Difference between revisions of "20220630 Culture 3"

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*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301
 
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301
  
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==英语笔译 黎溢佳 Li Yijia 202170081573==
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<center>'''On Gender Discrimination in Chinese'''</center>
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==英语笔译 龙翰良 Long Hanliang 202170081589==
 
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<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>
 
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<center>Long Hanliang</center>
 
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===Abstract===
 
===Abstract===
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Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.
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At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)
 
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As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)
 
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This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)
 
  
 
===Key words===
 
===Key words===
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'''Language; Cultural Factors; Gender Discrimination; Chinese'''
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Chinese culture; Teaching Chinese as a second language; Cultural Exchange
 
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===Introduction===
 
===Introduction===
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Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.
  
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As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)
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===Literature Review===
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The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
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Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
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Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
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Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
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Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
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===Word Formation===
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Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
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Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
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There are five type of Chinese characters with a “女”.
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A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
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B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
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C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
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D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
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E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)
  
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The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)
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Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
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In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
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For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.
  
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Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)
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===Proverbs===
  
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===Overall Design===
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Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
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The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)
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There are five types of proverbs containing gender discrimination.
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1. reflecting the defects of the female sex：
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三个女人一台戏。 (Three women can constitute a play.)
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红颜女子多是非。 (Beautiful women can attract troubles.)
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树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
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2. reflecting the low status of women：
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精女不如痴男。(Smart women are inferior to dumb men.)
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母以子为贵。(Mothers’ honor is their sons. )
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兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
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养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
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3. reflecting the ignorance of women：
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头发长见识短。 (Long hair, short sight.)
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女子无才便是德。 (No knowledge is the value of a woman.)
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妇人之言不可听。(A woman’s advice is never to seek. )
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4. reflecting the existence of sexism in marriage：
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嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
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女大不中留。(You cannot keep an old daughter.)
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嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
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5. reflecting that women are evil and curse:
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女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
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最毒妇人心。 (There is no devil so bad as a woman’s heart.)
  
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To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)
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===Metaphors===
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There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.
  
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Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)
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In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
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柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
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苗条 (sprout and branch): describes a woman's slender and feminine figure.
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亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
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轻盈(light): describes a woman with a slim figure and brisk movements.
  
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This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)
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However, the Tang Dynasty considered chubby women as beautiful.
  
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Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)
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The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
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The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.
  
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Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)
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According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
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Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.
  
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The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)”  is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.
  
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Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.
  
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Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)
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==英语笔译 李思敏 Li Simin 202170081574==
  
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For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)
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==英语笔译 李思源 Li Siyuan 202170081575==
  
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For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)
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<center>'''Chinese Lantern Culture'''</center>
  
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Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)
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<center>Li Siyuan</center>
  
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Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
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===Introduction===
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Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)
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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.
  
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The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)
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===The origin of Chinese Lantern civilization and typical kinds===
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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.
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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.
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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.
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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.
  
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The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)
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===Some common cultural implications of Chinese lantern===
  
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The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)
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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.
  
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===Test Assessment===
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===The symbolic significance of lanterns in film and television works===
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The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)
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The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.
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Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.
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In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.
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In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.
 +
===References===
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[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.
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[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.
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[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
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Paper-cut lanterns 剪纸灯笼
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Lantern Festival 元宵节
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Spring Festival 春节
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carrier 载体
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auspiciousness 吉祥
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reunion 团圆
 +
bumper harvest 五谷丰登
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Zhao Jun Out of the Frontier 昭君出塞
 +
the fifteenth day of the first month of lunar year 正月十五
 +
The Legend of Zhen Huan 甄嬛传
  
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Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)
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===Questions===
 +
Generally speaking, when did lanterns originate?  Two typical kinds of lanterns? Implications of lanterns?
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===Answers===
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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.
  
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The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)
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==英语笔译 李婷 Li Ting 202170081576==
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<center>'''Language Culture in Chinese Cuisine Names'''</center>
  
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The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)
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<center>Li Ting</center>
  
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Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)
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===Introduction===
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Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, 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. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.
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The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)
 
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In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)
 
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1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)
 
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2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)
 
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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.
 
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At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)
 
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Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)
 
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As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)
 
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===Means and methods===
 
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Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)
 
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After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)
 
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Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)
 
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We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)
 
  
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One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)
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===Looking at Chinese Cuisine Names through Linguistics===
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'''1. Meanings of Cuisine Names'''
  
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For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:
  
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First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182)  
  
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For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)  
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)
  
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This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)
  
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The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)
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                                                                [[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]
  
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There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)
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'''2. The Naming Methods of Dish Names'''
  
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The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:
  
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However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)
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'''2.1 Named after Ingredients and Cooking Methods'''
  
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Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on.  
  
