Difference between revisions of "20220630 Culture 8"

From China Studies Wiki
Jump to navigation Jump to search
Line 13: Line 13:
 
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301
 
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301
  
−
==日语笔译 胡梦琪 Hu Mengqi 202170081633==
+
==英语笔译 王亚娟 Wang Yajuan 202170081598==
  
 +
<center>'''Filial Piety in China'''</center>
  
−
<center>'''Huangmei opera'''</center>
+
<center>Wang Yajuan</center>
  
−
<center>Hu Mengqi</center>
 
 
===Introduction===
 
===Introduction===
−
Huangmei opera, formerly known as Huangmei tune, tea - picking opera, originated from Huangmei, Hubei province, and developed in Anqing, Anhui Province.
+
Filial piety has been a tradition of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been priority in the traditional Chinese politics and cultures. (Xiao Longhang 2006: 1)China's unique patriarchal social system determines that filial piety goes through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic.  
−
Huangmei Opera, together with Beijing Opera, Yue Opera, Pingju Opera and Henan Opera, is known as the "Five Major China Operas." It is also one of the main local operas in Anhui Province. There are also professional or amateur performing groups of Huangmei Opera in Hubei, Jiangxi, Fujian, Zhejiang, Jiangsu, Hong Kong and Taiwan, which are widely welcomed.
 
−
Huangmei opera is a kind of opera which is formed and developed gradually by folk song, Yangge, Tea Song, pick-tea lantern dance and flower - Drum tune, which precedes the countryside and then enters the city. It has absorbed the factors of Han opera, Chu Opera, Gaoqiang opera, tea - picking opera, Peking Opera and many other operas, and gradually formed its own artistic characteristics.
 
−
Huangmei Opera's singing is simple and smooth, with bright and quick lyric, good at expressing emotions. The performance is simple and meticulous, famous for its authenticity and vivacity. A song Fairy Couple makes Huangmei opera popular in the north and south of the river, and has a high reputation overseas.
 
  
−
===Development===
+
Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach it. In feudal society, when the system was thriving, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016;11) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety of Chinese filial piety, then briefly compare and analyzes Chinese and western filial piety, finally a brief conclusion about filial piety will be given.
−
The development history of Huangmei opera was roughly divided into three stages:
 
−
The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The tunes produced and spread to the three provinces of Anhui, Hubei and Jiangxi were influenced by the local opera performances and combined with some folk arts, gradually forming some small operas. Further development led to the complete story of the operas. From the Reign of Emperor Kangxi and Emperor Qianlong of the Qing Dynasty to the reign of Emperor Guangxu, the traditional repertoire was very rich, and artists could perform more than 200 plays. Among them, many were based on Huang Mei's real people and real events, such as Dacidian and Cross the Jieling and so on; Some were the People's dissatisfaction with class oppression, the disparity between the rich and the poor, and their yearning for a free and beautiful life at that time. Such as Buckwheat story, Fairy Couple and so on; Some also showed the life segments of rural workers, such as Spinning cotton yarn, Selling bucket basket and so on.
 
−
The second stage was from the Revolution of 1911 to 1949. At this stage, Huangmei Opera gradually became professional and moved from the rural stage to the urban stage. After Huangmei opera entered the city, it was co-organized with Peking Opera, and was influenced by Yue opera, Yang Opera, Huai Opera and Pingju Opera from the North in Shanghai, which changed greatly in both the content and form of the performance. In addition to the arrangement and transplantation of a number of new plays, the music has also carried out a preliminary reform of the traditional singing, and the content was more understandable.
 
−
The third stage is from 1949 to now. After the founding of the People's Republic of China, Huangmei opera has been rapidly restored and developed. Anhui Province Huangmei opera troupe was established in Hefei in 1953. Thirteen counties in Anqing area have also set up professional troupes. In 1954, Huangmei opera Fairy Couple participated in the East China Opera observation and performance conference and was successful. The play was also made into a film twice, causing a sensation at home and abroad. A number of newly created and adapted outstanding plays such as Emperor's Female Son-in-Law and Hillock of Sand have been staged one after another. In Hong Kong and Macao, there was a prosperous scene of Huangmei opera sung in Mandarin and Cantonese. Decades after the liberation of huangmei opera has created a large number of outstanding actors, in addition to have outstanding contributions to huangmei opera singing art Yan Fengying, Wang  Shaofang older generation of artists, such as young and middle - aged actors such as Ma Lan, Han Zaifen also won the audience's attention and love.
 
  
−
===Features===
+
===Origin and Basic Meaning of Filial Piety===
−
'''Tune''':Huangmei Opera's singing style belongs to the plate - Type variation, which has three major tunes: Coloratura, Choi Tune and Main Tune. Coloratura is mainly used in small operas, the melody is simple, beautiful and cheerful, with a strong atmosphere of life and folk song minor color; Choi tune‘s melody is cheerful, has been widely used in the Coloratura small operas. The main tune is commonly used in the traditional original opera of Huangmei opera, which is divided into flat words, fire attack, two lines and three lines, among which flat words is the most important singing tune in the original opera, with serious, solemn, beautiful and generous melody. Huangmei opera is known for its lively lyricism, simple, fresh exquisite and moving singing, with rich expressive force, and easy to understand, easy to popularize, loved by the masses around. In the musical accompaniment, the early Huangmei opera by three people to play the drum, cymbals, small gongs, big gongs and other percussion instruments, at the same time to participate in the vocal accompaniment, known as "three strokes and seven singing." After the founding of the People's Republic of China, Huangmei opera formally established the accompaniment system with Kao-hu as the main instrument.
+
The exact origin of the idea of filial piety is still inconclusive in academic circles. Because in the absence of exact archaeological findings and written records, all conclusions drawn by scholars are only speculations, with imaginary approximations but no factual results. Therefore, the origin  can only be explored in the ancient literature. (Wang Xiaohu 2014:3 .)
  
−
'''Types of Roles''':After the performance of the whole opera, the types of the roles gradually developed into the lead, the female lead, the painted face, the old lead and clown. Although there is a division of types in the profession, few people specialize in one profession. After the 19th year of the Republic of China, Huangmei opera troupe often performed with Hui and Beijing Opera troupe. Due to the need of performing plays, there appeared some new roles, but they were not fixed. At that time, the Huangmei troupe was mostly semi - Professional, with only 12 people in general. Due to the small number of people in the troupe, when performing the whole opera, it was often an actor who has to play several roles. Therefore, in Huangmei opera, although the roles in the opera are standardized, the actors do not have strict branches.
+
The explanation of filial piety in ''Erya-Shihun''(《尔雅·释训》) is "being nice to parents is filial piety"; the explanation in Relics from South is “The Chinese character ‘孝’(filial piety) is a combination of the Chinese character ‘老’ (old) with the lower right corner omitted, and 子 (son), thus, 孝 means to serve one's parents well, and it means that children respect and support their parents.’’ Today's scholars interpret the Jinwen（金文inscriptions on ancient bronze objects） form of filial piety in much the same way as the above, and the explanation of filial piety in ''the Ci Hai''(《辞海》) is “to be nice to parents well”, which is almost identical to the explanation in the Erya；Tang Yin's ''On the Origin of Characters''《文字源流浅说》 is even more interesting: “Like a '子'（son） walking with his head bearing ‘老’（the old man）, showing ‘孝’（filial piety） by the shape of supporting an old man to walk.’’ It can be seen that the ancient form of the character "孝”（filial piety） and the meaning of "nice to parents" match perfectly, so "filial piety" is regarded as a kind of good deed and virtue of children to their parents. (Yang Jianhai 2017:10)
  
−
'''Dress and makeup''':The costumes of Huangmei opera are the continuation of the traditional costumes of the Han nationality, but most of them were in the Tang, song and Ming dynasties. Compared with Beijing Opera costume, it is less colorful, gorgeous and coquettish, more elegant and beautiful, natural and meaningful, forming a romantic period of its own. Huangmei opera makeup heavy eyebrows. Different from Beijing Opera's thick ink description of the eye outline, gorgeous face, Huangmei opera costumes pay attention to Halo dye, pay attention to the charm, similar to the ancient lady's light makeup, true and simple. For example, the young lead’s eyes rises, eyebrow peak slightly gathered, elegant and beautiful; the female lead eyes with feelings, looking forward to between, natural a stretch of billows romance in them.
+
In history, records of "respect olders" first began with Three Sovereigns and Five Emperors:"昔者，有虞氏贵德而尚齿，夏后氏贵爵而尚齿，殷人贵富而尚齿，周人贵亲而尚齿”（From the time of Yu and Shun, although they respected virtuous people, they did not forget to respect older people; in the Xia Dynasty, although they respected people with titles, they did not forget to respect older people; in the Yin Dynasty, although they respected people with money, they did not forget to respect older people; in the Zhou Dynasty, although they respected people with kinship, they did not forget to respect older people.”）and “有虞氏养国老于上庠，养庶老于下庠；夏后氏养国老于东序，养庶老于西......(Fan Yan 2016:11)(In the era of the yu, the retired senior officials were entertained at the upper school and the retired scholars at the lower school; the offspring of Xia entertained the retired senior officials in the east and the old people in the west...)
  
−
===Current situation of the development ===
+
From the available information, the Jin dynasty appeared on the "filial piety" records, such as "“天子明哲，观孝与申（神）”(The emperor judged a man's virtue by his filial piety and religious belief) People in Yin Period believed that the ancestors could directly worship God and are the main medium between God and the human world. Since the ancestors were the medium between the human world and the divine world, they naturally became the masters of the earth and thus could bring disasters and blessings. (Yang Jianhai 2017:134)This is the reason why the Yin people attached special importance to heavy burial and had religious worship of their ancestors.  
−
Huangmei Opera has gone through a lot of difficulties from its origin to its development. It is not easy to be loved and recognized by the public and successfully listed in the first batch of national intangible cultural Heritage list approved by The State Council on May 20, 2006. However, Huangmei Opera is also facing severe difficulties and crises both in the inheritance and development at home or the transmission and export abroad.  
 
  
−
'''Domestic problems of Huangmei Opera''':First, there is a shortage of students majoring in opera in art colleges： "Opera industry should be able to withstand loneliness. In today's society, people are becoming more and more impetuous, and fewer and fewer people are willing to learn opera. At the same time, the depressed opera market has led to low wages and made many people reluctant to study opera." Although the local government has invested a lot, Huangmei Opera colleges and universities still face practical problems such as fewer students and employment difficulties for graduates. When considering future employment prospects, many Huangmei Opera lovers will choose majors with wider employment channels, resulting in a serious shortage of students majoring in Huangmei Opera.
+
After King Wu of Zhou pacified the world, he redistributed the world and restored the social orders, therefore, Zhou Dynasty not only inherited the traditions of the previous dynasties, but also created customs and festivals to honor and respect the elderly. For example, the "乡饮酒（country drinking ceremony）" was a unique form of village gathering in the Zhou Dynasty, where the younger generation expressed their respect to their elders by making a toast. During the banquet, ancient songs or chapters from ''the Book of Songs''(《诗经》) were played to praise the virtue and prestige of the elderly. (Fan Yan 2016:11)
−
Second, the construction of professional courses needs to be strengthened: Professional colleges are limited by resources and funds, as well as performance venues, personnel integration, follow-up costs, return on investment and other restrictive factors, and it is difficult to build professional practice and training platforms for students by their own strength, which affects the construction of relevant majors. Opera performance is a very practical art, and there are few opportunities for students majoring in Huangmei Opera to participate in large-scale performances. Only some excellent students can get the practice opportunity to perform on stage, which affects the educational effect of Huangmei Opera to a certain extent. Some art students unilaterally think that performing skills and vocational skills are the first, and cultural courses are only secondary courses, or even redundant. They focus on professional skills and performance training, and do not pay enough attention to the learning of cultural courses.
 
−
The third is the professional teachers to grow: Because of the financial support, their scale and supporting policies and reasons, related colleges and universities currently facing the teacher education level is not high, through teachers, inadequate protection of the professional guidance, age, levels of structural imbalances, Huangmei Opera teacher talent construction in local colleges need to be strengthened. Due to regional economic conditions, material benefits, academic research platforms and other objective reasons, it is difficult for local undergraduate universities to introduce high-level professionals.
 
  
−
'''Abroad problems of Huangmei Opera (Take English-speaking countries as an example)''':First, the difficulties in the translation of Huangmei Opera scripts mainly focus on the rhythm of lyrics, sentence style and translation of padding syllables. In the process of script translation of Huangmei Opera, if the above language features of script lyrics cannot be translated flexibly, the beautiful singing style and profound cultural connotations of Huangmei Opera will be difficult to convey to foreign audiences.
+
Filial piety in the sense of ethical norms is not fully highlighted until Confucius: "“夫孝，天之经也，地之义也，民之行也。”(Filial piety, like the operation of heaven, is eternal and unchanging; like the natural growth of all things on earth, it is natural and justified, and is the natural behavior of the people.）and “天地之性，人为贵。人之行，莫大于孝。”"The nature of heaven is valued by man. The conduct of man is no greater than filial piety." Mencius inherited this view and proposed, "“事孰为大？事亲为大“（What is the greatest thing to do? To serve one's parents is the greatest） (Fan Yan 2016:11). Confucianism believes that filial piety and respect for one's elders is a natural and righteous thing to do, and it is the foundation of one's life.  
−
The second is the controversy over the use of Huangmei Opera translation. The academic circle has not reached a consensus on whether the translation of Huangmei Opera should be used as lyrics or subtitles. Different purposes directly affect the strategies adopted in translating scripts into English. If it is directly used in English singing, in addition to factors such as the rhythm of the lyrics, it is necessary to consider the equivalence of the pinyin of the script lyrics and the syllables of the English lyrics, so as to match the rhythm of the accompaniment, which undoubtedly greatly increases the difficulty of English translation. If it is only used for subtitle, the problem of syllable equivalence is not considered, but how to present subtitle in actual performance is a big problem. Simultaneous interpretation is bound to affect the audience's hearing effect, and rolling English subtitles on the stage will interfere with the audience's line of sight. These problems can’t be properly solved, which is also an important reason why Huangmei Opera can’t open the market in foreign countries.
 
−
The third is the acceptance of Huangmei Opera by foreign audiences. Compared with the language-centered forms of western operas, Huangmei Opera relies more on singing, costumes, dancing and music. This huge difference in the form of expression is bound to affect the cultural acceptance of Huangmei Opera. If we blindly cater to the cultural acceptance mentality of the Western audience and change the performance form of Huangmei Opera, it will lose its charm. How to improve the foreign audiences‘ acceptance of Huangmei Opera while retaining its unique charm as far as possible is a long-term proposition to be faced in English translation of Huangmei Opera.
 
  
−
===Solutions and Summary===
+
Confucianism has laid the foundation for the most influential part of filial piety in Chinese people for more than two thousand years because Confucian sages, represented by Confucius, completed the transformation of filial piety from religion to philosophy, from "pursuing filial piety" to "nurturing filial piety" during the Spring and Autumn and Warring States periods. As we all know, Confucius created a philosophical system with "benevolence" as the core concept, reinterpreting the Western Zhou "rites" from the viewpoint of "doctrine of benevolence". He also believes that filial piety is no longer due to the external pressure of society and the constraints of gods, but is an emotional demand and moral consciousness from people's heart and he also combined "filial piety" with "rites", saying that one should treat one's parents and elders with "生，事之以礼；死，葬之以礼，祭之以礼’’ (Yang Jianhai 2017:135)(rites in life, rites in burial, and rites in sacrifice) .
−
There are many things we can do to address these development challenges.
 
