展缺憾与策略思考[The shortcomings and strategies of Huangmei Opera development since the new century ] [J].安徽理工大学学报(社会科学版),2021,23(05):42-46.

[4]Wei Hong魏泓.生态系统观下黄梅戏英译研究[A study on the English translation of Huangmei Opera from an ecosystem perspective ] [J].重庆第二师范学院学报,2021,34(01):42-46.

[5]Sheng Xia盛霞.安徽民歌对传统黄梅戏的影响[The influence of Anhui folk songs on traditional Huangmei Opera] [J].安庆师范大学学报(社会科学版),2020,39(04):102-106.

Terms and expressions

Huangmei opera 黄梅戏 pick-tea lantern dance 采茶灯（舞） flower - Drum tune 花鼓调 Fairy Couple 《天仙配》 three roles opera 三小戏 three strokes and seven singing 三打七唱 Dacidian 《大辞店》 Cross the Jieling 《过界岭》 Buckwheat story 《荞麦记》 Spinning cotton yarn 《纺棉纱》 Selling bucket basket 《卖斗箩》 Emperor's Female Son-in-Law 《女驸马》 Hillock of Sand 《砂子岗》 Yan Fengying 严凤英 Wang Shaofang 王少舫 Ma Lan 马兰 Han Zaifen 韩再芬 plate - Type variation 板式变化体 Coloratura 花腔 Choi Tune 彩腔 Main Tune 主调 flat words 平词 fire attack 火攻 two lines 二行 three lines 三行 cymbals 钹 small gongs 小锣 big gongs 大锣 percussion instruments 打击乐器 vocal accompaniment 帮腔 kao-hu 高胡 the lead, the female lead, the painted face, the old lead and clown 生旦净末丑 the first batch of national intangible cultural Heritage list 第一批国家级非物质文化遗产名录 padding syllables 衬词 Rhyme 押韵 Alliteration 头韵 assonance 类韵 domestication translation 归化译法 foot 音步 iambic foot 抑扬格 trochaic foot 扬抑格 anapaestic foot 抑抑扬格 dactylic foot 扬抑抑格 meter (tetrameter and pentameter) 格律（四音步和五音步） transliteration 音译法 notation 注释法

Questions

1. How many stages are Huangmei Opera divided into? What are the corresponding periods? 2. According to the field investigation, where is the origin of Huangmei Opera? 3. List two representative works and artists of Huangmei Opera respectively.

Answers

1. The development history of Huangmei opera was roughly divided into three stages: The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The second stage was from the Revolution of 1911 to 1949. The third stage is from 1949 to now. 2. Anqing, An hui Province. 3. Fairy Couple, Emperor's Female Son-in-Law; Yan Fengying, Han Zaifen.

日语笔译 张白鹭 Zhang Bailu 202170081634

An Analysis of Chinese Translation of Modern Japanese Literature
Zhang Bailu

Abstract

There are great similarities between China and Japan in the history of modern development. Before the 100-day Reform and before the Meiji Restoration, Both China and Japan went through periods of isolation. Then they opened their doors under fire from western powers. In order to meet the challenge of the West, the two countries reformed their systems and launched enlightenment movements in ideology. In this process, there has always been a great deal of continuous translation of Western books. Translation activities provide a strong impetus for the modernization of China and Japan, and translation culture is an important part of the modern culture of the two countries, which provides us with the necessity of research. This paper takes the translation of Natsume Soseki, Ryunosuke Akutagawa and Yasunari Kawabata as the research object, and summarizes the main ideology of modern China reflected in their translation.From the research process, we can find out how the selection of translation objects and texts is influenced by the mainstream ideology. The translated texts mainly focus on the novels of the three writers, to understand the reasons for the changes in the content and attitude of translation studies in different periods in modern China, and to explain the reasons in detail in terms of ideology. Soseki Natsume and Ryunosuke Akutagawa were among those who changed their translation topics in modern Chinese translation studies of Japanese literature. This paper studies the translation and introduction of the two from the period before and after the May 4th Movement and the reform and opening up. Kawabata Yasunari is the first Japanese writer to win the Nobel Prize for Literature. The study of his translation and introduction is of great significance not only to translation studies, but also to the study and grasp of major Asian literary schools and ideologies.