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===Textbook Compilation===
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )
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1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)
 
  
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(1) Practicality
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'''2.2 Freehand Naming'''
  
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Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)  
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)
  
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The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)
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                    [[File:Braised Meat Balls in Brown Sauce.jpg]]  [[File:Tai Chi Shaped Taro.jpg]]
  
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It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)
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'''2.3 Named after a Person or a Place'''
  
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The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154)  
  
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(2) Knowledge
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)
  
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The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)
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                                      [[File:Wen Si Tofu.jpg]]  [[File:Peking Duck.jpg]]
  
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Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)
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'''2.4 Named after Historical Allusions'''
  
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(3)Scientificity
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)
  
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1. To teach standardized and common Chinese characters
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                                  [[File:Meat in Tomato Sauce.jpg]]    [[File:Murrel with Fresh Vegetables.jpg]]
  
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The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)
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'''2.5 Named after Numeral Abbreviations'''
  
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The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)  
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )
  
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In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)
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'''2.6 Named after Animals and Plants Names'''
  
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2. The organization of teaching content should conform to the law of language teaching
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )
  
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The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]
  
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The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )
  
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The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)
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'''2.7 Named after Precious Metals and Jade'''
  
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(4)Interest
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )
  
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Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)
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                          [[File:Salted Pork in Jelly.jpg]]      [[File:Shrimp with green Vegetable.jpg]]
  
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Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)
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'''2.8 Named after Auspicious Words'''
  
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In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)
  
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In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)
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'''3 Rhetorical Devices in Cuisine Names'''
  
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===Classroom Teaching===
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.
  
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Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)
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'''3.1 Figure of Speech'''
  
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This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)
  
−
The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)
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                    [[File:Squirrel-shaped Mandarin Fish.jpg]]    [[File:Farewell My Concubine.jpg]]
  
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The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.
  
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Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)
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'''3.2 Hyperbole'''
  
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In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.
  
−
The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)
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'''3.3 Allusion'''  
  
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It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)
  
−
Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)
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'''3.4 Personification'''  
  
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At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.
  
−
1. Respect each other among different cultures and adhere to the principle of cultural equality.
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===The Cultural Connotation of Chinese Cuisine Names===
 +
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.
  
−
2. Disseminate the essence of culture and avoid clamoring for attention.
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'''1. The Good Meanings and Visions in Cuisine Names'''
  
−
3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.
  
−
In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names'''
  
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===Training of TCSL Teachers===
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first  grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)
  
−
With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
+
In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.
  
−
At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
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'''3. Regional Features in Cuisine Names'''
  
−
Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)
+
There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.
  
−
Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)
+
The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)
  
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1. modern Chinese knowledge
+
The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)
  
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Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)
  
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2. linguistic knowledge
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===The Psychological Functions of Chinese Dish Names===
 +
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.
 +
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.
  
−
The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)
  
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3. cultural knowledge
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)
  
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Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)
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In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
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4. foreign language knowledge
 
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Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
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Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
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In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
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Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
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Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
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Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
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Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)
 
  
 
===Conclusion===
 
===Conclusion===
−
 
+
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.
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After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)
 
  
 
===References===
 
===References===
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* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.
  
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Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.
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* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.
  
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Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.
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* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188.  
  
−
Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.
+
* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.
  
−
Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)
+
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.
  
−
国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm
+
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.
  
−
===Terms and expressions===
+
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.
−
Classroom teaching 课堂教学
 
  
−
HSK 中国汉语水平考试
+
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.
  
−
Hanban（Chinese National Office for Teaching Chinese as a Foreign Language） 国家汉办
+
===Terms and expressions===
 +
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁
  
−
teaching Chinese as a second language 对外汉教
+
The Braised Turtle in Brown Sauce：红烧甲鱼
  
−
cultural exchange 文化交流
+
Cold Noodles with Chicken Shreds：鸡丝凉面
  
−
Confucius Institute 孔子学院
+
Mapo Tofu：麻婆豆腐
  
−
overall design 整体设计
+
Shrimp with green Vegetable：翡翠虾仁
  
−
CCTV TV programs 中央电视台电视节目
+
Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子
  