  
−
'''Solutions to domestic problems''':  Increase support for Huangmei Opera education: Relevant departments should continue to increase input in manpower, finance, material and other aspects of Huangmei Opera art education, strive to break the limitations of performance venues and practice, and build a more scientific new mode of artistic talent training. Anqing, where Huangmei Opera is popular, has a good cultural foundation and humanistic concept of Huangmei Opera. Art colleges and universities should make full use of their cultural resources, establish cooperative relations with other schools at all levels, implement policies such as exemption of examinations for majors and tuition subsidies, and ensure high-quality students to enter the inheritance field of Huangmei Opera. Colleges and universities should set up art appreciation courses of Huangmei Opera, show cultural characteristics of Huangmei Opera, effectively inherit local opera culture, and train students' artistic sentiment and artistic style of discovering, appreciating and loving beauty.
+
===Evolution of the Meaning of Filial Piety===
−
Innovating the teaching form of Huangmei Opera: The basic artistic accomplishment of opera performers is a compulsory course of Huangmei Opera and other opera education, and it is also the most basic and important link of traditional opera teaching practice. In the art teaching of Huangmei Opera, theory teaching should be combined with the creation and arrangement of opera fragments to improve the basic skills and professional skills of actors. Innovating classroom teaching content, enhancing students' perception of artistic beauty and appreciation of opera culture, and comprehensively improving the performance skills of opera major students; Professional teachers should lead students out of the classroom, visit the daily rehearsals and professional performances of the troupe, enter the park and other places, and join the Huangmei Opera ticket club, feel the strong atmosphere of the folk Huangmei Opera, so as to enhance the appeal of opera culture; Using multimedia and other modern technological means; Set up online course selection system, create wisdom classroom, combine with opera theory teaching research results, improve the practical effect of course teaching.
+
After the formation of filial piety in the time of Confucius, it continued to develop.
−
Integrating opera culture gene into campus culture construction: Colleges and universities should give play to the important role of student organizations and associations in the inheritance of traditional opera, encourage opera societies to actively carry out opera culture activities, promote and inherit opera culture. Professional colleges and universities can build characteristic campuses full of cultural elements of Huangmei Opera and create a rich atmosphere of opera culture by building buildings with elements of Huangmei Opera, designing cultural signs of Huangmei Opera in the campus landscape, promoting Huangmei Opera art with propaganda boards and electronic screens, etc. "At the same time, using appropriate media to spread the practice of inheriting Huangmei Opera, an intangible cultural heritage, will greatly enhance the effectiveness of inheritance. The use of media can make the spread of cultural characteristics become more prominent, cultural identity is easier.
 
  
−
'''Solutions to foreign problems''': The translation of the cadence, sentence style and backing words of Huangmei Opera needs to be flexible. In the process of English translation, it is appropriate to adopt the domestication translation method, or alternative methods such as Rhyme, alliteration or assonance. The style of the sentence carries the beauty of the melody of Huangmei Opera. In the process of English translation, it is also appropriate to adopt the domestication translation, referring to the English poem foot. Such as iambic foot, trochaic foot, anapaestic foot, dactylic foot and meter (tetrameter and pentameter) to realize the change of the lyrics of Huangmei Opera. A large number of interlining words exist in the lyrics of Huangmei Opera. Although they have no real meaning, they reflect the psychological emotions of the characters and cannot be translated. In the process of English translation, transliteration, annotation and other means should be used as appropriate to retain the rhyming effect of the script lyrics of Huangmei Opera to the maximum.
 
−
Clarify the auxiliary position of Huangmei Opera translation in the process of external communication. The charm of Huangmei Opera lies in its singing and beautiful stage form. In order to successfully spread the culture of Huangmei Opera, the key lies in making foreign audiences intuitively feel the audio-visual charm of Huangmei Opera performance. The translation of Huangmei Opera can remove language barriers for foreign audiences to appreciate it better, but it cannot change the auxiliary role of Huangmei Opera translation in the external communication of Huangmei Opera culture. After leaving the stage, the culture of Huangmei Opera was translated into English as a general literary work, and the external dissemination of Huangmei Opera became rootless water. Therefore, the translation of Huangmei Opera should be used as subtitles rather than lyrics for performances. There are two situations when the translation of Huangmei Opera is used as subtitle. One is to record the Huangmei Opera repertoires into audio and video products or upload them to video websites. In this case, English or bilingual subtitles are required. Another kind is in view of the Huangmei Opera
 
−
Troupe live performances, the situation is more complex, because both in the stage provides electronic English subtitles or provide simultaneous interpretation for overseas audience, is bound to affect the audience's visual and sound effects, the most feasible way is before the performance, to provide the audience play introduction and translation of manual, not lost in the audience as much as possible in the plot, In order to enjoy the stage performances of Huangmei Opera Troupe.
 
−
Formulate a long-term plan for English translation and external communication of Huangmei Opera. In essence, the English translation of Huangmei Opera belongs to the act of "translation". Under the current national conditions of "cultural power" and "going out" of Chinese opera, there is an urgent demand to promote the traditional excellent culture of China. However, in the process of external communication of Huangmei Opera, the nature of blending from "marginal culture" to "central culture" determines that its cultural acceptance is not high in the early stage of communication. For nearly half a century, the "going out" project of Chinese opera, which has been adhering to the "faithful" translation, has achieved little effect in the overseas market, which also indicates that the translation and external dissemination of Huangmei Opera will be a long and tortuous process.
 
  
−
'''summary''': In general, as an important cultural heritage, huangmei Opera has the obligation to make efforts for its survival and development, whether it is the government, the society, the troupe itself or the general public.
+
1.The Han and Wei And Jin Period
  
−
===References===
+
During the Han Dynasty, there was a more obvious trend of expanding the idea of filial piety, and after the adoption of Dong Zhongshu's proposal of “罢黜百家，独尊儒术（dismissing the hundred schools and respecting only Confucianism）”, the Han Emperor began to promote Confucianism. The idea of "filial piety" was closely related to social politics, and during the Western Han Dynasty, the implementation of filial piety was encouraged through the establishment of an official for filial piety, and the old caring was established as a system, which had extremely severe legal penalties for those who were not provided for their parents - would to be beheaded.(Ma Yaobin 2017:101)Through such external coercive norms, instead of focusing on the internalization of the idea from the heart, the idea of filial piety was heavily colored by politics, making the people's filial behavior more formal.
−
[1]Li Li李莉.安徽黄梅戏场域的历史变迁与审美特质[Historical changes and aesthetic characteristics of Anhui Huangmei Opera field ] [J].安庆师范大学学报(社会科学版),2022,41(02):28-31.
+
 
 +
From the beginning, the rulers of the Wei and Jin periods advocated the rule of the state by filial piety as the basis of governance and he sets an example for all his subjects by serving his own mother personally. The rulers of the Wei and Jin dynasties attached great importance to ''the Classic of Filial Piety'', not only having the great scholars teach it, but also made notes themselves. When the emperor lectured on ''The Classic of Filial Piety''(《孝经》), he had to be accompanied by important ministers, and there was a clear division of labor, including lecturing, reading, reading and extracting sentences. (Fan Yan 2016：12)
 +
 
 +
2.The Tang Dynasty, Song and Yuan Dynasty
 +
 
 +
In the Tang dynasty, although filial piety was still not given much attention, the ethics of filial piety was still enriched and developed by the royal family out of the need to rule. First, Emperor Xuanzong of Tang twice annotated ''The Classic of Filial Piety''(《孝经》), which became the common version used today; second, The Classic of Filial Piety became a compulsory subject for the imperial examinations; third, ''Tang Code''（《唐律疏议》）, which is the highest legislative achievement of the Chinese legal system, pays special attention to filial piety, in which there are 58 articles that can reflect "filial piety".（Yang Zhigang 2012：262）
 +
 
 +
During the Song and Yuan dynasties, the traditional idea of filial piety in China was to a certain extent alienated, for example, the filial sons and acts of filial piety in the book ''24 Stories of Filial Piety''（《二十四孝》） which was written in the Yuan Dynasty, could find their prototypes in the Song Dynasty. ''24 Stories of Filial Piety'' was collected by Guo Juijing of the Yuan Dynasty, with many versions and mostly similar contents, recording the stories of twenty-four filial sons from the ancient times to the Tang and Song dynasties, such as Zhongyu "carrying rice for a hundred miles" and Wang Bao "hearing the thunder and weeping at the grave" and so on,which all reflect the deepest concern and respect of children for their parents, and even after their parents have passed away, they are still able to respect and raise their parents. . (Ma Yaobin 2017:101) However, there are also some foolish acts of filial piety, such as Guo Ju's "burying his son for his mother"and Wang Xiang's "lying on ice for seeking carp for mother", which are either the loss of basic humanity or foolishness, and are not worth promoting.
 +
 
 +
3.The Ming Dynasty and Qing Dynasty
 +
 
 +
During the Ming Dynasty, against the backdrop pf reinforced centralization of power and people’s confined minds, filial piety was advocated in a perverse way, and it was the darkest period of feudal culture. Luo Lun said in the Outline of Principle of Feudal Moral Conduct(《扶植纲常疏》): "孝者，天之经也，地之义也。国而非此不可以为国，家而非此不可以为家。’’(Filial piety is unalterable principle. Without it, the country can not be the country and home can not be home ) (Xiao Longhang 2006:9)There were many loyal subjects and many filial sons in the Ming Dynasty, but many of them were foolishly loyal and blind filial people under the dark rituals,which had a profound influence on later generations.
 +
 
 +
The Qing dynasty, as a foreign regime, after entering the country to inherit the great unity, continuously learn the Han culture and also with the power of "filial piety" to rule, and the Kangxi emperor placed emphasis on the three principles and the five rules in which the "filial piety" was put in the first place. He believed that to rule the world, the emperor should respect the rule of filial piety. At the same time, the folk power also spared no effort to promote and publicize filial piety with the help of popular teaching materials, such as ''The Hundred Filial Piety Charts''(《百孝图》), which were widely disseminated until the late Qing Dynasty and the early Republican period. (Yang Jianhai 2017:137)
 +
 
 +
4.In Modern Times
 +
 
 +
In modern times, new reform and revolutionary forces have become increasingly critical of traditional filial piety, and南京临时政府《临时约法》( ''the Provisional Treaty'' enacted by the Nanjing Provisional Government) , completely ousting Confucianism, which had ruled China for a long time, making democratic thought the mainstream ideology of the democratic revolution. (Li Renjun 2010:42)
 +
 
 +
The New Culture Movement （新文化运动）made an unprecedented rethinking of filial piety. In his essay ''Speaking of Filial Piety''(《说孝》), Wu Yu pointed out that "the original meaning of filial piety is to gratitude." It is a social virtue for children to care for their parents, but it is wrong to derive other morals from it while Chen Duxiu believed that the adverse effect of the patriarchal system, with its emphasis on filial piety was to exacerbate social inequality." Lu Xun, who was a master of ideas in establishing a new type of ethical relationship between parents and children during the New Culture Movement, believed that love and respect was the cornerstone of establishing a new type ideology between families, "To expand this love, one must understand and take the child as the principal; secondly to guide instead of commanding or chastising; and third, to liberate, so that the child becomes an independent person." (Xiao Qunzhong 2001:124)
 +
 
 +
In short, during the New Culture Movement, these thoughts about the establishment of a new ethic of father-child relationship, which was consistent with the slogan of "democracy, science, advocating new morality and opposing old morality"at that time.  (Li Renjun 2010：43)This new concept of "freedom and equality" also laid the ideological foundation for the establishment of new relations in modern times.
 +
 
 +
5.In Contemporary Times
 +
 
 +
In contemporary times, people have begun to adhere to the Marxist and rethink the current development of filial piety and its practice in our country. In recent years, when the song "《常回家看看》''Come home often''" has entered thousands of households, filial piety has once again become a hot topic. People are beginning to rethink the idea of filial piety in the context of the new era, and general public is focusing more on the concern and reflection on parents' emotions. (Ma Yaobin 2017:102)
 +
 
 +
===Influence of Filial Piety on China===
 +
Filial piety has a long history as a traditional Chinese ethical culture and has a universal influence in society. Its strong power has played a great role in consolidating the centralized rule of feudal dynasties and stability of civil families in successive generations. (Li Renjun 2010：45) However, many of these views are feudal dregs that are having a negative impact on society.
 +
 
 +
1.Negative Influence
 +
 
 +
In our history, the concept of filial piety has had many shortcomings.
 +
 
 +
(1)Fool the People
 +
 
 +
Traditional filial piety emphasizes the "three principles and five rules" to fool the people, just as  Confucius said: "民可使由之,不可使知之"(With the people, we can only make them do what we want them to do, not why they want to do it). By propagating the idea of loyalty and filial piety and polarizing it, the people were made obedient and the ministers were made loyal, not thinking of rebellion and rarely rebelling. Wu Yu points out that “China has been turned into a big factory for the production of obedient people. Such is the great role of the word filial piety!" (Zhao Qing, Zheng Cheng 1985)
 +
 
 +
(2)Inequality
 +
 
 +
The relationship between ruler and subject, father and son in traditional filial piety and the resulting hierarchical concept lead to the inequality between people. Although it involves the idea of respecting the old and loving the young, it is always the "elders" that is absolutely dominant. (Xiao Longhang 2006:29)
 +
 
 +
(3)Feudalism
 +
 
 +
Filial piety that has been transformed by the ruling class and used to rule the people, should be criticized and discarded. The meaning and role of filial piety has been mystified, and myths and legends about filial piety being able to sense heavenly things have spread throughout the world. (Li Chunhua, Yu Dahai 2006:26) As a result, there were some extreme cases and some people did inhumane things, such as hurting themselves to benefit one's parents and kill one's son to support his mother, thus exerting a bad impact on history.
 +
 
 +
(4)Conservativeness
 +
 
 +
Persevere and unity can be said to be the basic spirit of Chinese filial piety. Filial piety emphasizes respect for ancestors and treating parents well, "三年无改于父道”（He didn't change his father's ways for three years）, and respect and obedience to their parents and ancestors,and if not, they are regarded as "rebellious sons" and "black sheep" and are severely reprimanded. Moreover, it is very conservative and unequal, as the sons identify with their fathers and submit to them. (Xiao Qunzhong 2001;42 )
 +
 
 +
2.Positive Influence
 +
 
 +
Despite the many shortcomings of filial piety, we cannot deny the positive role it has played in our country's history:
 +
 
 +
(1)Shaping the Character of People.
 +
 
 +
Filial piety is the basis for establishing one's character. Sima Guang of the Song Dynasty said, "治身莫先于孝”(There is no better way to sahp one's character than by filial piety.) "夫孝，始于事亲，中于事君,终于立身”(Filial piety begins with serving one's relatives and ends with serving the king,Finally, it is the foundation of shaping one’s mind.)" The scope of falial piety no longer limited to the family, but a social cause. (Xiao Longhang 2006：28)The responsibility to parents and family constitutes an inexhaustible motivation for the ancient people to build their career and dedicate themselves to the country and the nation, which promotes social progress.
 +
 
 +
(2)Promote Family Harmony
 +
 
 +
Filial piety, that is the core foundation of family harmony. Our parents are the source of our life. The affection between children and parents is deepest, and filial piety is the fundamental of being a human being. "睦于父母之党，可谓孝矣”If you are good to your parents, you can be considered filial" (Shen Shanhong 19895 ). Being filial to parents is conducive to improving family relations, creating a sense of wholeness and harmony in the family, and promoting the development of all members of the family.
 +
 
 +
(3)Enriching Chinese Culture
 +
 
 +
As traditional Chinese culture dominated by Confucian culture, with Confucianism, Buddhism and Taoism interlinked, filial piety is the mainstream of Confucianism, and also is found in Shi and Tao, and has contributed to the development of Shi and Tao culture. The Buddhist scriptures such as ''The Anthology of Hong Ming''(《弘明集》) and the Taoist scriptures such as ''Scripture of the Great Peace''（《太平经》）are also rich in filial thoughts.  (Xiao Long Hang 2006:33)In addition, with the passage of time, filial piety gradually integrated into the fields of philosophy, literature, art, and folklore, playing an expanding role for the national culture.
 +
 
