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

英语笔译 刘婷 Liu Ting 202170081586

Translation and Dissemination of Chinese Contemporary Science Fiction Liu Ting

Abstract

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

Key words

Chinese science fiction, translation, dissemination, go global

Introduction

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

Chinese Science fiction

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

2. Status of Translation and Dissemination of Chinese Science Fiction

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

Currents Problems in Translation and Dissemination

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

Conclusion

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

Terms and Expressions

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

Questions

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

Answers

1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

英语笔译 刘瑶 Liu Yao 202170081587

Dissemination of Chinese Contemporary Literature 刘瑶 Liu Yao

Key words

Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

Dissemination of Contemporary Chinese Literature in English-speaking Countries

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

Dissemination of Representative Chinese Contemporary Literary Works

Spreading Chinese culture in teaching Chinese as a second language

英语笔译 刘珍 Liu Zhen 202170081588

Chinese Guqin Liu Zhen

Introduction

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

Origin

Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development History

The ancient form of the qin was short (almost a third of the size of a modern qin) and probably only played using open strings. This is because the surface of these early qins where not smooth like the modern qin, the strings were far away from the surface, which was engraved, and did not have markings for the harmonic positions.

Based on the detailed description in the poetical essay "Qin Fu" (琴赋) by Xi Kang (223–262), the form of the qin that is recognizable today was probably set around the late Han Dynasty. The earliest surviving qin in this modern form, preserved in both China and Japan, have been reliably dated to the Tang Dynasty. Many are still playable, the most famous perhaps being the one named "Jiuxiao Huanpei" 《九霄环佩》, attributed to the famous late Tang dynasty qin maker Lei Wei (雷威). It is kept in the Palace Museum in Beijing.

In 1977, a recording of "Liu Shui" (流水) (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Construction and Strings

According to tradition, the qin originally had five strings, representing the five elements of metal, wood, water, fire and earth. Later, in the Zhou dynasty, Zhou Wen Wang (周文王) added a sixth string to mourn his son, Bo Yihou (伯邑考). His successor, Zhou Wu Wang, added a seventh string to motivate his troops into battle with the Shang. The thirteen hui (徽) on the surface represent the thirteen months of the year (the extra 13th is the 'leap month' in the lunar calendar). The surface board is round to represent Heaven and the bottom board flat to represent earth. The entire length of the qin (in Chinese measurements) is 3 chi, 6 cun and 5 fen (三尺; 六寸;五分); representing the 365 days of the year (though this is just a standard since qins can be shorter or longer depending on the period's measurement standard or the maker's preference). Each part of the qin has meaning, some more obvious, like "dragon pool" (龙池) and "phoenix pond" (凤沼).

Until the Cultural Revolution, the guqin's strings were always made of various thicknesses of twisted silk (丝), but since then most players have used modern nylon-flatwound steel strings (钢丝). This is partly due to the scarcity of high quality silk strings and partly due to the newer strings' greater durability and louder tone.

Silk strings are made by gathering a prescribed number of strands of silk thread, then twisting them tightly together. The twisted cord of strings is then wrapped around a frame and immersed in a vat of liquid composed of a special mixture of natural glue that binds the strands together. The strings are taken out and left to dry, before being cut into the appropriate length. The top thicker strings (strings one to four) are further wrapped in a thin silk thread, coiled around the core to make it smoother. According to ancient manuals, there are three distinctive gauges of thickness that one can make the strings. The first is taigu (Great Antiquity) which is the standard gauge, the zhongqing (Middle Clarity) is thinner, whilst the jiazhong (Added Thickness) is thicker. According to the Yugu Zhai Qinpu, zhongqing is the best.

Although most contemporary players use nylon-wrapped metal strings, some argue that nylon-wrapped metal strings cannot replace silk strings for their refinement of tone. Furthermore, nylon-wrapped metal strings can cause damage to the wood of old qins. Many traditionalists feel that the sound of the fingers of the left hand sliding on the strings is a distinctive feature of qin music. The modern nylon-wrapped metal strings were very smooth in the past, but are now slightly modified in order to capture these sliding sounds.

Traditionally, the strings were wrapped around the goose feet (雁 足) but a device has been invented, which is a block of wood attached to the goose feet, with pins similar to those used to tune the guzheng protruding at the sides, so one can string and tune the qin using a tuning wrench. This is helpful for those who lack the physical strength to pull and add tension to the strings when wrapping the ends around the goose feet. However, the tuning device looks unsightly and many qin players prefer the traditional manner of tuning; many also feel that the strings should be firmly wrapped around the goose feet so that the sound may be "grounded" into the qin.

Subtitle 1

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

References

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

英语笔译 龙翰良 Long Hanliang 202170081589

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

Abstract

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

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

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

Key words

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

Introduction

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

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

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

Overall Design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Test Assessment

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

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

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

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

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

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

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

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

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

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

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

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

Means and methods

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Textbook Compilation

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

Classroom Teaching

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Training of TCSL Teachers

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

Conclusion

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

References

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

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

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

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

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

Terms and expressions

Classroom teaching 课堂教学

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

Questions

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

Answers

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

英语笔译 罗姚林 Luo Yaolin 202170081590

Different Local Dialects in China 罗姚林 Luo Yaolin

Introduction

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

英语笔译 马艳焕 Ma Yanhuan 202170081591

An overview on the study of Chinese folk stories 马艳焕

Abstract

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

Subtitle 1

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

References

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

英语笔译 聂薇 Nie Wei 202170081592

Cultural Factors Behind the Spring Festival Travel Rush in China 聂薇

Introduction

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

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

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

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

The evolution of the Spring Festival travel rush

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

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

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

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

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

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

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

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

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

Cultural factors behind the Spring Festival travel rush in China

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

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

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

Way of relieving pressure from the rush

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

The prevalence of the Anti-Spring Festival travel rush

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

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

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

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

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

Conclusion

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

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

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

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

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

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

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

Terms and expressions

Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

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

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

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

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

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

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

the household registration system：户籍制度

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

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

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

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

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

References

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

Questions

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

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

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

Answers

1.40days

2.Tourists

3.Confucian culture

英语笔译 孙丽君 Sun Lijun 202170081593

Chuanjing Work Songs Sun Lijun

Introduction

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

The History of Chuanjiang Work Songs

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

References

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

英语笔译 仝雨梦 Tong Yumeng 202170081594

The Influence of Chinese Traditional Philosophy in Contemporary Times 仝雨梦

Introduction

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

英语笔译 童略雅 Tong Lueya 202170081595

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

Abstract

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

Key words

Artificial intelligence; translator; influence; machine translation

Subtitle 1

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

References

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