Key words

Translation Activities;Japan;Ideology

Introduction

Literature Review

Methods and Theories

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References

朝鲜语笔译 刘安莉 Liu Anli 202170081635

China's Network literature IP
Liu Anli

Introduction

Network literature refers to the newly produced literary works, quasi - literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.Among them, the network original works mainly.Network literature is produced with the popularization of the Internet.IP is the abbreviation of "Intellectual Property" in English, meaning "intellectual property" in Chinese.In today's people often say that "IP adaptation,""literature IP" in the "IP" has already exceeded the original meaning of the word. In recent years, the rise of a new word "network literature IP," the meaning of the summary is the network of popular literary works through adaptation, processing, and ultimately into a series of TV series, movies, online drama, stage drama and other derivative products. In short, the most talked about "network literature IP" form is the mutual conversion between literature and film and television. In recent years, The popularity of a large number of online literature IP drama adaptations has made the public pay special attention to online literature IP dramas. Due to the high topic degree, attention degree and large audience, commercial capital has also begun to pay attention to the adaptation market of "Network literature IP."

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Terms and expressions

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朝鲜语笔译 王思佳 Wang Sijia 202170081636

Introduction

Nanyue longevity culture culture is a wonderful flower growing on the land of Nanyue. It is the epitome and representative of Chinese longevity culture, and also a beautiful scenery line famous at home and abroad. In the ancients 'view, Nanyue was not a mountain, but a god, which decided the life span of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Nanyue is regarded as secular Shoushan. Everyone has a good desire to pursue happiness, health and longevity. In ancient , the important way form people to express their desire was to worship Nan Yue,the Longevity Mountain which was called "Jugaku" ,and it was the result of the convergence and integration of different pursuits and ideals of ancient people. The folk custom of Nanyue longevity is formed and developed in the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebrates longevity, praying for longevity and congratulating life as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, etc., forming a unique and colorful folk custom. This folk custom has been passed down from ancient times to the present, with both inheritance and development and innovation. It is a gorgeous flower on the laurel of Nanyue longevity culture.

The origin of Jugaku

Nan Yue is also known as the "Jugaku," which is an ancient legend in the history of China. According to legend that before the warring states period, the society will spread a saying: The stars in the sky correspond to the things on earth one-to-one.The stars in the sky are divided into "twelve degrees," and the countries and states on the earth are also divided into "twelve fields." The changes of light and shade of the stars in the sky predict the changes of human things and the good and bad of people's destiny. The seven stars in the sky are shaped like a giant bird, called "Suzaku". One of which is named Zeng（轸）, corresponding to Chu（楚） and Jingzhou（荆州） on the ground. In the Han dynasty this statement is more concrete, the sky has a star of changsha that corresponds to the changsha county on the ground. In the Tang Dynasty, some people linked the change of the brightness of the Changsha star with the longevity of people and the prosperity of their descendants. The Changsha star was in charge of the