−
Voice of China 中国好声音
+
Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙
  
−
belt and road initiative一带一路
+
Cut: 切  chop：剁  split：劈 scrape：剔
  
−
supply side structural reform 供给侧结构性改革
+
Block：块  strip：条  segment：段  slice：片 dice：丁 shred：丝  powder：末 paste：泥
  
−
Alipay 支付宝
+
Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤
  
−
street stall economy 地摊经济
+
stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏  pickling：腌
  
−
Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区
+
Corn Meatballs：玉米肉丸
  
−
mahjong 麻将
+
Sweet and Sour Fish：糖醋鱼
  
−
chow mein 炒面
+
Fried Shrimps with Tomato Sauce：茄汁虾仁
  
−
===Questions===
+
Diced Chicken with Cashew Nuts：腰果鸡丁
−
1.What are the four links of the whole process and teaching activities of second language teaching?
 
−
 
−
2.When was HSK officially implemented?
 
  
−
3.What is the most important link of teaching activities among the four links of teaching activities?
+
Diced Chicken with Green Pepper：辣子鸡丁
  
−
4.What are the principles of spreading Chinese culture in Chinese education abroad?
+
Pork Shreds with Fish Seasoning：鱼香肉丝
  
−
5.What types of HSK exams are there?
+
Steamed Perch：清蒸鲈鱼
  
−
6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?
+
Braising Carp with Soy Sauce：红烧鲤鱼
  
−
===Answers===
+
Quick-frying shredded Mutton with Scallion：葱爆羊肉丝
−
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.
 
  
−
2.The Chinese Proficiency Test (HSK) was officially implemented in 1990
+
Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条
  
−
3.Classroom teaching
+
Pork Cooked with Green Chili：辣椒炒肉
  
−
4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.
+
Scrambled Egg with Tomato：番茄炒蛋
  
−
Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.
+
Hairy Crabs：大闸蟹
  
−
Ⅲ. Handle sensitive issues properly and maintain national dignity.
+
Golden Coin-shaped Scallops：金钱干贝
  
−
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)).
+
Sour and Hot Diced Chicken：酸辣鸡丁
  
−
6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.
+
Sweet and Sour Ribs：糖醋排骨
  
−
==英语笔译 罗姚林 Luo Yaolin 202170081590==
+
Cola Chicken Wings：可乐鸡翅
−
<center>'''Different Local Dialects in China'''</center>
 
  
−
<center>罗姚林 Luo Yaolin</center>
+
Braised Meat Balls in Brown Sauce：红烧狮子头
  
−
===Introduction===
+
Tai Chi Shaped Taro：太极芋头
−
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===
+
Stewed Assorted Delicacies：全家福
  
−
===Different Features of Dialects in China===
+
Wishful Bamboo Shoots：如意笋
  
−
===Subtitle 1===
+
Wen Si Tofu：文思豆腐
  
−
===Subtitle 2===
+
Dongpo Meat：东坡肉
  
−
===Subtitle 3===
+
Peking Duck：北京烤鸭
  
−
===Subtitle 4===
+
West Lake Fish in Vinegar Sauce：西湖醋鱼
  
−
===Conclusion===
+
Zhijiang Fried Duck with Varied Ingredients：芷江鸭
  
−
===References===
+
Meat in Tomato Sauce：乾隆樱桃肉
  
−
==英语笔译 马艳焕 Ma Yanhuan 202170081591==
+
Murrel with Fresh Vegetables：将军过桥
−
<center>'''The Differences and significance of adaptation of Folktales -- A Case study of The Legend of the White Snake '''</center>
 
  
−
<center>马艳焕</center>
+
Changban Slope：长坂坡
  
−
===Abstract===
+
Two Winter：二冬
−
The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially stereotyped in Feng Menglong's General words of warning in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation.
 
−
In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination.
 
  
 +
Three Delicacies：三鲜
  
−
===Key words===Differences； adaptation； folktale； The Legend of the White Snake
+
Three Shreds：三丝
  
−
===Introduction===
+
Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗
−
Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories.
 
−
Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times.
 
−
The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories.
 
  
−
===Literature Review===
+
Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁
  
−
===Methods and Theories===
+
Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参
  
−
===I. the process of adaptation of the Legend of the White Snake. ===
+
Fried Magnolia Slices：炒玉兰片
−
1. The Python incident originating from Luoyang in the Tang Dynasty.
 
−
According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles."
 
−
So he attacked it with the Tianzhu mantra, and the snake died a few days later. Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu.
 
−
2. The Legend of the White Snake in the Tang Dynasty.
 