 +
(4)Maintaining Social Stability
 +
 
 +
“其为人也孝弟，而好犯上者鲜矣。不好犯上，而好作乱者，未之有也。”（It is rare to see the kind of person who is filial to his parents and loves his brother but likes to offend his superiors; it is even more rare to see the kind of person who does not like to offend his superiors but likes to rebel.）"“事亲者，居上不骄，为下不乱。”(Ning Yegao 1995)反之，“居上而骄，为下而乱则刑，在丑而争则兵。“（He who serves his parents is not proud when he is in a higher position, not disruptive when he is in a lower position, and not contentious when he is among the people. If you are proud in a higher position, you will perish; if you are disorderly in a lower position, you will be punished; if you are angry among the people, you will be attacked.）This kind of conduct, which has been honored for thousands of years, does have a deep meaning and a realistic role. Moreover, the value of filial piety does not lie only in loving one's relatives, as filial piety begins with loving one's parents and then moves on to love people and love society. Therefore, filial piety is conducive to social harmony.
 +
 
 +
===Comparison between Chinese and Western Filial Piety===
 +
Filial piety in both China and the West emerged with family, and its initial meaning is basically the same: filial to parents. (Lian Luxia 2012:) However, Chinese and Western filial piety are based on different geographical, political, economic, and cultural conditions, which influence the differences in the Chinese and Western understanding of the meaning of filial piety.
 +
 
 +
(1) Differences in the Objects
 +
In the feudal society, parents had absolute authority. After entering feudal society, Chinese filial piety culture developed from respect for parents at the family level to loyalty to the ruler at the social level. By promoting filial culture, feudal rulers were able to achieve their political indoctrination and feudal rule. In an environment that preached the combination of loyalty and filial piety, and the integration of family and ruling (Li Xiang, 2010:52), filial piety was even bound to people as a code of conduct in ancient patriarchal societies.
 +
 
 +
In the West, the meaningful of filial culture at the social level is not significant, and its mainly refers to respect for parents. Unlike China, however, respect does not mean absolute obedience, and the West attaches more importance to the personal independence between parents and children, and it is more often reflected in the religious sphere. (Huang Shujuan 2021:190)
 +
 
 +
(2)Differences Between Chinese and Western Family Ethics
 +
 
 +
Confucius said, "事父母几谏，见志不从，又敬不违，劳而不怨。(Serve your parents, and if they are wrong, politely advise them. If you express your own opinion and your parents are unwilling to listen to it, you should still be respectful to them and not disobey them, and work for them without resentment.)" Chinese feudal society took filial piety as the fundamental of feudal rule. Influenced by Confucianism, parents and elders had absolute authority in the family, and filial piety was reflected in the attitude and behavior of children toward their parents.
 +
 
 +
The West pursues equality and believes that all men are born equal, and that the relationship between children and parents is also equal. According to Rousseau, "The most primitive society, the only natural society, is the family; the son is dependent on the father only when his protection is needed, and once this need ceases, the natural union breaks down. Each becomes equally independent of the other." (Hu Yuanjiang, Chen Haitao, 2007:48)
 +
 
 +
All in all, the differences between Chinese and Western attitudes to filial piety exist objectively, so in the face of this difference, one cannot simply judge it by good or bad and the two cultures in different countries are valuable treasures for all mankind. (Lian Lu Xia 2012:203) Today, the Chinese and Western cultures of filial piety are influencing each other and learning from each other because Chinese culture of filial piety shines with the light of humanity, while Western pension system is conducive to economic development. With the continuous development of globalization, western societies can learn from Chinese love and care for the elderly while in the face of social problems such as population aging, there should be more equal between Chinese elders and youngers.
  
−
[2]Ding Aihua丁爱华,Zhu Jun朱军.黄梅戏英译：现状、问题与对策[Present Situation, Problems and Countermeasures of Huangmei Opera ] [J].北京印刷学院学报,2021,29(S2):70-72.
+
===Conclusion===
 +
Filial piety has profoundly influenced the habits, psychological qualities and national spirit of our nation. According to Mr. Wei Yingmin, "filial piety is not only applicable to one society, one class or one era, but it is super-class or cross-era, and it is applicable in several eras" (He Naichuan 2002).
  
−
[3]Chen Changwen陈昌文,Sheng Xia盛霞.新世纪以来黄梅戏发展缺憾与策略思考[The shortcomings and strategies of Huangmei Opera development since the new century ] [J].安徽理工大学学报(社会科学版),2021,23(05):42-46.
+
In the study of filial piety culture in China, we analyze the history of filial piety as well as its values and drawbacks. We can have a clearer understanding of filial piety, and then better take its essence and remove its dross. Traditional culture is to be traced and analyzed in order to inherit and innovate.  
  
−
[4]Wei Hong魏泓.生态系统观下黄梅戏英译研究[A study on the English translation of Huangmei Opera from an ecosystem perspective ] [J].重庆第二师范学院学报,2021,34(01):42-46.
+
Filial piety is not only an ethical requirement, but also a tool of the feudal rulers in history and in recent times, people have gained a deeper understanding of filial piety through the inheritance and renewal of traditional culture. Respect for elders is a need for human development, and traditional culture plays an important role in maintaining family relationships. At present, China vigorously promotes the core values of socialism, and a harmonious and stable society needs filial piety to play its positive role, so under the new situation, it is the mission to inherit and carry forward the reasonable part of traditional culture and actively explore a new way to deal with filial culture.
  
−
[5]Sheng Xia盛霞.安徽民歌对传统黄梅戏的影响[The influence of Anhui folk songs on traditional Huangmei Opera] [J].安庆师范大学学报(社会科学版),2020,39(04):102-106.
+
===Terms and Expressions===
  
−
===Terms and expressions===
+
===References===
−
Huangmei opera 黄梅戏
 
−
pick-tea lantern dance 采茶灯（舞）
 
−
flower - Drum tune 花鼓调
 
−
Fairy Couple 《天仙配》
 
−
three roles opera 三小戏
 
−
three strokes and seven singing 三打七唱
 
−
Dacidian 《大辞店》
 
−
Cross the Jieling 《过界岭》
 
−
Buckwheat story 《荞麦记》
 
−
Spinning cotton yarn 《纺棉纱》
 
−
Selling bucket basket 《卖斗箩》
 
−
Emperor's Female Son-in-Law 《女驸马》
 
−
Hillock of Sand 《砂子岗》
 
−
Yan Fengying  严凤英
 
−
Wang  Shaofang  王少舫
 
−
Ma Lan  马兰
 
−
Han Zaifen  韩再芬
 
−
plate - Type variation  板式变化体
 
−
Coloratura  花腔
 
−
Choi Tune  彩腔
 
−
Main Tune  主调
 
−
flat words  平词
 
−
fire attack  火攻
 
−
two lines  二行
 
−
three lines  三行
 
−
cymbals  钹
 
−
small gongs  小锣
 
−
big gongs  大锣
 
−
percussion instruments  打击乐器
 
−
vocal accompaniment  帮腔
 
−
kao-hu  高胡
 
−
the lead, the female lead, the painted face, the old lead and clown  生旦净末丑
 
−
the first batch of national intangible cultural Heritage list  第一批国家级非物质文化遗产名录
 
−
padding syllables  衬词
 
−
Rhyme  押韵
 
−
Alliteration  头韵
 
−
assonance  类韵
 
−
domestication translation  归化译法
 
−
foot    音步
 
−
iambic foot  抑扬格
 
−
trochaic foot  扬抑格
 
−
anapaestic foot  抑抑扬格
 
−
dactylic foot  扬抑抑格
 
−
meter (tetrameter and pentameter)  格律（四音步和五音步）
 
−
transliteration  音译法
 
−
notation  注释法
 
  
 
===Questions===
 
===Questions===
−
1. How many stages are Huangmei Opera divided into? What are the corresponding periods?
 
−
2. According to the field investigation, where is the origin of Huangmei Opera?
 
−
3. List two representative works and artists of Huangmei Opera respectively.
 
  
 
===Answers===
 
===Answers===
−
1. The development history of Huangmei opera was roughly divided into three stages: The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The second stage was from the Revolution of 1911 to 1949. The third stage is from 1949 to now.
 
−
2. Anqing, An hui Province.
 
−
3. Fairy Couple, Emperor's Female Son-in-Law; Yan Fengying, Han Zaifen.
 
  
−
==日语笔译 张白鹭 Zhang Bailu 202170081634==
+
==英语笔译 肖冬晴 Xiao Dongqing 202170081599==
−
<center>An Analysis of Chinese Translation of Modern Japanese Literature</center>
+
<center>'''On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating Cooperative Principle'''</center>
  
−
<center>Zhang Bailu</center>
+
<center>Xiao Dongqing</center>
  
 
===Abstract===
 
===Abstract===
−
There are great similarities between China and Japan in the history of modern development. Before the 100-day Reform and before the Meiji Restoration, Both China and Japan went through periods of isolation. Then they opened their doors under fire from western powers. In order to meet the challenge of the West, the two countries reformed their systems and launched enlightenment movements in ideology. In this process, there has always been a great deal of continuous translation of Western books. Translation activities provide a strong impetus for the modernization of China and Japan, and translation culture is an important part of the modern culture of the two countries, which provides us with the necessity of research. This paper takes the translation of Natsume Soseki, Ryunosuke Akutagawa and Yasunari Kawabata as the research object, and summarizes the main ideology of modern China reflected in their translation.From the research process, we can find out how the selection of translation objects and texts is influenced by the mainstream ideology.
+
As a common linguistic phenomenon, verbal humour is an important part of our daily communication. Grice’s cooperative principle is one of the major principle of pragmatics which is ubiquitous in people’s daily conversations. Therefore, it could provide a new perspective from which we analyse verbal humour. Chinese sketch comedy, also known as Chinese Xiaopin, is an art commonly performed by a group of comic actors or comedians presenting a series of short, amusing scenes called “sketches”. This thesis intends to work out the mechanisms of verbal humour in Chines sketch comedy from the perspective of violation of cooperative principle. It reveals in this special art form the violation of quantity maxim, quality maxim, relation maxim as well as the manner maxim in the process of analysing and proves that the violation of cooperative principle could avoid taking verbal humour at face value and arouse deeper thinking about this topic.
−
The translated texts mainly focus on the novels of the three writers, to understand the reasons for the changes in the content and attitude of translation studies in different periods in modern China, and to explain the reasons in detail in terms of ideology. Soseki Natsume and Ryunosuke Akutagawa were among those who changed their translation topics in modern Chinese translation studies of Japanese literature. This paper studies the translation and introduction of the two from the period before and after the May 4th Movement and the reform and opening up. Kawabata Yasunari is the first Japanese writer to win the Nobel Prize for Literature. The study of his translation and introduction is of great significance not only to translation studies, but also to the study and grasp of major Asian literary schools and ideologies.
+
 
 
===Key words===
 
===Key words===
−
Translation Activities;Japan;Ideology
+
Verbal humour; Chinese sketch comedy; cooperative principle
 +
 
 +
===Introduction===
 +
Humour plays an important role in people’s daily conversations. As a kind of lubricant of verbal communication, it creates an easy and comfortable environment, provides a happy and relaxing atmosphere and helps bring interlocutors closer. Researches and studies on this topic at home and abroad could date back to as early as the 4th century B.C. when the ancient Chinese poet Qu Yuan composed “There in front of me remains nothing but vastness and silence(眴兮杳杳，孔静幽默)” in his masterpiece ''The Nine Elegies'', meaning vastness.
 +
 
 +
However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping (2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Ting (2020), on the other hand, analysed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling (2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.
 +
 
 +
Abroad, researches on humour are multidisciplinary, involving anthropology, psychology, sociology, linguistics, semiotics and artificial intelligence which are ultimately centred on superiority theory, release theory and incongruity theory. For instance, Charles Gruner explained that wonder is an essential element of humour and that there is always a “winner” and a “loser” in humourous contexts. Freud the representative figure of release theory analysed the mechanism of humour from the perspective of psychoanalysis and divided jokes into intentional ones and unintentional ones(Cai Hui, Yin Xing, 2005:5). Kant was said to be the first to denote humour from the perspective of incongruity theory who pointed out that humour comes from a sudden twist from expectation and the inaccessibility of it(Cai Hui, Yin Xing, 2005:5).
  
−
===1 Introduction===
+
There are studies concentrating on the mechanism of humour in comedy. For example, Dang Fengxiao and Cheng Xiongyong(2021) studied on the humourous language in sketch comedy from the perspective of speech act theory while Wei Ya'e studied the sketch comedy presented by Mahua Funage using logic rules. Looking across the border, Adesoye Ronke Eunice (2018) investigated humour and how it is achieved using phonological processes. Parashar Poorva and Tewari Paul (2020) analysed the humour in The Lonely Island and tried to work out its essence as well as how absurdism and stupid comedy provides insight into millennial and internet psychology. Alex Clayton (2020) studied humour from the perspective of rhetoric through vivid, highly readable analyses of individual sketches.
−
The introduction of Natsume Soseki (1867-1916) was first introduced by Zhou Zuoren. In his article "The Development of Japan Fiction in the Past Thirty Years," he argued that Natsume Soseki advocated "low wandering taste" and "abundant literature." "The History of the Literary Revolution":"The novel of nature, where the novel must touch the life; Shu-Shih said that what is not touched is also fiction, as well as literature. And why is it so urgent? We can enjoy life slowly and calmly. " However, the translation of Natsume Soseki's novels is Lu Xun's earliest. Published in 1923,"modern Japan stories" chose two short stories of Soseki Natsume, one is "hanging picture," the second is "Mr Clay cob." The two novels have a strong tendency of prose. Although these two works are not important works of Natsume Soseki, but Lu Xun's translation, in the translation of works of Soseki, is groundbreaking. Natsume Soseki's fame, and all of his creation of the most outstanding novel, is Zhou Zuoren mentioned "we are a cat"(a translation of "I am a cat"). It is doubtful whether the work was published in an official translation in the 1920s. In 1936, Zhou Zuoren wrote an article, entitled "<I am a cat>," are reviewed in detail "I am a cat," and explains the difficult translation. The first anthology of Natsume Soseki's works translated and published in China is Natsume Soseki Collection selected by Zhang Kebiao. The book was published in 1932 by Shanghai Kaiming Bookstore. Adduction medium-length decimal "boys," short works "the Tower of London" and "the preface to the head of a dog than the tail of a Lion. Translation before ZhangKeBiao wrote "about Soseki Natsume" translation of the preface. This translation sequence introduces Natsume Soseki's life, thoughts and creation in detail. The introduction of these situations is mainly based on Natsume Soseki's early creation. The "Edo-citizen" character of Natsume Soseki is emphasized, and the creation ideas of "light and free taste,""margin" and "low wandering taste" are advocated.
 
−
Akutagawa Ryunosuke (1892 - 1927) was a representative figure of the New Intellectualism School, an important school in the history of modern Japan literature, and one of the several first-class writers in Modern Japanese Literature. In the ten years from the late 1920s to the 1930s, there were more than 20 China translations of Akutagawa Ryunosuke's novels (including a small amount of prose and essays), and seven translations were published, accounting for one fifth of Akutagawa's novels. It can be said that most of Akutagawa's good works have been translated and introduced. The earliest translation of Akutagawa Ryunosuke works is Lu Xun. In 1921, Lu Xun published the translation of "Nose," which is the first novel of Akutagawa translated in China and one of the most wonderful works of Akutagawa Ryunosuke. When LuXunYi out of his Dragon interface after two novels, until 1927, five or six years, no longer appear his Dragon interface works of translation. Akutagawa's suicide in 1927 had a great impact on the Japanese literary world, and the China literary world was also shaken, which became an opportunity for China to translate a large number of Akutagawa's works in the next few years.
 