longevity of the human world. If the star was bright, people's longevity would be long and their descendants would flourish. Because the Hengshan Mountain belonged to Changsha County in the Qin Dynasty and Changsha State in the Han Dynasty, and its main body was made of granite, which had a solid and long-lasting natural character, people called it "Jugaku." From then on, it became a holy mountain and its social status became higher and higher. First of all, it is regarded as the custody god of the country. In the ancients , Nanyue was not a mountain, but a god, which decided the lifespan of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Therefore, from the Tang Dynasty to the Qing Dynasty, the supreme rulers of the past dynasties were very awed by Nanyue Mountain and regarded it as the guardian god of the country. It is said that Emperor Huizong of the Northern Song Dynasty wrote the word "Jugaku" on the Yellow Emperor Rock of Jinjian Peak of Nanyue Mountain, indicating that Nanyue Mountain was the "Longevity Mountain" of the country. Emperor Kangxi（康熙） of the Qing Dynasty sent envoys to offer sacrifices to the Nanyue Temple and wrote inscriptions on the temple to explain its historical origins and merits. It is said that Emperor Yongzheng（雍正）, a shrewd and thrifty man, had forbidden the construction of temples at a large cost. When he heard that the Nanyue Temple was to be repaired, he regarded Shouyue as the god of protecting the country and approved the repair by the court. In addition, the people of all ages hoped for peace and social stability. Second, it is regarded as a religious shrine.Of the five mountains of China, only the Southern Mountain was located in Jiangnan.The mountain qingfeng - xiangguang fracture tall and straight, beautiful scenery, quiet environment, two major religions in ancient China ------ Taoism and Buddhism, have come to these tasks and seek development.The mountain has "Qingyutan Fudi（青玉坛福地）“，”Guangtiantan Fudi（光天坛福地） and so on. So it is also known as the "Shoushan." Therefore, it is an ideal place for people to convert to Taoism, cultivate true and refine Tao in order to achieve immortality. Buddhism also calls Nanyue the birthplace of the two branches of Buddhism. Dharma is inherited all over the world. The two jungles , Nantai(南台) and Fuyan(福严) are known as the "source of the world's Dharma" and the "court of the world." Nanyue God is also a Buddhist God. There is a special hall dedicated to the worship of Fuyan and Longevity. In addition, Yanfeng Temple（雁峰寺）, the first peak of Nanyue, also has a native new Buddha - Buddha Amitayus. Therefore, Nanyue is a holy place of Buddhism and a paradise for worshipping Buddha. Third, it is also regarded as secularist Shoushan. Everyone has a good desire to pursue happiness, health and longevity. The ancient people express the desire of the important way or form, is to make a pilgrimage to Nan Yue.People makes a pilgrimage to the Nanyue, often combined with filial piety, mostly praying for their parents. The Ten Wish Songs(十愿歌) passed down through the ages reflect this characteristic. Of course, there are also those who pray for their own longevity. For example, some emperors sent envoys to the mountain on their birthdays or when they were suffering from serious illness. People prayed for both longevity and blessing, but they put praying for longevity first, because there is no longevity, and there is no way to talk about happiness. Therefore, people used to call the Nanyue Mountain "Shoushan." In short, the South Mountain is called "Jugaku," which is the result of the convergence and integration of different pursuits and ideals of ancient people. When this kind of social pursuit and ideal under the condition of also cannot be free to know and realize, can only be transformed into a beautiful legend, give people with spiritual comfort and satisfaction.