−
During the reign of Tang Xian Zongyuan, a rich son named Li Huang met a beautiful woman in white in the East City of Chang'an.
 
−
The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days.
 
−
Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head.
 
−
The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes.
 
−
3. In the Song dialect, the Chronicles of the Three Pagodas of the West Lake, see the vernacular of Pingshantang in the Qing Dynasty.
 
−
When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken, and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart. With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den. Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas.
 
  
−
4. Ming Dynasty： Feng Menglong's "General words of warning to the World" and "Bai Niangzi Yongzhen Leifeng Pagoda"
+
Fried Bamboo Shoots Slices：炒笋片
−
It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him.
 
−
So he became husband and wife.
 
−
After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear.
 
−
Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife.
 
−
After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring.
 
−
Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Yue Leifeng, Yongzhen White and Green in the Pagoda.
 
  
−
5. Qing Dynasty
+
Salted Pork in Jelly：水晶肴肉
−
During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda".
 
−
The main framework of the story of the White Snake has been largely completed since then.
 
−
The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake.
 
−
Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda.
 
−
In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman.
 
−
Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late.
 
  
−
6. Modern adapted version.
+
Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋
−
Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939.
 
−
The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady.
 
−
Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man.
 
−
The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on.
 
−
[[File:Example.jpg]]
 
−
===II.The Differences and Reasons of the Adapted Version. ===
 
  
−
1. White snake image.
+
Jade and White Jade, Shrimp with green Vegetable：翡翠白玉
−
The evolution of the image of White Snake is mainly divided into three stages, namely demon-human-immortal.
 
−
The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake".
 
−
Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men.
 
−
The animalistic side of her transcends the human side.
 
−
The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market.
 
−
During the Ming Dynasty, the image of White Snake gradually changed from the traditional viciousness and cruelty to the gentle image in the Legend of White Snake, resulting in a qualitative change.
 
−
The storyline in the legend of the White Snake has also become more tortuous, and in the later TV series the Legend of the New White Lady, the popularity of the White Lady played by Zhao Yazhi is that she has created a perfectly idealistic female image, which is not only beautiful and considerate, but also a gentle and virtuous wife and mother.
 
−
Moreover, with high power and hanging pots to save the world, it is like the incarnation of Quan Yin Bodhisattva, completing the transformation from demon to immortal, which not only beautifies women, but also conforms to the vision of men's expectations.
 
  
−
2. Attitude towards women.
+
Mirror Box Tofu：镜箱豆腐
−
The change in the image of White Snake shows a change in attitude towards women.
 
−
Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status.
 
−
Bai Suzhen's active request for marriage expressed when Xu Xian took an umbrella in the Legend of the White Snake had an impact on the idea of "the orders of parents and the words of matchmakers" in Chinese traditional marriage, and expressed the idea of equality between men and women to a certain extent.
 
−
Although this view is based on Bai Suzhen's powerful and unworldly conditions, such female characters still reflect women's desire for equality between men and women.
 
−
At the end of the story, Bai Suzhen ends with the suppression of Bai Suzhen under the Tower of Lefa, and the White Snake does not end well. From another point of view, it can also be regarded as the suppression of women's independent spirit by the feudal hierarchical society.
 
−
The development of the ideology and culture of the times and the change of the status of men and women also impacted the feudal thought to a certain extent.
 
−
[1] Kunagiwusman.
 
−
The evolution of the story of the Legend of the White Snake in folk literature and its literary value [J].
 
−
Northern Literature, 2017 (32): 178179.
 
−
It can be seen that the white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the harmful demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. It goes without saying.
 
−
Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties, so the image of White Snake was more inclined to wives, expressing people's vision of a better family life.
 
−
Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification.
 
  
−
3. storyline.
+
Squirrel-shaped Mandarin Fish：松鼠鳜鱼
−
In the process of evolution, the story of the White Snake is constantly enriching and deepening.
 
−
From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "Shuiman Jinshan Temple", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete.
 
  
−
4. The story ends.
+
Shrimp Ring with Green Vegetable：翡翠虾环
−
It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten.
 
−
White Snake evolved from a tragedy that was suppressed at first to a happy ending for family reunion later, and some versions were even adapted into the most idealized realm, which made interracial love break through the shackles of the traditional concept of "ethical norms". It expresses the idea that good is rewarded with good.
 
  
−
5. The ways of spreading folktales.
+
Golden Eggs：金钱蛋
−
The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television.
 