−
Kawabata Yasunari (1899-1972) is a famous Japan writer, the winner of the Nobel Prize for Literature in 1968. Kawabata published as early as 1926 for the Izu dancer, began in 1935 published masterpiece "snow country." But before the 1980 s, Kawabata translation only Fan Quan in 1942 out of the "article"(Shanghai Fudan publishing house), it is a pity that the translation has been difficult to find, the total bibliography during the period of the Republic of China and so on also not description, translation of what title is unknown. In 1968, Kawabata won the Nobel Prize for Literature, fame at home and abroad in Japan. However, it was during the so-called "Great Proletarian Cultural Revolution" in China that it was impossible to respond properly to Kawabata Yasunari's award. Until the 1980s, Kawabata Yasunari's works were ignored by the literary translation circle in China. In the early 1980s, Kawabata Yasunari's translation became a hot topic in the translation of Japan literature in China. Old translator Han Shi girder and Ye Weiqu, Yue-Mei Tang first began to translate Kawabata's works. Later, new translators appeared for six consecutive years to study and translate Yasunari Kawabata's works such as Ancient Capital and Thousand Cranes, and they all had translations. By the 1990s, the "Japan literature craze" that had been in full swing in the 1980s had generally cooled down, but the translation and publication of Kawabata Yasunari's works remained in full swing.
 
  
−
===2 the Translation of Natsume Soseki===
+
From all the above, it’s clear that the studies on humour are basically centred around linguistics, literature and figures of speech while researches abroad are involved with more disciplines ranging from anthropology to AI. What’s worth mentioning is that although humour was first brought forward in China, researches on this topic went through a far longer history in the west which could date back to the ancient Greek times. Meanwhile, researches on verbal humour in Chinese sketches are rare. Therefore, it’s necessary to work further on this subject. This thesis will adopt the cooperative principle to analyse the relationship between verbal humour in Chinese sketches and the violation of the principle in which the theoretical basis of cooperative theory, its classification as well as the detailed analysis of its four kinds of violation in Chinese sketch comedy will be covered.
−
In the history of Japan literary translation in China, Natsume Soseki's works have always been valued. After the reform and opening up, Natsume Soseki's translation and introduction were translated and published in large quantities. Previously translated works, such as "I am a cat,""brother,""grass pillow" and so on, have appeared six new translations.
 
−
Liu Zhenying's translation of I Am a Cat is an elaborate work and a representative work in his life's translation literature. In addition, Liu Zhenying wrote a preface of more than 10,000 words for the translation, which shows that his understanding of I am a Cat and Natsume Soseki has changed compared with before. He no longer treats I am a Cat from the perspective of "critical realism," but focuses on the unique features of the work, discussing and analyzing the humorous, funny and humorous aesthetic features of I am a Cat; He also stated that he did not agree with Hu Xue's view that I Am a Cat was "a self-criticism of petty bourgeois intellectuals" in his essay "Natsume Soseki's Life, Times and His Satires," and that such a view did not understand the true meaning of humor and satire through the mouth of the intellectuals in his works.
 
−
1930-1960 S Natsume Soseki's translation, focused on "I am a cat,""a""grass pillow" and other early works; In the 1980s-1990s, the focus of the topic selection began to shift to the middle and late period, and a series of important works of Natsume Soseki in the middle and late period were translated and published successively. The most important of his works are his two long trilogies. The "pre-trilogy" Sanshiro (1908), Since Then (1909) and The Door (1910); The "post-trilogy": After the Vernal Equinox (1912), Pedestrians (1912), and Heart (1914). Natsume Soseki's first trilogy, centered on love and family, describes the inner longing, loss and anguish of petty bourgeois intellectuals. The former trilogy has changed a lot in style compared with the lively and witty early works such as I Am a Cat and Brother. Brush strokes on the inner world of the characters, the story of the work and narrative also played down. The "post-trilogy" further focuses on psychological description, and in a sense they can be regarded as a kind of psychological novel. The third part of the "post-trilogy" is "Heart." When hefinds out that his friend k is also in love with her, he proposes to her first. k committed suicide soon. "Sir" and miss married life is happy, but when he learned that k because of the friendship and love of despair and suicide, he has a deep sense of guilt. He analyzed his own egoistic behavior and psychology, realize oneself and his uncle is a kind of person, others property shudder, eventually committed suicide due to unbearable pain. From the perspective of morality and conscience, the author makes a penetrating analysis and criticism of human's egoism nature in line with the moral Creed of "putting heaven to private affairs." In his later works, Heart is the highest level of art, and some scholars even regard it as the representative work of all his works.
 
−
Concentrated published wash stone works in the middle and late, is the Hunan People's Publishing House and Shanghai Translation Publishing House. In 1982, 1983, Hunan People's Publishing House published de-Wen Chen translation of "three or four lang""from then on" singles; In 1984, Hunan People's Publishing House published the first and second volumes of Chen Dewen's translation of Selected Novels of Natsume Soseki, among which the first volume received the trilogy of "Sanshiro,""From then on,""Door" and so on. Shanghai Translation Publishing House in 1983, 1984 and 1985, has published the Japanese literary translator Shu-Wen Wu (born in 1943) translation of "three or four lang""later" and "door"; In 1988, the Shanghai Translation Publishing House combined the three works into a single book entitled "Love Trilogy," which was published as one of the "Japan Literature Series" of the publishing house. This is a high quality translation. Wu Shuwen's translation, language color, age, beautiful and smooth. Particularly commendable is in front of the translation, the crown has three having substance in speech of the preface. A is Wu Shuwen himself wrote the "first-generation sequence"
 
−
, The second article is written by Liu Zhenying from look on coldly to rebel, the third article is written by Lv Yuanming the anguish of the pressure. The three articles analyze and expound the meaning and connotation of Soseki's works from different angles, which not only help readers understand Natsume Soseki's works, but also add a strong academic atmosphere to this translation.
 
−
Natsume Soseki in his later years, there are two important works, namely the autobiographical novel "the grass." The title "The Way" contains the meaning of "waste time." "Light and shade" is the last work of wash stone, the author failed to finish the book died. The book also appeared in two versions, one is the channel of literature and art publishing house in 1985 Lin Huaiqiu, Liu Jieren translation of "bright and dark"; One is the 1987 Shanghai Translation Publishing House in ray translation of "light and shade."
 
−
In this way, most of the works of Natsume Soseki's life (especially novels) have been translated into Chinese. Only the novel "corn poppy grass"(1907) and so on a few important works, no translation for various reasons. ("The Chinese language" is used in the translation of the Chinese language, which is very difficult to translate.) The general readers in China can basically understand the broad and profound "Shushi Literature" systematically by means of the translation.
 
  
−
===3 the Translation of Akutagawa Ryunosuke===
+
===Cooperative Principle===
−
The earliest translation of Akutagawa Ryunosuke is Lu Xun's Nose. "Nose" is written by an ancient monk oversize long nose. Monk for his long a deformity of long nose and times by others laugh at, the heart is very painful, when he learned from China, finally put the nose short some time, but more explicit laughed at by others. Later, long nose back to the original state before treatment, the monk has the feeling of relief, thought: This time no one laugh at me again. This novel profoundly reveals the people designed to other people's misfortune for happy dark selfish psychology, reflects the people in the dilemma of the society. The full text is only more than four thousand words, written refined implicative, impeccable. Lu Xun at the same time in front of the translation attached titled "<nose> translator note" essay, I'm afraid that is China's first article introduces his Dragon interface. It is said that "The Japan are a very popular writer. Most of the themes used in his works are uneasiness after hope has been achieved, or feelings when uneasiness is being felt. " He added,"I am not satisfied with him about these two things. One is the multi-purpose old material, sometimes close to the translation of the story; Second, the atmosphere of the veteran is too strong, easy to make readers unhappy. " In the same year, Lu Xun and the "Rashomon" translation. Rashomon is a story about a servant who is fired by his master and has no other way to go, taking shelter under the gloomy and decadent Rashomon while considering whether to "starve to death or become a robber." She saw an old woman on the rostrum of Rashomon, in order to make a wig sold dead hair is pulled out. Servant think it is too ugly, come forward to stop. The old woman said,"If you don't do it, you will starve to death," which made him determined to become a robber. He kicked down the old woman, stripped the old woman's clothes, and roared off. This novel profoundly reveals the survival of the selfish instinct, people in the delicate decomposition between justice and crime. Although Lu Xun's attitude towards Akutagawa's "historical novels" is still appreciative, his "dissatisfaction" and criticism still exist. He believes that Akutagawa's novels are "too experienced," meaning that Akutagawa's novels are too philosophical and philosophical, giving people a profound and experienced sense of being a philosopher or transcending mortals. Lu Xun's novels is the purpose of enlightenment, is to transform China's backward national character, and not like his creation as a means to explore the true meaning of life, the pursuit of artistic life. For his type of abstract philosophy to explore, Lu Xun is clearly able to shrug off.
+
Conversational implicature as the core principle of pragmatics theory was first proposed by Oxford philosopher Herbert Paul Grice. Grice noticed that in daily conversations people do not say thing directly but tend to imply them. He believes that there is some regularity in conversation. “Our talk exchanges do not normally consist of a succession of disconnected remarks, and would not be rational if they did. They are characteristically, to some degree at least, cooperative efforts; and each participant recognizes in them, to some extent, a common purpose or set of purposes, or at least a mutually accepted direction.”(Herbert Paul Grice, 1975:45) In other words, we seem to follow some principle like the following: “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.”(ibid.) And this principle is known as COOPERATIVE PRINCIPLE, or CP for short.
−
After LuXunYi out of his two novels, until 1927, five or six years didn't appear again his Dragon interface works of translation. After Akutagawa committed suicide, it is wonderful that from 1927 to the early 1940s, when he committed suicide, it was the climax period of China translation and introduction of Akutagawa Ryunosuke's works. In July 1928, Shang Yihe edited the translation of "his Dragon interface stories" published by Beijing Mandarin society. This is the first collection of Akutagawa Ryunosuke's works published in China in the 1920s and 1930s. Translator Shang Yihe had studied in Japan, after returning to China in 1925 constantly translated Japanese literature. "Akutagawa Ryunosuke Collection of Stories" is also Tang Yihe's first translation. The translation of the selected works and "novel monthly" in the "Akutagawa Ryunosuke album" selected items are not repeated, some novels-such as "spider silk"--is quite distinctive masterpieces. "Spider silk"(and "spider silk") in full only two thousand words, based on Buddhist stories. The novel still shows people's absolute self-interest instinct, but also a strong fatalism.
 
−
The translation of Akutagawa Ryunosuke continued to be valued after the reform and opening up. The first published is the old translator LouShiYi translation of the Akutagawa Dragon interface novel eleven, published by Hunan People's Publishing House in 1980. The book received translation of the title has "rashiomon""hell change""in the death of the people""old plain light sound honour" Akiyama figure "" the Mang Bush "gratitude""Fu's chastity "" sixth Princess "" play Samadhi,"a total of 11 short works. These novels were translated by Lou Shiyi during the special historical period from April to June 1976. Lou Shiyi translated Akutagawa Ryunosuke's works in a special period when the political environment was very dangerous. He was surprised that also can be published. Lou Shiyi's translation of Akutagawa's works under this circumstance became the first translation of Akutagawa Ryunosuke published after the reform and opening up. Most of the works, except Rashomon and Akiyama, were not translated during the climax of Akutagawa's translation in the 1930s, and were first translated by Lou Shiyi. Among them,"the jungle" and "hell" belong to all the works of Akutagawa Ryunosuke the most representative works. LouShiYi hundreds of novels in his, choose such works, is a aesthetic vision.
 
−
Akutagawa Ryunosuke is one of the Japan writers who have the most readers in China. Due to his strong philosophical works, writing techniques, superb novel skills, it is not easy for ordinary readers to deeply understand. But in the literary accomplishment higher readers, his works are very popular. In the 1980s-1990s, many articles about Akutagawa Ryunosuke were published in academic journals. Some textbooks and monographs on Japan literature history and Oriental literature history included monographs or special sections to describe Akutagawa. However, compared with the studies of Natsume Soseki, Kawabata Yasunari and Mishima Yukio, the study of Akutagawa Ryunosuke in China is a little cold and cheerless, and there is no special biography or research works.
 
  
−
===4 the Translation of Kawabata===
+
To further specify the CP, Grice introduced four key categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several specific maxims and sub-maxims. In simple terms, quantity maxim is to be informative, quality maxim is to be truthful, relation maxim is to be relevant and manner maxim is to be clear. These describe specific rational principles observed by people who follow the cooperative principle in pursuit of effective communication. Therefore, applying the maxims is a way to explain the link between utterances and what is understood from them.
−
The translation of Kawabata Yasunari quickly became a hot spot in the translation of Japan literature in China in the early 1980s. 1985 was a bumper year for Kawabata Yasunari's translation. This year, a total of seven or eight Kawabata works translation, including Han Shi girder, Jin Fuyi, Shanghai Wenyi publishing house "ancient capital," Guo to shun, Shaanxi People's Publishing House "Thousand Cranes," Tang Yuemei translation, foreign literature Publishing house "dancer," Ye Weiqu translation, People's Literature Publishing House "Kawabata novels," etc.
 
−
As an active translator of Japan literature after the 1980s, Ye Weiqu made a positive contribution to the translation and dissemination of Kawabata Yasunari's literature in China. In the 1990s, he edited four series of Kawabata Yasunari's works.
 
−
Kawabata's works were translated and published continuously on a large scale and in a large density, which is unprecedented in the history of Japan literary translation in China in the 20th century. Kawabata life most of the works, have the Chinese translation. These translations promote the spread of Kawabata Yasunari among China readers and contribute to the prosperity of translated literature in China. At the same time, they also clearly show that the translation of Japan literature in China has entered the era of commercialization and marketization after the reform and opening up, especially after the 1990s. This in the translation of Kawabata works mainly as follows: Some books of the subject design of cross repetition, the same work many people translation, a variety of translation, the same kind of (article) translation is packaging, repeated published many times there are a lot of.
 
−
Kawabata Yasunari's persistent high fever in China is a cultural phenomenon worth studying. There are about three reasons:
 
−
First, the Nobel Prize for Literature and its winner's reverence and worship psychology, is quite popular in the readers and the literary world. The notion that a "Nobel Prize winner" is equal to a "world-class writer" is not fully substantiated in logic and fact, but is widespread in feeling and impression. As the second winner of the Nobel Prize in Literature in Asia, Kawabata Yasunari is more rare and valuable than many winners in Europe and America, which can arouse the recognition, attention and resonance of China readers at the level of "Oriental Literature."
 
−
Second, Kawabata Yasunari in contemporary Japan, is one of the biggest hot spots of literary studies, although different critics and researchers controversial, but on the whole is very high. There are a lot of articles, books and materials to study Kawabata Yasunari. This kind of situation cannot but affect the translation and introduction of Kawabata Yasunari in China.
 
−
Third, Kawabata's works, with strong Japanese national style, in the literature type, writing, meaning and so on various aspects has the specificity, is a great literary writing, literary research and literary criticism, rare text.
 
−
Due to the works of Sichuan side from the fine point of the pen, no Western literature classical literature and profound, so readers will not produce down to read the sublime feeling; And because of his work only write feeling and feeling, no absurd conception of Western modernism literature and philosophical speculation, and therefore does not feel deep to read. After reading it, only a little bit of "feeling" and emotional appeal are left. However, if you want to use logical, theoretical language to summarize and promote the "feeling" and emotional appeal, will feel very difficult. At this moment will realize that he did not read Kawabata. Kawabata Yasunari's works have a deep relationship with the traditional Japan literature and traditional aesthetic culture. His works are mostly through the description of love and sex between men and women, to show his Japan "human feelings," Japanese "feeling" and Japanese "beauty consciousness." In order to understand the Japanese "beauty" in Kawabata Yasunari from the perspective of Japan traditional culture and aesthetics, the China General readers must study and explain it by scholars and critics. And kawabata works mostly involved prostitute (e.g.,"snow country"), incest and incest consciousness (e.g.,"thousand cranes""mountain sound"), sexual perversion and sexual delusion (e.g.,"sleeping beauty""one arm"), such as the content of the hong DE, decadent, in sexual morality is strict in China to understand these things, is a culture of the diaphragm. How to look at these works, also insist on critics and researchers to guide the reader.
 