The Mystery of Longevity of Nanyue People

It is no doubt that Jugaku can bless people longevity, which is a kind of hope and good wishes of people, however, Jugaku's people is longevity, it is indisputable fact. According to statistics, the average life expectancy of the ancient people in our country is less than forty years old, seventy is one of the few old.And people who live in the mountain, enjoy life over the age of seventy, numerous similar cases. According to the "YueZhi (岳志)" 's record, jin dynasty Wei Huacun (魏华存) enjoy life of eighty-three years old, In the Liang dynasty Liao Chong (廖冲) lived more than one hundred years old; In the Tang Dynasty Sima Chengzhen lived more than 90 years old. And so on.People who are now living in the mountains, the elderly are more. According to 1999 statistics, Nanyue Mountain's Yuelin Township, has 2064 people, of which 70 - 79 - year-old 123 people, 80 - 89 - year-old 65 people, 90 - year-old three people, is really worthy of the name of the elderly area. So, Shouyue people the mystery of longevity where it? First, the mountain plant coverage rate is high, the scenery pleasing to the eye, the air is fresh, the temperature is pleasant. Nanyue is known as the "Five Mountains of Unique Beauty." Its mountains are beautiful. Vegetation covers almost all the peaks, ridges and valleys. The mountains are green, as if they are a green ocean. It has beautiful scenery, luxuriant forests and bamboos everywhere, flying springs and dysprosium, and attractive natural and cultural landscapes. It is especially famous for its "four wonders" all over the world. Therefore, it is widely said that "when returning from Huangshan Mountain, you don't look at the mountains, and when returning from Nanyue Mountain, you don't look at the mountains." Its pleasant temperature, Sheng Department, the mountain hot Xiren, while the mountain breeze blowing, the day to wear long - sleeved clothes, at night to cover thin quilt. People live here, such as home fairyland, beautiful environment, fresh air, mood stretch, its life naturally higher. Second, There are clear springs everywhere in Nanyue, the water quality is good, most of the food people eat from the mountains, not contaminated. Here mountain belt Collins, clear spring all over. According to the load, the mountain famous springs have ZhuoXi Spring(卓锡泉), tiger Spring(虎跑泉), White Turtle Spring(白龟泉), Wan Xian Spring(万仙泉), Guandao Spring(万仙泉), heart washing Spring(洗心泉), crystal Spring(碧泉), Ziqi Spring(紫气泉), lazy residual Spring(懒残泉), general Spring(将军泉), lion Spring(狮子泉), Suo Luo Spring(娑罗泉), Sun Spring(太阳泉), Jade sand Spring(玉砂泉), etc. Jade sand Spring is located on the top of the mountain, where the water flows through a large rock (known as the "broken rock source(断石源)"). Sun spring in ZhuRongFeng(祝融峰), is located in the unique top, water should be insufficient, however, this spring Mimi flow day and night, through one thousand never dried up, daily water for thousands of people to drink. These springs are pure, sweet and refreshing. Long - term drinking can make people live longer. Therefore, people call the mountain stream formed by the confluence of many springs on the mountain "Shoujian." In addition, the food, vegetables, fruits and tea eaten by people living on the mountain are generally produced from the mountain and have not been polluted. Edible wild fruits and plants are good natural foods and are beneficial to human health. It is recorded that Chen Chongzheng, a famous celebrity in Nanyue Mountain of Northern Song Dynasty, only drinks clear spring water or eats melon spring every day. He is over 80 years old and "walks like flying" on the mountain. The reason why he is so healthy is that he has good drinking water and food. Third, nanyue specialty, some have strong body fitness, add in the effect of life. As the saying goes, a party of soil and water to generate a unique property. Nanyue specialty variety, wide range of uses, some are rare medicinal herbs, some are food and fruit with special efficacy.Lingzhi (Ganoderma lucidum), also known as "red ganoderma" by Nanyue people because of its reddish brown cover, has the function of replenishing vital essence, strengthening bones and muscles, and is mainly used for treating diseases such as fatigue, palpitation and insomnia.Nanyue ganoderma lucidum, top grade, is the world as the god of life.Polygonatum sibiricum is sweet and mild in nature. It is beneficial to the middle warmer, calming the five internal organs, benefiting the spleen and bones, benefiting the heart and lung, dredging the bones and muscles, and eliminating rheumatism. Kiwi fruit, commonly called "rattan pear," is a wild fruit in Nanyue Mountain. Its skin is brown, and its flesh is light green. It has high nutritional value. Its medicinal effect is mainly used to quench thirst, relieve fever, help digestion, cure diarrhea, and lower urinary tract infection. In addition, the mountain also produces medicinal materials such as angelica dahurica, radix bupleuri, poria cocos, rhizoma arisaematis, baiyao, schisandra chinensis, fructus momordicae, angelica sinensis, and caulis sinomenii, as well as cloud tea, bamboo rice, fragrant rice, Arhat taro and other products. Long - term people living in the mountains, it is easier to pick these herbs, but also easy to eat these products with special efficacy; In addition, the mountain hard production and living conditions, caused the people strong physique, it's for nanyue life high and create the conditions.