−
At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added.
 
−
In the past two decades, the rise of National Cartoon has promoted the development of anime films.
 
−
Oral narration is not only the starting point of White Snake narration but also the "foundation" which can be promoted to the classic.
 
−
Written narrative White Snake Biography is a literati narrative based on folk "ability" on the basis of oral narration.
 
−
Among them, the intervention of popular literature makes the plot of legends increasingly tortuous and moving, the characters gradually full and round, while the intervention of elite literature makes legends have more characteristics of the times and speculative colors.
 
−
The integration of the two makes the legend gradually develop in the direction of "Guanfeng" and "elegant upgrading".
 
−
The Legend of the White Snake is a "modern" and "cinematic" treatment of the legend of the White Snake based on the Legend of the White Snake.
 
−
This deductive model adapts to the entertainment needs of contemporary people and stabilizes the "classic" status of the Legend of White Snake.
 
−
Although the rise of the Legend of the White Snake on the Internet is relatively late, it has a great influence.
 
−
In a sense, the openness and virtuality of the network platform is the return to the folk nature of the Legend of White Snake.
 
−
More "modern" forms such as online novels, forums, continuation books, comics and parodies have been applied to the spread and inheritance of the Legend of White Snake, deepening and expanding the intergenerational inheritance mode of legends.
 
−
[1] Gao Yanfang.
 
−
The Construction and interpretation of Chinese White Snake Classics [D].
 
−
Central China normal University, 2014.
 
−
III. The value and significance of the continuous adaptation of folktales.
 
−
1.
 
−
Enrich the content of folktales and add cultural significance.
 
−
In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education, but also enriches people's recreational life because of its cultural connotation.
 
−
The adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales and a large number of ancient traditional customs retained in legends. it makes the Legend of the White Snake one of the most informative oral heritages of folk culture in our country. no, no, no.
 
−
two。.
 
−
It helps to expand the audience and enhance the significance of education.
 
−
The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales.
 
−
There are many educational stories in folktales, which aim to reveal interpersonal relationships and criticize moral ugliness in real life, and to promote and promote moral norms and codes of conduct that people should follow in real life.
 
−
For example, in the Legend of the White Snake, Bai Suzhen met Xu Xian again to repay her kindness, telling people that she should repay her kindness, which is of educational significance now.
 
−
3.
 
−
A peek into the change of society and the change of people's thinking.
 
−
The Legend of the White Snake is a beautiful folklore with profound significance, which reflects the fundamental contradictions of the feudal society through the image of mythology, like a refractor.
 
−
Dai Bufan.
 
−
On the Story of the White Snake [N].
 
−
Literary and Art Daily, 1953-11-21 (11).
 
−
Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness.
 
−
In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love.
 
  
−
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)
+
Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝
  
−
===Subtitle 3===
+
Farewell My Concubine：霸王别姬
  
−
===Subtitle 4===
+
Chicken Slices with Hibiscus：芙蓉鸡片
  
−
===Conclusion===
+
Scallops with Hibiscus：芙蓉干贝
  
−
===References===
+
Clams with Hibiscus：芙蓉青蛤
−
*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==
+
The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕
−
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>
 
  
−
<center>聂薇</center>
+
The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡
  
−
===Introduction===
+
Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠
−
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)
 
  
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This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠
  
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With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)
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Crusade against daddy：早生贵子
  
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The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅
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===The evolution of the Spring Festival travel rush===
 
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As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)
 
  
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In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)
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The Sacred Family of the Confucian Mansion：孔府衍圣公
  
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Siraitia Grosvenorii：罗汉果
  
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(i) The difficulty of travelling during the Spring Festival in ancient times
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Prajna Dishes：般若菜
  
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Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴
  
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In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)
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Yin and Yang Fish：阴阳鱼
  
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Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)
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Heaven and Earth Eggs：乾坤蛋
  
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Mutton eaten with hands：手抓羊肉
  
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(ii) The difficulty of travelling during the Spring Festival in modern times
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Sweet and Sour Pork：咕咾肉
  
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The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)
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Pearl Bean Curd：珍珠豆腐
  
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With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
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Golden Prawn：金钱明虾
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===Cultural factors behind the Spring Festival travel rush in China===
 
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The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)
 
  
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Crispy Duck：脆皮八宝鸭
  
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(i) Confucian culture
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Spiced Beef：五香牛肉
  
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In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会
  
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The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)
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Full of Prosperity：满园春色
  
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It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)
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===Questions===
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1.How many naming methods are mentioned?
  