−
Kawabata Yasunari's translation and introduction also had a certain impact on the creation of Chinese writers. In contemporary Japan writers, Kawabata is probably only one of the most China writers attaches great importance to the people. Although Kawabata as an authentic Japan writer and difficult to imitate, but after all, he can give writers provide a possible reference. Even some writers because reading Kawabata and took to the road of writing.
 
  
−
===Conclusion===
+
Yet the use of terms such as “principle” and “maxims” does not mean that the CP and its maxims will be followed everywhere. Despite the wide use of CP in daily conversations, people would more often than not violate these principles in actual communication. When basic communication is interfered, it’s common for people to notice the violation of CP. As a result, the hearer has to make efforts to figure out the implicature so as to understand what the speaker means. Conversational implicature, in fact, is the direct cause of humour. Speaker only violates CP to achieve a sense of humour when the hearer manages to interpret the conversational implicatures under the surface and enjoys the pleasure brought by humour.
−
No matter which Japan writer is studied, translated and introduced, the final achievement belongs to translated literature. "Translation" is different from "foreign literature," then, further said,"foreign literature history" is different from the "translation of literature history."
+
 
−
All kinds of books and textbooks published in China, such as the history of foreign literature (such as the history of United Kingdom literature and the history of Japan literature), the history of regional literature (such as the history of oriental literature and the history of European literature), or the history of literature in general (such as the history of world literature and the history of foreign literature), are all based on the historical facts of foreign literature and the works of writers and writers. They use China to tell, but it is about the original, rather than translation. When we use Chinese to describe "other culture" and "other literature," this is itself a generalized "translation" phenomenon. And we use Chinese writing of foreign literature but ignored the translator and translation of this link, in an attempt to go beyond the translation and directly face the original. And the vast majority of readers of literary history and foreign literature, they can't also don't have to read the original, what they read, is the translation of literature. This is our various "foreign literature" encountered contradictions and embarrassment. In addition, over the past century, China's translation works, has accumulated tens of thousands of kinds. Translations account for more than a third of all published literary books. For such a large amount of cultural and literary wealth, now the general "foreign literature" works but not also can not put them into the scope of research and discussion. However, it is difficult for ordinary works on the history of China Literature to fully and comprehensively display the rich contents of translated literature. This means that translated literature is an independent branch of literary studies, and the history of translated literature should be one of the three major fields of literary history studies, which are juxtaposed with the history of foreign literature and the history of China Literature. The history of foreign literature, the history of China Literature and the history of translation literature constitute a complete knowledge system of literary history.
+
===Chinese Sketch Comedy===
−
The study of translated literature and its history in China is still weak. There are many reasons for this situation. There are political, cultural, and literary ideas. It is a common practice to regard "translated literature" as "foreign literature," which is the primary reason for restricting the study of translated literature and the history of translated literature.
+
Chinese sketch comedy first gained popularity after the Spring Festival Gala in 1984 when comedian Chen Peisi presented “eating noodles” on stage with his partner Zhu Shimao. Since then, this art form embodying acting and setting on stage sprung up like mushrooms across China and underwent refinement after years of development. Famous sketch comedians include Chen Peisi, Zhao Benshan, Fan Wei, Guo Da, Pan Changjiang, Song Dandan and so forth. The advent of the millennial witnessed the flourishing of this artistic form in which passionate performances of the younger generation, with Shen Teng, Ma Li, and Jia Ling taking the lead, engaged with great enthusiasm and produced a series of humourous yet educational works.
−
Secondly, an important issue in translating literature is the choice of translation. Generally speaking, the history of translation literature should first be the history of famous works. As for non-famous works and non-famous translations, they can be regarded as a general "phenomenon" in the history of translation literature. Generally speaking, the historical status of the translation is determined by three conditions. First, the original is famous masterpieces, this is a prerequisite to determine the status of translation. Second, the translator is famous. A translator is regarded as a famous translator, first of all, because of his accurate and reliable grasp of the topic of translation, and secondly, the reliability of the quality of translation. Third, among the famous translation, the first translation and particularly important. First translation, means to fill the blank, and fill the blank itself has its historical significance. Of course, this is not to say that the translation is not important. However, in the sense of filling in the blank, the second translation cannot replace the first translation.
+
 
−
To study the phenomenon of "translation" of Japanese literature in China, i.e. the so-called translation activities of Japanese literature, is to understand the history of communication between the Chinese and Japanese nationalities with complicated relations since ancient times, and the differences between nationalities can also be revealed from different literary works and ideologies. To grasp the ways of understanding and accepting different cultures by predecessors, to promote communication between nationalities, and to provide a new vision for the future development of China and Japan.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 13:08, 22 June 2022 (UTC)
+
'''3.1 Historical origin'''
 +
 
 +
Chinese Sketch comedy got its name from art schools and performing groups. In the performing art community, the single or group performance which creates a simple scene through body and language is dubbed as “sketch comedy”, an event originally adopted to examine the basics of students of performing arts when teachers threw a topic during an interview and students were required to respond to that on the spot.
 +
 
 +
As a form of performance about small things in people's daily lives, Chinese sketch comedy has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, errenzhuan and comic drama and is generally believed to originate in the 1980s. Normally, sketch comedy revolves around just one topic, but with a lot of action and lively language. With the help of the promotion by the annual Spring Festival Gala, Chinese sketch comedy became a very popular artistic form in China. The first sketch comedy in China was“eating noodles” (in 1984) which was performed by Chen Peisi. Classic Chinese sketch comedy includes “Blind Date” performed by Zhao Benshan and Huang Xiaojuan in 1989, “The Adventures of Migrant Worker” led by Gong Hanlin and Zhao Lirong in 1996 and “Selling Crutches” by Zhao Benshan and Fan Wei in 2001, etc. Famous comedy groups in operation are DEYUNSHE initiated by Guo Degang, Mahua FunAge best known for its member Shen Teng, Big Bowl Entertainment led by Jia Ling, Zhao Benshan and his students, and Shanghai Xiaoguo Culture started by Li Dan, in which Mahua FunAge, Big Bowl Entertainment and Xiaoguo are still active on screen taking up sketch comedy, the Zhao’s team play “partially” for its fans in China’s northeast and DEYUNSHE mainly focus on passing on crosstalk to the next generation for the audience.
 +
 
 +
'''3.2 Features of Chinese Sketch Comedy'''
 +
 
 +
Chinese sketch comedy is sharp and witty, with simple plots, which represents as the most fundamental character that distinguish itself from other forms of art and performance. It may not be as sophisticated as other stage performances such as drama and opera, but it is able to render to its audience wisdom and thought-provoking perceptions based on its witty dialogue wrapped up in humour.
 +
 
 +
Chinese sketch comedy is also an art form that is highly narrative. As many of the topics are directly taken from the life of the people living in the grassroot, it appeals to all ages and entertains people from all works of life. Stories are the fundamental part of sketch comedies which are presented by the characters and the development of the plot interwoven with hookers of suspense, surprise and sudden changes.
 +
 
 +
Laughter is what sketch comedy aims to achieve ultimately. As the embodiment of stage play, xiangsheng, errenzhuan and comic drama, the modern sketch comedy manages to give the strengths of the artistic forms into full play with the help of modern technology, throwing humourous verbal “packages” consecutively and smoothly to the audience in the hope of eliciting ecstasy from them.
 +
 
 +
After giving a brief explanation of the theoretical basis and development of Chinese sketch comedy, the following chapter is to elaborate and exemplify the mechanism of humour in specific cases from the perspective of violation of CP in its four key categories, namely the violation of quantity maxim, quality maxim, relation maxim and manner maxim.
 +
 
 +
'''3.3 Classifications of Chinese Sketch Comedy'''
 +
 
 +
Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.
 +
 
 +
===An Overview of Cooperative Principle Violation in Chinese Sketch Comedy===
 +
As the kind of sketch comedy presented on stage are plenty, the cases this thesis is to select and analyse are mainly to taken from the ones presented by Mahua FunAge and Big Bowl Entertainment. Here is the detailed analysis of the comic dialogues:
  
−
===References===
+
'''4.1 Verbal Humour Resulted from Violation of Quantity Maxim'''
−
[1] 王向远.日本文学汉译史[M].北京:九州出版社,2021
 
−
[2] 陈德华. 《我是猫》两个中译本的翻译策略研究[D].广东外语外贸大学,2019.
 
−
[3] 闵嘉文. 语境视角下的川端康成作品的汉译研究[D].沈阳师范大学,2016.
 
−
[4] 李西平. 芥川龙之介作品在中国的翻译和名家翻译版本的整理与比较[D].西安外国语大学,2013.
 
−
[5] 南屏秀. 中国川端康成研究史—以比较文学角度为中心[D].西安外国语大学,2013.
 
−
[6] 张静. 二十世纪初期中国的日本文学翻译研究[D].沈阳师范大学,2013.
 
−
[7] 刘春英. 中国的芥川龙之介翻译史[J].日本学论坛,2003,(02):2-5.
 
−
[8] 高艺菲. 夏目漱石名篇《草枕》在中国的传播[J]. 北方传媒研究,2017,(02):71-75.
 
−
[9] 张卿. 夏目漱石小说在近代中国的译介研究[J]. 芒种,2017,(02):13-15.
 
−
[10] 李国磊. 论日本文学翻译中的文体性别——以《罗生门》三译本为例[J]. 山东农业工程学院学报,2016,33(11):128-132.
 
  
−
==朝鲜语笔译 刘安莉 Liu Anli 202170081635==
+
Quantity maxim requires that the contribution is as informative as required. In other words, the contribution should not be more informative than is required. However, this maxim is often violated in daily conversation when too much or incomplete contributions are made, which is especially common and humourous when it comes to sketch comedy jokes. For example:
−
<center>'''China's Network literature IP'''</center>
 
  
−
<center>Liu Anli</center>
+
Hao Jian: Oh my god! Are you feeling alright? Where did you hurt?
  
−
===Introduction===
+
The old lady (lying on the road groaning): Oh, my elbow! Oh, my kneecaps! And my waist! None of them are painful!
  
−
Network literature refers to the newly produced literary works, quasi - literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.Among them, the network original works mainly.Network literature is produced with the popularization of the Internet.IP is the abbreviation of "Intellectual Property" in English, meaning "intellectual property" in Chinese.In today's people often say that "IP adaptation,""literature IP" in the "IP" has already exceeded the original meaning of the word. In recent years, the rise of a new word "network literature IP," the meaning of the summary is the network of popular literary works through adaptation, processing, and ultimately into a series of TV series, movies, online drama, stage drama and other derivative products. In short, the most talked about "network literature IP" form is the mutual conversion between literature and film and television. In recent years, The popularity of a large number of online literature IP drama adaptations has made the public pay special attention to online literature IP dramas. Due to the high topic degree, attention degree and large audience, commercial capital has also begun to pay attention to the adaptation market of "Network literature IP."
+
The example above is taken from “To Help or not to Help”(《扶不扶》) in the Spring Festival Gala in 2014. In the opening part of the comedy, Hao the biker was intended to get his broken bike repaired after a car accident. On the way to the repair shop, an old lady with memory problems accidentally slipped on the ice and fell at the back of his bicycle, mistaking him to be the one who knocked her down. In this dialogue, the old lady was expected to answer where was painful. However, she adopted a funny “elimination” method carrying a bunch of irrelevant body parts as her reply. By creating a surprise contrary to what most of the audience would tend to presume, conversations of this kind produce a comic effect by violating quantity maxim.
  
−
===Internet literature IP popularity===
+
Here is another case taken from “Making Friends”(《投其所好》) played in 2015:
−
By the end of December 2021, the total number of online literature users in China has reached 502 million, an increase of 41.45 million compared with the same period last year, accounting for 48.6% of the total number of Internet users, and the number of readers has reached the highest level in history. According to the Assessment Report on the Adaptation Potential of Network Literature IP Film and Television Drama in 2019-2020（《2019—2020年度网络文学IP影视剧改编潜力评估报告》） released in February 2021, the total output value of downstream cultural industry driven by online literature IP in the first two years accumulatively exceeds CNY 1 trillion. As an important way of industrialization of network literature, film and television drama is the most intuitive form of shaping China image and telling Chinese stories. "In 2021, network literature provides more high-quality and rich content and innovative and diversified forms for film and television drama creation, and gives birth to several head dramas and phenomenon-level hits, becoming the protagonist of film and television drama adaptation. "According to Douban's（豆瓣） Baidu（百度） index ranking of 2021 series, the TOP 20 list includes 12 works adapted from online novels, such as "My Heroic Husband （赘婿）,""SWORD SNOW STRIDE （雪中悍刀行）,""Shangyang Fu（上阳赋）,""You Are My Glory（你是我的荣耀）" and "RATTAN （司藤）," covering comedy, fantasy, history, metropolis and other subject areas. In the maoyan（猫眼） research institute to this year's drama market observation data, Net article IP change screenwriter in the hot list TOP 10 occupies 8 seats, Big production drama as high as 80% of the proportion reflects the net article in the content development potential. Adapted from the novel of the same name network drama "My Heroic Husband "（赘婿） Feature film effective broadcast up to 4.849 billion; Adapted from the novel of the same name, "Soul land"（斗罗大陆）has been broadcast more than 4.3 billion times by the end of the game, ranking No.1 in the bone flower popularity list for 27 consecutive days.
 
−
Network literature has not only made remarkable achievements in film and television adaptation, but also provided users with an "amplification effect" of IP content through all-round and all-link operations such as animation, audio, short drama, offline travel and derivatives. The linkage of different art forms has contributed to the breaking of the circle of multi-form output of network literature. Among the 114 new animation dramas for teenagers launched throughout the year, There are 72 IP adaptation works. According to the " 2020- 2021 China Online Audio Industry Research Report" of Ai Media Consulting（艾媒咨询的《2020—2021年中国在线音频行业研究报告》）, 86.2% of users prefer to listen to IP audio content when the audio column types are close to each other. Take the IP adaptation audio works of Yuewen Group（阅文集团） in 2021 as an example, not only the themes of the works are diversified, covering fantasy, suspense, romance, science fiction, immortal chivalrous, games, cities, history, light novels and other categories, but also the number of clicks in the whole year reached 12 billions.
 
  
−
===The Background of IP Adaptation of Network Literature===
+
Official: Is it true that you loved playing ping-pong in your spare time at your department?
−
There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.
 
−
First of all, the emergence and prosperity of the Internet, so that people's way of life has undergone tremendous changes, but also greatly promoted the development of network literature. The development of network technology has enriched the channels and ways for people to obtain information and entertainment. More and more literary creators choose to share their works and create by using the network platform. People pay more and more attention to network literature, and the creation of network literature is more and more open, free and vigorous. At the same time, the film, TV series and other industries keep up with the pace of the times, reform the production mode, for the network literature IP adaptation provides a good opportunity.
 
−
Secondly, the network literature works spread fast, spread wide range, convenient and interesting, deeply loved by the majority of network users. According to the popularity of network literature and network literature IP discussed above, we can feel the great demand for network literature works and IP adaptation works of network literature.
 
−
In addition, compared with the original script, the adaptation cost of network literature works is lower, with fans, in the selection of works, adaptation, topic effect and a series of processes, each link will bring huge attention, can bring considerable economic benefits to the works and film and television industry. The advantages of these interests also drive the development of network literature and network literature IP adaptation.
 