Nanyue Longevity Folklore

The folk custom of longevity in Nanyue is formed and developed under the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebration , prayer and celebration as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, forming a unique and colorful folk custom. This kind of folk custom has been passed down from ancient times to the present. It is not only inherited, but also developed and innovated. Worship Nanyue. Nanyue is generally held in October of the lunar calendar every year. It is said that this time is the birthday of Nanyue Saint Emperor (also known as Nanyue God), and the sacrificial ceremony is very grand.Specification has always been very high, to be held by the court authorized and afford or designated host.Ceremonies procedures, offerings, quantity and display, the priest knelt down etiquette, etc., the court has expressly provided.Offering sacrifices to the mountains is not only for the celebration of the longevity of the Nanyue Saint Emperor, but also for the country and the people.Cooperate with sacrifice, generally organized a grand folk activities, religious activities and cultural and sports activities, such as religious law will be held, the public organization dragon dance team and play a lion.In accordance with the drama, folk stories to carry out cross - dressing parade, the ancient town of four streets and Kuixing Temple Pavilion stage performances, martial arts performances, etc., the audience for a long time up to tens of thousands of people. Merchants took the opportunity to publish the market, trading is very active. October 6 to 10, 2000, Hengyang City, Hengshan held here in the Chinese Longevity Festival and temple fair. Most of the traditional folk activities retained, but also added the Chinese Longevity Tripod inauguration ceremony, public sacrifice Nanyue Shengdi Fa Hui, high - altitude tightrope walking challenge,"the world Nanyue, The fireworks evening party and other large - scale activities set four Guinness World Records, with more than 300,000 domestic and overseas tourists. The economic and trade negotiations and the signing of the contract for the utilization of foreign capital amounted to 120 million US dollars. It was a colorful and eye - catching occasion. Pilgrimage to Nanyue.It is also known as the "South Mountain Incense," which means that people pray for longevity, disaster elimination and blessing. Every year from the middle of July to the end of September, commonly known as the "South Mountain Fragrance Period," pilgrims from all over the world come to worship. Pilgrims in rural areas, they are in droves, less than a dozen people, more than hundreds of people, head red towel, chest hang sachets, mouth sing the yue song. Some still uniform clothing, neat queue, action to listen to password, just like trained troops.There are many forms of pilgrimage.Have to burn incense, incense in hand, with sweet bursa, knee with cotton or cloth, each line into a few steps (generally divided into three steps, five steps, seven steps, nine steps), then knelt down and worship.The old from the door, has been to worship to ZhuRongFeng.And hungry incense burning, on the way back and forth pilgrimages can't eat, can only drink water.They usually wore green clothes and straw sandals. In their rucksacks, they carried a small ladle to scoop up spring water for drinking on the road. From the first to the fifteenth day of the eighth month of the lunar calendar, the peak period of pilgrimage is sometimes as many as 100,000. The streets, temples, hotels and shops are crowded everywhere. The market is extremely prosperous. On both sides of the street, in front of and behind the temple, there are rows of shops and stalls, all kinds of small and exquisite handicrafts and tourist souvenirs, local famous products, specialties and foreign commodities. In the past, pilgrims to Nanyue Mountain were all on foot, some of which had to travel hundreds of miles, and all the temples and temples along the way had to be burned and worshiped. Even if they traveled day and night, it would take half a month to go back and forth. Now, most of them take modern means of transportation, some even rent special cars, usually three to five days is enough. Since the 1990s, the number of burning incense and starving incense has gradually decreased, and pilgrims have taken into account the increase in sightseeing besides pilgrimage. Worship Shou Buddha.Prevailing in the first peak back to the wild goose peak wild goose peak temple. Legend has it that the life of the Buddha lay family name is zhou, Jin Zhen, chenzhou in tang dynasty, was born in the lunar February 8. 16 becoming a monk, ZongHui, enjoy life of one hundred and thirty-nine. Ming and Qing dynasties, and reincarnation for monks, in tin wild goose peak temple, to pass on one's experience, wild goose peak temple to build longevity Buddha hall as a memorial. Every year, on the eighth day of the second month of the lunar calendar, a grand Dharma meeting is held in the temple. Men and women from all over the world gather in Yanfeng Temple to celebrate the life of Buddha and pray for their families. In front of the temple, a stage is set up to sing opera, or a martial arts contest is set up to attract the audience. The merchants outside the temple have a market, and the market is crowded with people. It is commonly called "rush on February 8." In the 1940s, when the Japanese invaders invaded Hengyang, the temple on the peak was destroyed by Japanese artillery fire, and the custom of "praying to Buddha" ceased. In the 1980s, the Longevity Buddha Hall was rebuilt. On this day every year, although there is no city on the peak, there is an endless stream of pilgrims and tourists. Do Longevity wine.Hengyue people value everyone's birthday.Every tenth birthday is called "Dasheng(大生)", which is celebrated with birthday wine.People who turn 60 years old is called "sexagenarian," and from then on, every tenth birthday is called "Shoudan(寿诞)" and needs to be solemnly organized to celebrate birthday. Relatives and friends to go to congratulate, send birthday presents, generally like birthday plaque(寿匾), birthday couplet(寿联), birthday noodles(寿面), cloth, etc. On birthday plaque, screens and couplets, there are many auspicious folk words: "Happiness is as immense as the Eastern Sea, and longevity is as great as the Southern Mountain." In the poem,"Southern Mountain" originally refers to the mountain in the south. Later, some people think that "Southern Mountain" refers to the Southern Mountain, so it has become a common sight in the local area. In addition, relatives also need to send birthday peaches, that is, rice cakes are made into peach shapes, with red dots on them. When the couple is still alive, they wish "double longevity" and the gifts are increased. The host family should sign to thank the guests. In the evening of birth, noodles are usually served.