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The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)
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2.Who is the Four-Joy Meatballs associated with?
  
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In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?
  
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A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)
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===Answers===
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1.Eight.
  
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But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)
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2.Zhang Jiuling
  
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This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)
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3.Egg white.
  
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==英语笔译 李欣 Li Xin 202170081577==
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<center>'''The contradiction between language and mind'''</center>
  
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(ii) ceremonial culture
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<center>李欣</center>
  
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In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)
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===Abstract===
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In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.
  
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During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)
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===Key words===
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Sapir-Wolf hypothesis; language and mind; linguistics
  
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The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)
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===Introduction===
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The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.
  
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Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)
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===Literature Review===
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The discussion of  relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
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The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind.  In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.
  
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===An overview of language and mind===
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1. The concept of language
  
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(iii) institutional culture
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Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
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As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.
  
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One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)
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2. The concept of mind
  
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The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)
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In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time,  or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.
  
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3. An overview of the relationship between language and mind
  
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(ⅳ) the concept of family-and-nation
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The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
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In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".
  
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In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)
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===Various famous ideas on the relationship between language and mind===
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In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.
  
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In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)
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1.Independence theory
  
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However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)
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From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
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2. Sequence theory
  
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As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)
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2.1 mind exists before language
  
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Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
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This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.
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===Way of relieving pressure from the rush===
 
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Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
 
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===The prevalence of the Anti-Spring Festival travel rush===
 
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In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)
 
  
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On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)
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2.2 Language exists before mind
  
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But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)
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The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
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In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
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The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.
  
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On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)
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3. Determinism
  
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Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
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3.1 mind determines language
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===Conclusion===
 
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No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)
 
  
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The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)
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The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese  scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.
  
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Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)
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3.2 Language determines mind
  
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The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)
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The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.
  
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It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)
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4. Coexistence (the coexistence of language and mind)
  
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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)
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4.1 Language cannot exist independently of mind
  
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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)
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Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.
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===Terms and expressions===
 
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Spring Festival travel rush：春运
 
  
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epic population migration：史诗般的人口迁徙
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4.2 Mind cannot exist independently of language
  
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Confucian culture：儒家文化
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Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.
  
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ceremonial culture：仪式文化
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===My view on the relationship between language and mind===
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From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
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institutional culture：制度文化
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There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.
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farming culture：农耕文化
 
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patriarchal clan system：宗法制度
 
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clan gathering：家族聚居
 
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displaced people：流民
 
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the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想
 
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affectionate elders and dutiful juniors：父慈子孝
 
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agriculture is valued while commerce is restrained：重农抑商
 
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fishing, woodcutting, farming and learning：渔樵耕读
 
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The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）
 
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The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”
 
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worshiping ancestors：祭祖
 
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paying a New Year call：拜年
 
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putting up spring scrolls：贴春联
 
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the system of urban-rural regional segregation：城乡区域隔离制度
 
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the household registration system：户籍制度
 
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the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”
 
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the concept of family-and-nation：家国观念
 
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Spring and Autumn Period：《春秋繁露》
 
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the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲
 
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Earthbound China：《乡土中国》
 
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the Double Ninth Festival：重阳节
 
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statutory long holidays：法定节日长假
 
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elderly drifters：老年漂族
 
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thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
 
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===References===
 
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*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
 
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*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
 
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*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
 
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*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
 
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*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
 
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*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
 
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===Questions===
 
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1.How long does the Spring Festival travel rush usually last?
 
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A.30 days
 
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B.40 days
 
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C.50 days
 
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D.60 days
 
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2.Which one of the following group is not the main reason that results to the rush?
 
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A.Migrant workers
 
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B.Students
 
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C.Those planning to visit relatives
 
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D.Tourists
 
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3.Which one of the following cultures is the main factor that encourages family reunion?
 
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A.Confucian culture
 
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B.Taoist culture
 
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C.Buddhist culture
 
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D.Christian culture
 
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===Answers===
 
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1.40days
 
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2.Tourists
 
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3.Confucian culture
 
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==英语笔译 孙丽君 Sun Lijun 202170081593==
 
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<center>'''Chuanjing Work Songs'''</center>
 
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<center>Sun Lijun</center>
 
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===Introduction===
 
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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.
 
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===The History of Chuanjiang Work Songs===
 
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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.
 
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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).
 
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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.
 