  
−
===Characteristics of IP Adaptation of Network Literature===
+
Hao Jian(interrupts): I apologise. It was me being too playful. I now see that I was wrong and I swear that I’ll never play ping-pong again! If I were to commit it again, I would have my hands cut……
−
rich in subject matter types
 
−
The network literature develops rapidly, the creator base is big, the work type is rich, contains the ancient and modern, Chinese and foreign. The film and television works adapted from network literature include costume dramas, such as Empresses in the Palace（甄嬛传）, Ruyi's Royal Love in the Palace （如懿传）, Shangyang Fu（上阳赋）, etc., modern dramas such as You Are My Glory（你是我的荣耀）, The King's Avatar （全职高手）, RESET （开端）, etc., non-realistic themes such as Love and Redemption （琉璃）, Fights Break Sphere （斗破苍穹）, RATTAN（司藤）, etc. These works include various styles, which can meet the needs of audiences of all ages and different hobbies. In the development of film and television industry, the traditional original script and old-fashioned plot have been difficult to attract the audience's attention, while the bizarre and novel network learning provides a variety of choices, so a large number of different types of network literature works have been adapted into film and television works, or good response.
 
−
Stable audience
 
−
Now people's living standards generally improve, in the pursuit of material life, the spiritual world also has a certain pursuit. A good literary work is loved by readers because of its ups and downs of plot and distinct personality of characters, which meets people's spiritual needs. With the rapid development of Internet technology and the increasing popularity of mobile devices, more and more people are reading through mobile phones. Network novel because of small, convenient, cheap, can be anywhere at any time in the mobile phone to watch and other characteristics and widely liked by netizens. For example, novels such as Empresses in the Palace（甄嬛传）, The King's Avatar （全职高手）, The Journey of Flower（花千骨）, and Treading On Thin Ice（步步惊心） are all works of great concern on the Internet. The development of online literature has gradually flourished, and the reading volume of online novels has become higher and higher, resulting in a fixed fan base. To adapt to film and television, it is inevitable to find actors to play. These star actors also have a fixed fan base, which provides guarantee for the audience rating. Some well-known stars often have 70 - 80 million fans. A random Weibo post had hundreds of thousands of reposts, and the fan effect they generated was very large. The higher the attention, the higher the value.
 
  
−
===Problems in IP Adaptation of Network Literature===
+
This satirical sketch comedy focused on the social phenomenon of “making friends” through bribery in order to get things done. In the part mentioned, what the official intended to do was to persuade Hao to practise more and try to be proficient in table tennis so as to flatter the new boss. However, Hao misunderstood the official. Instead of giving a “yes” or “no” to the question, he added up many remarks and even made an oath. It was the violation of quantity maxim in his clumsiness that made this part of acting hilarious.
−
Copyright disputes and plagiarism disputes
 
  
−
The IP film and television adaptation of network literature is the use of literary works by film and television producers, which may lead to disputes. Copyright involves the authorization, adaptation, sale and consumption of literary works. The consideration of copyright is an important reason for many film and television adaptations. In 2019,"Better Days "(少年的你）once appeared at the forefront of public opinion because of plagiarism, and in December 2020, Jing M.Guo's "The Yin-Yang Master: Dream Of Eternity "（郭敬明的《晴雅集》）plagiarism incident was boisterous, even caused more than 100 film and television people's boycott. Network literature review threshold is low, and the IP adaptation fever has made some people more profit-seeking psychology, in the process of creation or adaptation only ratings theory, only flow theory, thus falling into copyright disputes or plagiarism disputes. The copyright transaction is chaotic and the definition of copyright is vague, which will affect the word-of-mouth and dissemination of works, thus bringing resistance to the adaptation of network literature IP film and television.
+
'''4.2 Verbal Humour Resulted from Violation of Quality Maxim'''
  
−
Severe cuts, poor plot coherence
+
Quality maxim requires the interlocutors to be sincere and talk about true things. It has two sub-maxims, namely “do not say what you believe is false” and “do not say that for which you lack adequate evidence.” But in real life, this maxim is also often violated by people who tries not to hurt other people’s feelings or who with special intensions. Here is an example from “The Real and Fake Teacher”(《真假老师》) made its debut on the stage of the Spring Festival Gala in 2018:
  
−
The profit channel of online literature is mainly its serial presentation and fan reward. In order to obtain greater economic benefits, the number of words in a work often reaches millions or even tens of millions. In terms of film and television drama policy, in 2019, the State Administration of Radio and Television stipulated: The shooting and production of TV dramas and online dramas shall not exceed 40 episodes, and the creation of short dramas within 30 episodes shall be encouraged. Under this policy, "NOVOLAND:EAGLE FLAG （九州缥缈录）,""They Are Flying（飞行少年）" and other TV series urgently changed the number of episodes, the film and television industry ushered in a big change. It is not advisable to delay the plot and inject water into the content, but the IP screenwriter of network literature will be separated from the original work, and serious deletion will also lead to problems such as incoherent plot and plot loopholes. How to balance the quality and integrity of the network literature IP film and television adaptation is a big problem. At present, the common practice of film and television investment institutions to choose network literature is click rate and ranking list, and the top 10 network literature in click rate is almost a novel, narrative rhythm is slow, involving many characters. To select the essence of the original work within the limited number of episodes is a big test for the ability of the screenwriter and director, which is also the main reason why it is difficult to realize the film and television adaptation of the network novel "Stellar Transformations（星辰变）."
+
Teacher: Nice to meet you, Madam, I’m Xiaoming’s head teacher, Ms Jia.
  
−
blindly follow the trend, the emergence of mechanical reproduction of the era of works of art
+
Cleaner: You too! I’m Xiaoming’s mother, Jia (the surname ‘Jia’ and fake are homophones in Chinese. Here the cleaner accidentally blurted it out).
  
−
Under the background of pan-entertainment era, the charm of literature withers, and the artistry appears vulnerable to the commercial challenge. Literature and film and television belong to the same category of art and should have literary and aesthetic value. The paid reading of network literature leads to excessive commercialization of the subject matter and content of online literature, blindly catering to the market, and light weight. The absence of literariness has laid hidden dangers for the sustainable development of IP film and television adaptation of network literature. Although network literature is an important way for mass entertainment, However, if the market still blindly follow the wind, excessive entertainment as the direction of literary creation and film and television adaptation, the IP film and television adaptation of network literature will stagnate after a short prosperity, and finally perish.
+
Teacher: Excuse me?
  
−
===IP adaptation strategy of network literature===
+
Cleaner: I mean, my family name’s also Jia.
−
enhance copyright awareness
 
  
−
Since 2016, the state has promulgated a series of copyright protection schemes to prohibit infringement and plagiarism, and the quality of the people has also increased accordingly. Payment schemes have also reduced the occurrence of plagiarism and piracy. For some relatively mature network literature works, can carry on the appropriate adaptation, should be reasonable, accord with the fact logic, rather than blindly pursue the topic, the explosion point, create some completely illogical plot, lead to the film and television drama quality is low, the quantity is reduced, the type homogeneity.
+
Teacher: But I remember Xiaoming’s parent is called Wang Guixiang(apparently a girl’s name)…
−
It is a win-win process to adapt network literature into film and television works, which can not only promote the development of network literature, but also make the film and television industry flourish. While pursuing their own interests, the producers of film and television dramas should respect the law and the intellectual property rights of the original works, and realize mutual benefit and win-win results within the legal scope. We should not only resolutely crack down on infringement, but also enhance people's awareness of safeguarding their rights. Individuals should also strengthen their legal awareness in their lives, fight bravely in the face of infringement and learn to safeguard their rights. With the joint efforts of the state, society and individuals, the network literature industry will certainly have a more healthy and green development, and the film and television industry will also receive more attention.
 
  
−
for high-quality production
+
Cleaner: And that’s his father.
  
−
Although literature and film and television belong to two different artistic categories, exquisite content is the common magic weapon for both to win. Only by understanding the characteristics of content creation and narrative structure of both, and developing a set of interactive production mode through integration and reconstruction, can we lay a solid foundation for the successful combination of the two. One is the conversion of IP content from text to image. First of all, the film and television adaptation should be logical, and the adaptors should choose and reconstruct the literary works properly. Secondly, the plot of the picture should be reasonably exaggerated. Especially in the film and television adaptation of fantasy and ghost themes, we should appropriately enlarge the characteristics of characters, so as to make the original characters more plump and fit their identities. Thirdly, we should improve the professionalism of production, expand the audience scope on the basis of stabilizing the original fans, and meet the double expectations of literature and film and television audiences. The second is the reconstruction of space-time narrative in film and television adaptation. In time, film and television can be through the lens, elements, the picture mosaic so that people have emotional resonance. In space, the network novel to text symbols as the main carrier of construction environment background, and television writers can use sound and picture language so that the audience intuitive perception, but also can be a novel space for replacement, displacement.
+
Teacher: Zhang Xiaoming actually had a father named Wang Guixiang?
  
−
Focus on value delivery
+
Cleaner: You see, we are from a quite complicated family…
  
−
The Internet is a free creation, highly virtual space, so inevitably there will be some vulgar and violent content. TV producers adapted network literature is the most critical step in the choice of the content of the work and the theme of sublimation. Adapting network literature works into mainstream values of the film and television works, not only can successfully pass the review, more important is to rectify the excessive pursuit of online readers 'preferences, modular writing caused by commercial drawbacks, For example, in the process of adapting THE Longest Day In Chang An（长安十二时辰） into a film and television play, on the one hand, it recognizes the spirit of women's inspiration, focusing on the description of Tan Qi（檀棋）'s independence and rational love; On the other hand is the respect for traditional culture, the play's clothing, props, architecture, etiquette, customs and so on are the screenwriter read a large number of books, rigorous and sophisticated results. The play's strong sense of national responsibility and the spirit of family and country is also advocated by today's society to carry forward the mainstream values, greatly enhanced people's cultural consciousness and confidence. Network literature film adaptation in the dissemination process should also make full use of the dissemination platform. Network novel dissemination platform is the novel website, The communication platform of film and television drama is television and cinema. Under the background of media convergence, the adaptation of network literature IP can try new paths, such as inserting film and television pictures and videos into literary works; In the process of film and television play broadcast to provide original novel links; In the chatter, fast hand and other new media broadcast wonderful clips, call on the audience to participate in the creation of film and television drama, decide the trend of the plot by themselves, etc. In a word, the network literature IP film and television adaptation has become the new trend of the times, in order to make this new phenomenon have sustainable vitality, we must grasp the profound connotation of the theme, give play to the value guiding role of the film and television drama.
+
In China, it is a tradition to name the child after the surname of one of the parents, normally that of the father. In this example, the cleaner tried to make a cover-up for her accident alleging the girlish name Wang Guixiang(meaning the fragrance of sweet-scented osmanthus) which has nothing to do with Xiaoming’s last name, belongs to the boy’s father. By stating consciously something fake one after another, the cleaner created a sense of humour.
  
−
===Conclusion===
+
Here is another example violating quality maxim from “Happiness of Today”(《今天的幸福》):
−
The popularity of film and television adaptation of network literature IP shows that the IP industry chain on the market is becoming more and more mature. With strong content advantage and huge market capacity, network literature has become an important engine of cultural industry. Network literature and film and television, animation, games, audio books, derivatives development and other fields of extensive linkage, the formation of the whole cultural industry chain, creating considerable economic benefits. In addition, the network literature plays an increasingly important role in the overseas dissemination of China culture. In recent years, there have been numerous overseas "fans" of China online literature, and the "sea fever" of Chinese online literature has become a global cultural phenomenon. In just a few years, the overseas dissemination mode of China online literature has been continuously upgraded, completing the evolution from content to mode, from region to world, from output to linkage, and taking solid and powerful steps in disseminating Chinese culture, displaying China's image and promoting mutual learning among civilizations. The film's main feature is "strong storytelling, strong character creation, and strong camera sense." "The hardcore of online fiction is telling a good story. Network literature stories should not only have waves, ups and downs, soul-stirring conflicts and open-minded bridges, but also have certain scarcity and strong identification. In addition, the shell of the story plot must be able to connect with the current social reality and the public psychology, and generate empathy with more audiences before it can become the head IP. "
 
−
With a good story and a good text, we still need to go through the two barriers of adaptation and production. To adapt the network literary works into film and television, we should fully respect the original works, and can't be quite different from the original works in terms of story plot and characterization. At the same time, we should conform to the development and changes of the times, add new popular elements to make the stories and characters more full. Network literature, film and television production should have a sense of quality and the spirit of the craftsman, presenting excellent script, well-made, excellent interpretation, the value of positive excellent works. In the shooting process, to the actor selection and clothing, makeup, props on the heart, but also pay attention to the network literature behind the values and reality fit. Network literature film and television production to coordinate the interests of all parties. In the network literature IP film and television drama adaptation tide, the emergence of a lot of market and public praise double recognition of high-quality works, but there are also plagiarism imitation, shoddy, follow the wind pile up and other phenomena. To this, on the one hand for piracy and infringement of the crackdown can not relax, to pass legislation and other measures, in the identification of infringement, punishment and compensation and other aspects of efforts; On the other hand, it is necessary for all parties in the IP industry chain to "cherish their own feathers," take the creation of high-quality content as the initial intention, coordinate the interests of creators, platforms, investors, producers and other parties, gradually improve the operation and supervision system, and create a healthy environment for the sustainable development of the industry chain.
 
  
−
===References===
+
Wife: Tell me a little bit about your father please, baby.
−
Zhu Kaige朱凯歌,Xu Lu吕璐.论网络文学IP改编的现状与发展[On the Current Situation and Development of IP Adaptation of Network Literature][J].2020（10）:167-168.
 
  
−
Mao Tengfei毛腾飞.解读网络文学IP改编的成功之道[Analysis the Successful Way of IP Adaptation of Network Literature][J].新闻研究导刊，2016（10）:295.
+
Hao Jian: My dad is a huge success in the future! You know what, he even gets his name on the ''Fordes'' list!
  
−
Mu Xiangxiang母翔翔.IP改编电影发展现状及反思[The Development Status and Reflection of IP Adapted Films][J].电视指南，2018（13）:52.
+
Husband (poking Hao, whispering): It’s Forbes!
  
−
Li Zijia李子佳.热播网络文学改编剧改编策略研究[Research on the Strategy of Adapting Popular Network Literature to Screenplay][J].四川戏剧，2020（6）:130-133
+
Hao Jian: Oh, right! Forbes made it later, too. Yet he still can’t hold a handle to my dad…
  
−
Jiang He江河.网络文学影视改编的发展及应对[The Development and Countermeasures of the Adaptation of Network Literature and Film][J].新闻传播，2020（20）:90-91
+
"Happiness of Today" was a sketch comedy inspired by the time-travelling drama and TV series such as “Palace”(《宫》) and “Treading on Thin Ice”(《步步惊心》). In this scene, Hao Jian was asked to play the son of the wife of his friend who travelled all along from the future back to the present to reassure the “mother” who’s in labour and mitigate her prenatal syndrome. In this example, Hao Jian was making up something that was clearly not true to humour his pregnant “mother”. What made this dialogue even more funny was his lack of knowledge about the “Forbes list” and the clumsy cover-up he made after correct hints from his partner.
  
−
===Terms and expressions===
+
'''4.3 Verbal Humour Resulted from Violation of Relation Maxim'''
−
network literature网络文学
 
  
−
IP adaptation IP改编
+
Relation maxim is not only one of the most important maxims of the pragmatics theory, but also a protocol with which should be complied by all. It requires speakers to talk about things which are relevant to the topics. Violation of this maxim could bring about humour as well. The following examples are also taken from the sketch comedy “The Real and Fake Teacher”:
  
−
copyright protection 版权保护
+
Xiaoming: You see, I am a high school student. Recently I have made some mistakes at school and my teacher is about to conduct a home visit. But the thing is, my parents are currently working abroad and I’m afraid my teacher be here at any minute, so I was wondering if you could, er, wow, that’s a little embarrassing…
  
−
mainstream values 主流价值观
+
Cleaner: Oh, I see. When will she arrive?
  
−
My Heroic Husband 赘婿
+
Xiaoming: She’ll be here at 10:00.
  