Conclusion

Nanyue Jugaku Culture involves a wide range of aspects, in the system and customs are also involved. In today's fast-paced life, we urgently need the Nanyue longevity culture to guide us. We need such thoughts to promote the harmonious development of human and society. Nanyue longevity culture is the foundation of Chinese health preservation. We should Promote and inherit such excellent culture.

References

Terms and expressions

寿岳 Jugaku 朱雀 Suzaku 寿山 Shoushan 法嗣 Dharma 无量寿佛 Buddha Amitayus 寿佛 Shou Buddha 花甲之年的人 sexagenarian

Questions

When the “Worship Nanyue” event starts？ What is the secret of Nanyue people's longevity? Which religions have come to Nanyue to seek refuge and development?

Answers

It is held in October of the lunar calendar. Fresh air, pleasant climate, good water quality; health strong body; medicinal material that improve health and prolon life. Taoism and Buddhism.

朝鲜语笔译 徐盖 Xu Gai 202170081638

朝鲜语笔译 徐文慧 Xu Wenhui 202170081639

The “scholar's four jewels”
Xu Wenhui

Introduction

The"scholar's four jewels"are unique calligraphy and painting tools in China, namely writing brush, ink, paper and inkstone. Brush, ink, paper, inkstone commonly known as the "scholar's four jewels", its name originated from the Northern and Southern Dynasties, since the Song Dynasty, it refers to xuan brush (Xuancheng, Anhui), Hui ink (She County, Anhui), xuan paper (Jing County, Xuancheng, Anhui), she inkstone (She County, Anhui) and so on. As the essence of Traditional Chinese culture, the scholar's four jewels have been accumulated and deposited for thousands of years, and their cultural connotation has been recognized by people more and more, and their value has far exceeded its own function. For example, When CAI Yong wrote‘Bi Fu' in the Eastern Han Dynasty, he endowed the "integrity" of the brush and the "roundness" of the brush with imago features beyond the function of the brush. Chinese calligraphy is a profound art with a long history. It has entered the door of the palace of art as early as the Qin and Han Dynasties, and has become an indispensable artistic treasure in Oriental history, and developed into a broad and profound knowledge. Calligraphy is not only an important part of Chinese culture, but also a symbol of the characteristic cultural spirit of the Chinese nation. "To do a good job, you must sharpen your tools." The unique artistic flavor of Chinese calligraphy is inseparable from the "scholar's four jewels" spread through the ages, and it is with brush, ink, paper and inkstone that the myriad forms of calligraphy can be depicted. Even a highly skilled calligrapher, sometimes encountered tools "do not go well", can only be overjoyed, frustrated. Today, brush, ink, paper and inkstone have been included in the national intangible cultural heritage list, jointly promoting the development of calligraphy art. (Zhao 2021:28)


Origin and history

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

Features

The charm of The “scholar's four jewels”

Conclusions

References

赵悦.在文房四宝中感受书法的魅力,2021.09, 28

Terms and expressions

Questions

Answer

外国语言文学 Akira Jantarat 202121080009

The emergence of new linguistic forms in Chinese (neologisms)
Akira Jantarat

Introduction

Language is important to humans, because in addition to being a tool for communication, it is also a learning tool, occupation and the development of human thinking, a tool for transmitting culture, helping to strengthen the unity of the people in the nation.

A new word is a newly formed word that did not appear before. When a new word is accepted and widely used in society,that word will become an old word. A sign of a new word becoming an old word is a gradual loss of freshness, and complete acquisition of identity, that mean, it has settled and became commonplace. Languages are constantly being created and developed with the development and change of society, when old words are not enough to meet the needs of expression, rapid word formation becomes necessary. After the emergence of something new, an internal impulse is created at the same time and the impetus encourages people to name it and the process of naming is the process of remembering and recognizing things and also is the process of summarizing the main characteristics of things, The psychological need for creating new words that are defined in society.

比较文学与跨文化研究 Mahzad 202021080004

Chinese Mythology and its Impact on Chinese Cinema


Chinese mythology incorporates a wide range of folklore, history, and religious belief across numerous time periods and people, including the present day. Many of these myths are intricately bound to philosophy, religion, tradition, and society. Also, it has been one of the richest sources for Chinese artists and writers to draw upon over the centuries.

Journey to the West is considered to be one of the most important books in Chinese history, and traditional artwork commonly features legendary figures, such as the Five Emperors or the Eight Immortals.

英语语言文学 Mimi 2020GBJ002301

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