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===The Features of Chuanjiang Work Songs===
 
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Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.
 
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Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).
 
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First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).
 
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Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).
 
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Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.
 
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===The Classification of Chuanjiang Work Songs===
 
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Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).
 
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First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).
 
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Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).
 
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Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).
 
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Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).
 
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Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).
 
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The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.
 
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===The Inheritance of Chuanjiang Work Songs===
 
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Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?
 
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As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.  
 
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However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.
 
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With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to  students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.
 
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−
===The Translation of Chuanjiang Work Songs===
 
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Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.
 
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As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.
 
  
 
===Conclusion===
 
===Conclusion===
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Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.  
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Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind  are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
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+
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
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Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!
 
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===Terms and Expressions===
 
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Chuanjiang work song:川江号子
 
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Haozi:号子
 
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Kuixing Tower:《魁星楼》
 
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Giant Turtledove:《大斑鸠》
 
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Lanlong work song:《懒龙号子》
 
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Boatman:船工，船夫
 
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The First Batch of National Intangible Cultural Heritage:第一批国家级非物质文化遗产
 
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Bashu area:巴蜀地区
 
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Perilous Journey to the Land of Shu:《蜀道难》
 
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The westbound road to shu, so steep, steeper than Heaven! I plod my way, step by step, sign by sign.:蜀道之难，难于上青天，侧身西望长咨嗟！
 
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Fuhe work song:府河号子
 
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Huanglongxi work song:黄龙溪号子
 
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Jinjiang work song:锦江号子
 
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Tuojiang work song:沱江号子
 
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Minjiang work song:岷江号子
 
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Jinsha River work song:金沙江号子
 
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Jialing River work song:嘉陵江号子
 
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Tonghe work song:铜河号子
 
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Yongninghe work song:永宁河号子
 
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===Questions===
 
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1. What can be regarded as the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song?
 
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2. When did Chuanjiang work song first appeared?
 
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3. When was Chuanjiang work song listed as the First Batch of National Intangible Cultural Heritage?
 
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4. How Chuanjiang work song was produced?
 
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5. What are the characteristics of the music of Fuhe work song?
 
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===Answers===
 
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1. The Neolithic stone anchors and the tracker’s stone figures.
 
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2. In the Spring and Autumn Period.
 
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3. On May 20th, 2006.
 
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4. The leader of a crowd of boatmen created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen’s rowing and pulling.
 
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5. The music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies.
 
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===References===
 
===References===
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*Liu Xiuming,Qu Mengwei 刘秀明，曲梦梅（2021）.生态翻译学理论视域下川江号子词汇外译研究[A Study on the External Translation of Chuanjiang Work Song’s Vocabulary from the Perspective of Ecological Translation Theory].“校园英语”[English on Campus]. (44):251-252.
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*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.  
−
 
+
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
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*Liu Xiuming,Zhao Ning 刘秀明，赵宁(2021).生态翻译学语言维度视域下川江号子翻译研究[A Translational Study of Chuanjiang Work Song from the Linguistic Perspective of Ecological Translation Theory].“校园英语”[English on Campus].(28):241-242.
+
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.  
−
 
+
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.  
−
*Sun Haifeng 孙海峰(2020).浅析川江号子的内在价值与文化传承[On the Intrinsic Value and Cultural Inheritance of Chuanjiang Work Song].“艺术家”[The Artist].(01):50.
+
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
−
 
+
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
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*Wang Shuo 王朔(2018).探究川江号子非遗民歌的现状与传承[The Exploration of the Current Situation and Inheritance of the Intangible Folk Song—Chuanjiang Work song].“艺术科技”[Art Science and Technology].(03):54.
+
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.  
−
 
+
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
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*Wu Mingshi 伍明实（2011）.川江号子现状调查报告[A Survey Report on the Current Situation of Chuanjiang Work Song].“中华文化论坛”[Forum on Chinese Culture].(03):34-42.
+
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==
 
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<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>
 
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<center>仝雨梦</center>
 
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===Introduction===
 
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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.
 
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===Th
 

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

英语笔译 黎溢佳 Li Yijia 202170081573

On Gender Discrimination in Chinese

Abstract

Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

Key words

Language; Cultural Factors; Gender Discrimination; Chinese

Introduction

Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Literature Review

The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism. Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.