−
SWORD SNOW STRIDE 雪中悍刀行
+
Cleaner: I’ll finish my job at 9:50 sharp.
  
−
Shangyang Fu 上阳赋
+
In this example, what the student meant was to ask the cleaner to pretend as his mother so that there would be a parent present for the coming home visit. However, the cleaner misunderstood him and gave an irrelevant reply to the request. In this way, humour was generated.
  
−
You Are My Glory 你是我的荣耀
+
Here is another example taken from this episode concerning the violation of relation maxim:
  
−
RATTAN 司藤
+
Teacher: You see, school education won’t do without the help of family education. After all, family is the place where goodness starts. These are the words of the famous educator Sukhomlynsky. I’m sure you must know about him, don’t you?
  
−
Soul land 斗罗大陆
+
Cleaner: Eat… eat an apple, please.
  
−
Yuewen Group 阅文集团
+
In this case, the teacher quoted a motto from Sukhomlynsky, an influential educator from the Soviet Union to remind the “mother” the important role family and family education plays in a child’s development. However, the cleaner obviously had no idea of the educator and didn’t know how to respond. To avoid awkwardness and break the silence, she had only to hand the teacher an apple and divert her attention. In doing so, laughter was elicited from her irrelevant behaviour.
  
−
Empresses in the Palace 甄嬛传
+
'''4.4 Verbal Humour Resulted from Violation of Manner Maxim'''
  
−
Ruyi's Royal Love in the Palace  如懿传
+
Unlike the three maxims above which focus on the contents conveyed in the process of talking, manner maxim mainly concentrates on the way how things are expressed. Its sub-maxims include to avoid obscurity of expression, to avoid ambiguity, to be brief and to be orderly. But this maxim is often violated in real life, too. Below is an example taken form the comedy “Happiness of Today” (《今天的幸福》) presented in the Spring Festival Gala in 2012:
  
−
The King's Avatar 全职高手
+
Wife: My dear, what do you do then?
  
−
RESET 开端
+
Hao Jian: (to the husband, whispering) Ah? Daddy, I don’t think we talked about this before …
  
−
Love and Redemption 琉璃
+
Husband: Never mind. Just make up one! As if your mother were a master of the names of jobs.
  
−
Fights Break Sphere 斗破苍穹
+
Hao Jian: I scrub (the husband poking him)…wash…bathe…I study the epidermis of human beings!
  
−
The Journey of Flower 花千骨
+
Wife: Oh, you are a doctor then!
  
−
Treading On Thin Ice 步步惊心
+
Hao Jian: You see, I specialise on ''dirt-ology''.
  
−
Better Days 少年的你
+
In this comedy, Hao was actually a bather whose main job was to help scrub and wash the dirt off the customers in a public bathhouse. When his “mother” asked him about his job, he described it in an obscure way and even coined a term to sound more professional. His words apparently violated the manner maxim, yet it is the obscurity that made the dialogue funny.
−
The Yin-Yang Master: Dream Of Eternity 晴雅集
 
  
−
NOVOLAND:EAGLE FLAG 九州缥缈录
+
The second example in this section is another one taken from “The Real and Fake Teacher” about job inquiry:
  
−
They Are Flying 飞行少年
+
Xiaoming’s father: What on earth do you do, Miss?
  
−
Stellar Transformations 星辰变
+
Teacher: Well, I can tell you with great proud that I am a gardener!
  
−
THE Longest Day In Chang An 长安十二时辰
+
Xiaoming’s father: Gardener? Then why don’t you water the flowers outside right away?
  
−
===Questions===
+
The mechanism of humour in this example works a little bit differently from the one mentioned in the first place. Instead of using some obscure term to explain what she does, the real teacher Ms Jia selected the word “gardener” with dual meanings to make a self-introduction. Apparently, the package proved to be a success regarding Xiaoming’s father’s misunderstanding.
−
1.What is network literature?
 
  
−
2.Please summarize the background of the IP change in network literature.
+
Here is another example taken from Jia Ling’s autobiographical sketch comedy “Hi, mom!” (《你好，李焕英》)debuted on the stage of “Comedy General Mobilisation”(《喜剧总动员》) in 2016. “Hi, mom!” was a play in which the heroine Jia Ling travelled through space and time to the 1980s to spend some time with her mother who had passed away in a car accident in the 21st century. In the prologue where the two heroines made their first appearance, here comes their dialogue:
  
−
3.What are the characteristics of IP adaptation of network literature？
+
Li Huangying: Come on, go inside and stay a while with your grandma!
  
−
===Answers===
+
Jia Ling: I can’t!
−
1. Network literature refers to the newly produced literary works, quasi-literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.
 
  
−
2. There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.
+
Li Huanying: What do you mean you can’t? She loves you a lot! How could you say such hurtful things?
  
−
3. Rich in subject matter types ;Stable audience.
+
Jia Ling: Because she can’t stop sewing my ripped trousers!
  
−
==朝鲜语笔译 王思佳 Wang Sijia 202170081636==
+
In the example above, Jia used ambiguity in her reply to her mother’s question. It was not until the viewers watch further that they found out why the granddaughter would be so reluctant when it comes to her grandma’s sewing trousers, an act that was supposed to seem loving and caring----it was about the contradiction in aesthetic taste between generations. In this way, Humour comes along with the explanation.
  
−
===Introduction===
 
−
Nanyue longevity culture culture is a wonderful flower growing on the land of Nanyue. It is the epitome and representative of Chinese longevity culture, and also a beautiful scenery line famous at home and abroad. In the ancients 'view, Nanyue was not a mountain, but a god, which decided the life span of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Nanyue is regarded as secular Shoushan. Everyone has a good desire to pursue happiness, health and longevity. In ancient , the important way form people to express their desire was to worship Nan Yue,the Longevity Mountain which was called "Jugaku" ,and it was the result of the convergence and integration of different pursuits and ideals of ancient people. The folk custom of Nanyue longevity is formed and developed in the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebrates longevity, praying for longevity and congratulating life as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, etc., forming a unique and colorful folk custom. This folk custom has been passed down from ancient times to the present, with both inheritance and development and innovation. It is a gorgeous flower on the laurel of Nanyue longevity culture.
 
−
===The origin of Jugaku===
 
−
Nan Yue is also known as the "Jugaku," which is an ancient legend in the history of China. According to legend that before the warring states period, the society will spread a saying: The stars in the sky correspond to the things on earth one-to-one.The stars in the sky are divided into "twelve degrees," and the countries and states on the earth are also divided into "twelve fields." The changes of light and shade of the stars in the sky predict the changes of human things and the good and bad of people's destiny. The seven stars in the sky are shaped like a giant bird, called "Suzaku". One of which is named Zeng（轸）, corresponding to Chu（楚） and Jingzhou（荆州） on the ground. In the Han dynasty this statement is more concrete, the sky has a star of changsha that corresponds to the changsha county on the ground. In the Tang Dynasty, some people linked the change of the brightness of the Changsha star with the longevity of people and the prosperity of their descendants. The Changsha star was in charge of the longevity of the human world. If the star was bright, people's longevity would be long and their descendants would flourish. Because the Hengshan Mountain belonged to Changsha County in the Qin Dynasty and Changsha State in the Han Dynasty, and its main body was made of granite, which had a solid and long-lasting natural character, people called it "Jugaku." From then on, it became a holy mountain and its social status became higher and higher.
 
−
First of all, it is regarded as the custody god of the country.  In the ancients , Nanyue was not a mountain, but a god, which decided the lifespan of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Therefore, from the Tang Dynasty to the Qing Dynasty, the supreme rulers of the past dynasties were very awed by Nanyue Mountain and regarded it as the guardian god of the country. It is said that Emperor Huizong of the Northern Song Dynasty wrote the word "Jugaku" on the Yellow Emperor Rock of Jinjian Peak of Nanyue Mountain, indicating that Nanyue Mountain was the "Longevity Mountain" of the country. Emperor Kangxi（康熙） of the Qing Dynasty sent envoys to offer sacrifices to the Nanyue Temple and wrote inscriptions on the temple to explain its historical origins and merits. It is said that Emperor Yongzheng（雍正）, a shrewd and thrifty man, had forbidden the construction of temples at a large cost. When he heard that the Nanyue Temple was to be repaired, he regarded Shouyue as the god of protecting the country and approved the repair by the court. In addition, the people of all ages hoped for peace and social stability.
 
−
Second, it is regarded as a religious shrine.Of the five mountains of China, only the Southern Mountain was located in Jiangnan.The mountain qingfeng - xiangguang fracture tall and straight, beautiful scenery, quiet environment, two major religions in ancient China ------ Taoism and Buddhism, have come to these tasks and seek development.The mountain has "Qingyutan Fudi（青玉坛福地）“，”Guangtiantan Fudi（光天坛福地） and so on. So it is also known as the "Shoushan." Therefore, it is an ideal place for people to convert to Taoism, cultivate true and refine Tao in order to achieve immortality. Buddhism also calls Nanyue the birthplace of the two branches of Buddhism. Dharma is inherited all over the world. The two jungles , Nantai(南台) and Fuyan(福严) are known as the "source of the world's Dharma" and the "court of the world." Nanyue God is also a Buddhist God. There is a special hall dedicated to the worship of Fuyan and Longevity. In addition, Yanfeng Temple（雁峰寺）, the first peak of Nanyue, also has a native new Buddha -  Buddha Amitayus. Therefore, Nanyue is a holy place of Buddhism and a paradise for worshipping Buddha.
 
−
Third, it is also regarded as secularist Shoushan. Everyone has a good desire to pursue happiness, health and longevity. The ancient people express the desire of the important way or form, is to make a pilgrimage to Nan Yue.People makes a pilgrimage to the Nanyue, often combined with filial piety, mostly praying for their parents. The Ten Wish Songs(十愿歌) passed down through the ages reflect this characteristic. Of course, there are also those who pray for their own longevity. For example, some emperors sent envoys to the mountain on their birthdays or when they were suffering from serious illness. People prayed for both longevity and blessing, but they put praying for longevity first, because there is no longevity, and there is no way to talk about happiness. Therefore, people used to call the Nanyue Mountain "Shoushan."
 
−
In short, the South Mountain is called "Jugaku," which is the result of the convergence and integration of different pursuits and ideals of ancient people. When this kind of social pursuit and ideal under the condition of also cannot be free to know and realize, can only be transformed into a beautiful legend, give people with spiritual comfort and satisfaction.
 
−
===The Mystery of Longevity of Nanyue People===
 
−
It is  no doubt that Jugaku can bless people longevity, which is a kind of hope and good wishes of people, however, Jugaku's people is longevity, it is indisputable fact. According to statistics, the average life expectancy of the ancient people in our country is less than forty years old, seventy is one of the few old.And people who live in the mountain, enjoy life over the age of seventy, numerous similar cases. According to the "YueZhi (岳志)" 's record, jin dynasty Wei Huacun (魏华存) enjoy life of eighty-three years old, In the Liang dynasty Liao Chong (廖冲) lived more than one hundred years old; In the Tang Dynasty Sima Chengzhen lived more than 90 years old. And so on.People who are now living in the mountains, the elderly are more. According to 1999 statistics, Nanyue Mountain's Yuelin Township, has 2064 people, of which 70 - 79 - year-old 123 people, 80 - 89 - year-old 65 people, 90 - year-old three people, is really worthy of the name of the elderly area. So, Shouyue people the mystery of longevity where it?
 
−
First, the mountain plant coverage rate is high, the scenery pleasing to the eye, the air is fresh, the temperature is pleasant. Nanyue is known as the "Five Mountains of Unique Beauty." Its mountains are beautiful. Vegetation covers almost all the peaks, ridges and valleys. The mountains are green, as if they are a green ocean. It has beautiful scenery, luxuriant forests and bamboos everywhere, flying springs and dysprosium, and attractive natural and cultural landscapes. It is especially famous for its "four wonders" all over the world. Therefore, it is widely said that "when returning from Huangshan Mountain, you don't look at the mountains, and when returning from Nanyue Mountain, you don't look at the mountains." Its pleasant temperature, Sheng Department, the mountain hot Xiren, while the mountain breeze blowing, the day to wear long - sleeved clothes, at night to cover thin quilt. People live here, such as home fairyland, beautiful environment, fresh air, mood stretch, its life naturally higher.
 
−
Second, There are clear springs everywhere in Nanyue, the water quality is good, most of the food people eat from the mountains, not contaminated. Here mountain belt Collins, clear spring all over. According to the load, the mountain famous springs have ZhuoXi Spring(卓锡泉), tiger Spring(虎跑泉), White Turtle Spring(白龟泉), Wan Xian Spring(万仙泉), Guandao Spring(万仙泉), heart washing Spring(洗心泉), crystal Spring(碧泉), Ziqi Spring(紫气泉), lazy residual Spring(懒残泉), general Spring(将军泉), lion Spring(狮子泉), Suo Luo Spring(娑罗泉), Sun Spring(太阳泉), Jade sand Spring(玉砂泉), etc. Jade sand Spring is located on the top of the mountain, where the water flows through a large rock (known as the "broken rock source(断石源)"). Sun spring in ZhuRongFeng(祝融峰), is located in the unique top, water should be insufficient, however, this spring Mimi flow day and night, through one thousand never dried up, daily water for thousands of people to drink. These springs are pure, sweet and refreshing. Long - term drinking can make people live longer. Therefore, people call the mountain stream formed by the confluence of many springs on the mountain "Shoujian." In addition, the food, vegetables, fruits and tea eaten by people living on the mountain are generally produced from the mountain and have not been polluted. Edible wild fruits and plants are good natural foods and are beneficial to human health. It is recorded that Chen Chongzheng, a famous celebrity in Nanyue Mountain of Northern Song Dynasty, only drinks clear spring water or eats melon spring every day. He is over 80 years old and "walks like flying" on the mountain. The reason why he is so healthy is that he has good drinking water and food.
 
−
Third, nanyue specialty, some have strong body fitness, add in the effect of life. As the saying goes, a party of soil and water to generate a unique property. Nanyue specialty variety, wide range of uses, some are rare medicinal herbs, some are food and fruit with special efficacy.Lingzhi (Ganoderma lucidum), also known as "red ganoderma" by Nanyue people because of its reddish brown cover, has the function of replenishing vital essence, strengthening bones and muscles, and is mainly used for treating diseases such as fatigue, palpitation and insomnia.Nanyue ganoderma lucidum, top grade, is the world as the god of life.Polygonatum sibiricum is sweet and mild in nature. It is beneficial to the middle warmer, calming the five internal organs, benefiting the spleen and bones, benefiting the heart and lung, dredging the bones and muscles, and eliminating rheumatism. Kiwi fruit, commonly called "rattan pear," is a wild fruit in Nanyue Mountain. Its skin is brown, and its flesh is light green. It has high nutritional value. Its medicinal effect is mainly used to quench thirst, relieve fever, help digestion, cure diarrhea, and lower urinary tract infection. In addition, the mountain also produces medicinal materials such as angelica dahurica, radix bupleuri, poria cocos, rhizoma arisaematis, baiyao, schisandra chinensis, fructus momordicae, angelica sinensis, and caulis sinomenii, as well as cloud tea, bamboo rice, fragrant rice, Arhat taro and other products. Long - term people living in the mountains, it is easier to pick these herbs, but also easy to eat these products with special efficacy; In addition, the mountain hard production and living conditions, caused the people strong physique, it's for nanyue life high and create the conditions.
 
−
===Nanyue Longevity Folklore===
 
−
The folk custom of longevity in Nanyue is formed and developed under the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebration , prayer and celebration as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, forming a unique and colorful folk custom. This kind of folk custom has been passed down from ancient times to the present. It is not only inherited, but also developed and innovated.
 