Word Formation

Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is File:Chinesecharacterjpg , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women. There are five type of Chinese characters with a “女”. A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”. B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”. C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”. D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”. E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”. In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

Proverbs

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34) There are five types of proverbs containing gender discrimination. 1. reflecting the defects of the female sex： 三个女人一台戏。 (Three women can constitute a play.) 红颜女子多是非。 (Beautiful women can attract troubles.) 树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.) 2. reflecting the low status of women： 精女不如痴男。(Smart women are inferior to dumb men.) 母以子为贵。(Mothers’ honor is their sons. ) 兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.) 养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.) 3. reflecting the ignorance of women： 头发长见识短。 (Long hair, short sight.) 女子无才便是德。 (No knowledge is the value of a woman.) 妇人之言不可听。(A woman’s advice is never to seek. ) 4. reflecting the existence of sexism in marriage： 嫁出去的女儿，泼出去的水。(Married daughters, spilled water.) 女大不中留。(You cannot keep an old daughter.) 嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.) 5. reflecting that women are evil and curse: 女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.) 最毒妇人心。 (There is no devil so bad as a woman’s heart.)

Metaphors

There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness. 柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist. 苗条 (sprout and branch): describes a woman's slender and feminine figure. 亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees. 轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women. The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors. Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

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.

The symbolic significance of lanterns in film and television works

The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication. Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination. In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the Legend of Zhen Huan, the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace. In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.

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 Zhao Jun Out of the Frontier 昭君出塞 the fifteenth day of the first month of lunar year 正月十五 The Legend of Zhen Huan 甄嬛传

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
Li Ting

Introduction

Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, 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. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.

Looking at Chinese Cuisine Names through Linguistics

1. Meanings of Cuisine Names

In terms of the meanings of cuisine names, they can be briefly divided into the following three types:

The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182)

The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)

The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182) 

                                                                Mapo Tofu1.jpg Fotiaoqiang (1).jpg

2. The Naming Methods of Dish Names

The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:

2.1 Named after Ingredients and Cooking Methods

This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on.

Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )

2.2 Freehand Naming

Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118) 

                   Braised Meat Balls in Brown Sauce.jpg   Tai Chi Shaped Taro.jpg

2.3 Named after a Person or a Place

There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154)

In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118) 

                                      Wen Si Tofu.jpg   Peking Duck.jpg

2.4 Named after Historical Allusions

Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57) 

                                  Meat in Tomato Sauce.jpg     Murrel with Fresh Vegetables.jpg

2.5 Named after Numeral Abbreviations

Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )

2.6 Named after Animals and Plants Names

People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )

Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg

Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )

2.7 Named after Precious Metals and Jade

Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 ) 

                         Salted Pork in Jelly.jpg       Shrimp with green Vegetable.jpg

2.8 Named after Auspicious Words

In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)

3 Rhetorical Devices in Cuisine Names

When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.

3.1 Figure of Speech

The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182) 

                   Squirrel-shaped Mandarin Fish.jpg    Farewell My Concubine.jpg

These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.

3.2 Hyperbole

Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.

3.3 Allusion

The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)

3.4 Personification

Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.

The Cultural Connotation of Chinese Cuisine Names

Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.

1. The Good Meanings and Visions in Cuisine Names

Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.

2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names

Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)

In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.

3. Regional Features in Cuisine Names

There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.

The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)

The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)

Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)

The Psychological Functions of Chinese Dish Names

Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes. The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.

It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)

The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)

In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)

Conclusion

The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.

References

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Terms and expressions

Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子

Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙

Cut: 切 chop：剁 split：劈 scrape：剔

Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥

Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤

stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

Quick-frying shredded Mutton with Scallion：葱爆羊肉丝

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗

Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁

Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋

Jade and White Jade, Shrimp with green Vegetable：翡翠白玉

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕

The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠

Crusade against daddy：早生贵子

Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅

The Sacred Family of the Confucian Mansion：孔府衍圣公

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会

Full of Prosperity：满园春色

Questions

1.How many naming methods are mentioned?

2.Who is the Four-Joy Meatballs associated with?

3.In the Chinese cuisine names, what is hibiscus often used to refer to?

Answers

1.Eight.

2.Zhang Jiuling

3.Egg white.

英语笔译 李欣 Li Xin 202170081577

The contradiction between language and mind
李欣

Abstract

In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

Key words

Sapir-Wolf hypothesis; language and mind; linguistics

Introduction

The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

Literature Review

The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it. The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

An overview of language and mind

1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study. As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique. In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

Various famous ideas on the relationship between language and mind

In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world. 2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control. In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

My view on the relationship between language and mind

From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups. There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

Conclusion

Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse. Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.

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