−
Worship Nanyue. Nanyue is generally held in October of the lunar calendar every year. It is said that this time is the birthday of Nanyue Saint Emperor (also known as Nanyue God), and the sacrificial ceremony is very grand.Specification has always been very high, to be held by the court authorized and afford or designated host.Ceremonies procedures, offerings, quantity and display, the priest knelt down etiquette, etc., the court has expressly provided.Offering sacrifices to the mountains is not only for the celebration of the longevity of the Nanyue Saint Emperor, but also for the country and the people.Cooperate with sacrifice, generally organized a grand folk activities, religious activities and cultural and sports activities, such as religious law will be held, the public organization dragon dance team and play a lion.In accordance with the drama, folk stories to carry out cross - dressing parade, the ancient town of four streets and Kuixing Temple Pavilion stage performances, martial arts performances, etc., the audience for a long time up to tens of thousands of people. Merchants took the opportunity to publish the market, trading is very active. October 6 to 10, 2000, Hengyang City, Hengshan held here in the Chinese Longevity Festival and temple fair. Most of the traditional folk activities retained, but also added the Chinese Longevity Tripod inauguration ceremony, public sacrifice Nanyue Shengdi Fa Hui, high - altitude tightrope walking challenge,"the world Nanyue, The fireworks evening party and other large - scale activities set four Guinness World Records, with more than 300,000 domestic and overseas tourists. The economic and trade negotiations and the signing of the contract for the utilization of foreign capital amounted to 120 million US dollars. It was a colorful and eye - catching occasion.
 
−
Pilgrimage to Nanyue.It is also known as the "South Mountain Incense," which means that people pray for longevity, disaster elimination and blessing. Every year from the middle of July to the end of September, commonly known as the "South Mountain Fragrance Period," pilgrims from all over the world come to worship. Pilgrims in rural areas, they are in droves, less than a dozen people, more than hundreds of people, head red towel, chest hang sachets, mouth sing the yue song. Some still uniform clothing, neat queue, action to listen to password, just like trained troops.There are many forms of pilgrimage.Have to burn incense, incense in hand, with sweet bursa, knee with cotton or cloth, each line into a few steps (generally divided into three steps, five steps, seven steps, nine steps), then knelt down and worship.The old from the door, has been to worship to ZhuRongFeng.And hungry incense burning, on the way back and forth pilgrimages can't eat, can only drink water.They usually wore green clothes and straw sandals. In their rucksacks, they carried a small ladle to scoop up spring water for drinking on the road. From the first to the fifteenth day of the eighth month of the lunar calendar, the peak period of pilgrimage is sometimes as many as 100,000. The streets, temples, hotels and shops are crowded everywhere. The market is extremely prosperous. On both sides of the street, in front of and behind the temple, there are rows of shops and stalls, all kinds of small and exquisite handicrafts and tourist souvenirs, local famous products, specialties and foreign commodities. In the past, pilgrims to Nanyue Mountain were all on foot, some of which had to travel hundreds of miles, and all the temples and temples along the way had to be burned and worshiped. Even if they traveled day and night, it would take half a month to go back and forth. Now, most of them take modern means of transportation, some even rent special cars, usually three to five days is enough. Since the 1990s, the number of burning incense and starving incense has gradually decreased, and pilgrims have taken into account the increase in sightseeing besides pilgrimage.
 
−
Worship Shou Buddha.Prevailing in the first peak back to the wild goose peak wild goose peak temple. Legend has it that the life of the Buddha lay family name is zhou, Jin Zhen, chenzhou in tang dynasty, was born in the lunar February 8. 16 becoming a monk, ZongHui, enjoy life of one hundred and thirty-nine. Ming and Qing dynasties, and reincarnation for monks, in tin wild goose peak temple, to pass on one's experience, wild goose peak temple to build longevity Buddha hall as a memorial. Every year, on the eighth day of the second month of the lunar calendar, a grand Dharma meeting is held in the temple. Men and women from all over the world gather in Yanfeng Temple to celebrate the life of Buddha and pray for their families. In front of the temple, a stage is set up to sing opera, or a martial arts contest is set up to attract the audience. The merchants outside the temple have a market, and the market is crowded with people. It is commonly called "rush on February 8." In the 1940s, when the Japanese invaders invaded Hengyang, the temple on the peak was destroyed by Japanese artillery fire, and the custom of "praying to Buddha" ceased. In the 1980s, the Longevity Buddha Hall was rebuilt. On this day every year, although there is no city on the peak, there is an endless stream of pilgrims and tourists. Do Longevity wine.Hengyue people value everyone's birthday.Every tenth birthday is called "Dasheng(大生)", which is celebrated with birthday wine.People who turn 60 years old is called "sexagenarian," and from then on, every tenth birthday is called "Shoudan(寿诞)" and needs to be solemnly organized to celebrate birthday. Relatives and friends to go to congratulate, send birthday presents, generally like birthday plaque(寿匾), birthday couplet(寿联), birthday noodles(寿面), cloth, etc. On birthday plaque, screens and couplets, there are many auspicious folk words: "Happiness is as immense as the Eastern Sea, and longevity is as great as the Southern Mountain." In the poem,"Southern Mountain" originally refers to the mountain in the south. Later, some people think that "Southern Mountain" refers to the Southern Mountain, so it has become a common sight in the local area. In addition, relatives also need to send birthday peaches, that is, rice cakes are made into peach shapes, with red dots on them. When the couple is still alive, they wish "double longevity" and the gifts are increased. The host family should sign to thank the guests. In the evening of birth, noodles are usually served.
 
 
===Conclusion===
 
===Conclusion===
−
Nanyue Jugaku Culture involves a wide range of aspects, in the system and customs are also involved. In today's fast-paced life, we urgently need the Nanyue longevity culture to guide us. We need such thoughts to promote the harmonious development of human and society. Nanyue longevity culture is the foundation of Chinese health preservation. We should Promote and inherit such excellent culture.  
+
Humour plays an important part in people’s daily conversation which conveys abundant cultural connotations. Grice’s cooperative principle as the core of pragmatics, is also a guiding principle according to which people converse. Once CP is violated, pleasure in humour which comes along with it could be felt. As an artistic form playing an important role in modern China, Chinese sketch comedy has been entertaining its audience of all ages with its funny plots and packages embedded in verbal humour. This thesis selected the sketch comedy performed by Mahua FunAge and Big Bowl Entertainment on the stage of Spring Festival Gala as its corpus and studied the mechanism of verbal humour under the guidance of Cooperative Principle. It has been found that to a large extent, it is the violation of quantity maxim, quality maxim, relation maxim and manner maxim that generated the humour in sketch comedy. As an integral part of Chinese sketch comedy, verbal humour was created through constant violation of Cooperative Principle and its maxims.
 +
 
 +
However, limitations are inevitable as a result of time and the limited knowledge of the writer. Moreover, as the theories on linguistics are becoming increasingly abundant, analysis about verbal humour should be made from different perspectives and with diversified texts as well. Only through this process could verbal humour and its mechanism be further understood and Cooperative Principle further applied in research and studies.
 +
 
 
===References===
 
===References===
−
[1]Wu Changyun 吴长云.(2001).南岳与寿文化[Nanyue and longevity culture ].湖南文史Hunan literature and history (02):72-73.
+
*Adesoye Ronke Eunice (2018). Phonological distortion as a humorous strategy in Folarin Falana’s comedy skits[J]. The European Journal of Humour Research, 6(4): 60-74.
−
[2]Cao Yiyun 曹译匀.(2011)对南岳文化景观的解读[Interpretation of the cultural landscape of Nanyue].旅游纵览Travel Overview (12):96-97.
+
 
−
[3]Zhou Wei 周巍.(2002).寿岳说寿[Shouyue Shuo Yue].新闻天地News World (06):35-37.
+
*Clayton , A. (2020). Funny How? Sketch Comedy and the Art of Humor. Horizons of Cinema, State University of New York Press.
−
[4]Li Chengxiu 李程秀.(2020)南岳寿文化的现代养生价值研究[Study on Modern Health Preservation Value of Jugaku Culture in Nanyue] .文化创新比较研究A Comparative Study of Cultural Innovation (07):43-44.
+
 
−
[5]Han Xia 韩霞.2017.中国寿文化与道教思想略论[China Judaku Culture and Taoist Thought].人文天下Humanistic world (05):38-41.
+
*Dang Fengxiao，Cheng Xiongyong (2021). Analysis of Humorous Speech Act in the Skit Help or Not Help[J]. International Journal of Education and Management, 6(1).
 +
 
 +
*Grice, H.P.(1975). ''Logic and Conversation''[M]. New York: Academic Press.
 +
 
 +
*Parashar Poorva, Tewari Parul (2021). Locating humour in Absurdism and comedy in millennial humour[J]. Comedy Studies, 12(1): 65-74.
 +
 
 +
*Yao Xiaomin, Song Liya.Verbal(2019). Humour in English Jokes from the Perspective of Violation of Cooperative Principle[J]. Harbin: Northeast Forestry University.
 +
 
 +
*Cai Hui, Yin Xing 蔡辉, 尹星. (2005). 西方幽默理论综述研究[A Review of Western Humour Theory]. 外语研究Foreign Language Research(01):5-8+15.
 +
 
 +
*Ge Lingling 戈玲玲. (2011). 论幽默文本中本源概念的翻译模式——基于汉英双语平行语料库的研究[On the Pattern of Translating Alien Sources in Humourous Texts—— A Study Based on a Chinese-English Bilingual Parallel Corpus]. 外语学刊Foreign Language Research(01):117-122.
 +
 
 +
*Hu Zhuanglin 胡壮麟. (2017). 语言学教程[Linguistics: A Course Book]. Beijing: Peking University Press北京: 北京大学出版社.
 +
 
 +
*Li Lanping 李兰萍. (2002). 语用原则与英语幽默[On Pragmatic Principles and English Humour]. 天津外国语学院学报Journal of Tianjin Foreign Studies University(02):32-36.
 +
 
 +
*Wei Ya’e 魏亚娥. (2022). 幽默的产生与逻辑规律的违反——以沈腾春晚小品为例[The Generation of Humour and the Violation of Logic Law -- A case Study of Shen Teng's Spring Festival Gala]. 今古文创 JinGu Creative Literature(02): 95-97.
 +
 
 +
*Xu Jie, Zeng Xianmo 徐洁, 曾贤模. (2020). 以言致笑——从言语行为理论视角解析小品《扰民了您》中的幽默[Laughter through Words -- An Analysis of Humour in You Are Disturbing from the Perspective of Speech Act Theory]. 汉字文化Sinogram Culture(23):22-24.
 +
 
 +
*Yang Ting 杨婷. (2020). 认知视角下的言语幽默分析——以“生活大爆炸”为例[An Analysis of Verbal Humour from a Cognitive Perspective: A Case Study of ''The Big Bang Theory'']. Shaanxi: Shaanxi Normal University陕西师范大学.
 +
 
 
===Terms and expressions===
 
===Terms and expressions===
−
寿岳 Jugaku
+
Chinese sketch comedy 小品
−
朱雀 Suzaku
+
 
−
寿山 Shoushan
+
Cooperative Principle 合作原则
−
法嗣 Dharma
+
 
−
无量寿佛 Buddha Amitayus
+
quantity maxim 数量原则
−
寿佛 Shou Buddha
+
 
−
花甲之年的人 sexagenarian
+
quality maxim 质量原则
 +
 
 +
relation maxim 关系原则
 +
 
 +
manner maxim 方式原则
 +
 
 +
Spring Festival Gala 春节联欢晚会
 +
 
 +
packages “包袱”
 +
 
 +
sweet-scented osmanthus 桂花
 +
 
 
===Questions===
 
===Questions===
−
When the “Worship Nanyue” event starts？
+
1. What are the maxims of Cooperative Principle?
−
What is the secret of Nanyue people's longevity?
+
 
−
Which religions have come to Nanyue to seek refuge and development?
+
2. What’s the name of the first sketch comedy in China?
 +
 
 +
3. How do you categorise Chinese sketch comedy?
 +
 
 
===Answers===
 
===Answers===
−
It is held in October of the lunar calendar.
+
1. There are four maxims in total, namely quantity maxim, quality maxim, relation maxim and manner maxim.
−
Fresh air, pleasant climate, good water quality; health strong body;  medicinal material that improve  health and prolon life.
 
−
Taoism and Buddhism.
 
  
−
==朝朝鲜语笔译 徐盖 Xu Gai 202170081638==
+
2. The first sketch comedy in China is “eating noodles” played by Chen Peisi and Zhu Shimao in 1984.
−
<center>'''Jiangxi Nuo'''</center>
 
  
−
<center>Xu Gai</center>
+
3. Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.
−
===Introduction===
 
−
Nuo culture, in which Nuo dance, also known as ghost play, is the oldest dance of entertaining gods in Han nationality, which worships gods, dances ghosts, drives away plagues and avoids diseases. "Nuo" is a social and cultural phenomenon with strong religious and artistic color, which has a long history and is widely popular in the Han nationality. It originated from the natural worship, totem worship and witchcraft consciousness of the ancestors of the Han nationality. The ancient ancestors lived and multiplied in conquering nature. Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.Jiangxi Nuo, is an important part of Chinese Nuo. Nuo is a cultural phenomenon that spirits chase ghosts and pray for disaster. Jiangxi Nuo is a part of Chinese Nuo, which has the characteristics shared by Chinese Nuo. However, Jiangxi Nuo is a regional Nuo culture, and it has experienced thousands of years of accumulation and inheritance, forming a distinctive feature of unique search.
 
  
−
===The origin of Jiangxi Nuo===
+
==英语笔译 肖佳莉 Xiao Jiali 202170081600==
−
Jiangxi Nuo, also known as Gan Nuo, is an important part of Chinese Nuo. It is well-known at home and abroad for its long history, primitive form, rich varieties and its own cultural system. It is called the "living fossil" for studying the development of Chinese and even human civilization. Jiangxi Nuo, rich and thick, began in the early Han Dynasty, and for more than 2,000 years, Nuo has never stopped. Nuo dance, which entertains people, was born out of the ancient Nuo ceremony, and it is more common in many rural areas, especially in Nanfeng and Shangli counties, which can be called the living fossil of Chinese Nuo culture. According to statistics, since the end of the Qing Dynasty, there are more than 150 Nuo classes in Nanfeng County, which not only retain the Nuo temples in the Ming Dynasty and the ancient Nuo ceremonies, but also spread more than 80 traditional programs and more than 2000 kinds of Nuo masks, with more than 2000 existing Nuo artists. Lixian County has been known as "a general in five miles, a god in ten miles" since ancient times. Now there are more than 20 ancient Nuo temples in Ming and Qing Dynasties, which inherit more than 50 percent of the classical Nuo dance. There are more than 400 kinds of ancient Nuo masks and more than 20 mask carvers.
+
<center>'''The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times'''</center>
  
−
===The distinctive features of Jiangxi Nuo===
+
<center>Xiao Jiali</center>
−
Jiangxi Nuo preserved the primitive ancient Nuo ritual completely. The "Nuo Dance" in Shiyou Village, Nanfeng County is the remains of the extremely rare ancient Nuo ritual in China. In addition to its scale, it is eye-catching similar to the basic aspects of the palace Nuo in the Han Dynasty in Hanshu Yiwenzhi. Pengze county Laowuwan's "beating wild cats" is full of the meaning of ancient villagers' exorcism, and it is a kind of epidemic-fighting ceremony with religious significance, which is rare in today's Chinese exorcism culture.
 
  
−
Jiangxi Nuo has a traditional character and rich categories. After thousands of years of secularization and entertainment, a considerable part of Nuo in China has died out, and some of it has been transformed into a cultural form with Nuo culture. Jiangxi Nuo has always maintained the tradition of taking masks as the core of all activities. In Nuo activities, Nuo masks are not only the image code or artistic makeup, but also the soul of these activities. They still enjoy people's awe and admiration, even though they are engaged in Nuo dances and operas. The variety of Jiangxi Nuo is also rare in Chinese Nuo culture. In terms of its nature, it can be divided into Nuo sacrifice and Nuo art; From the aspect of expression, there are three types: open Nuo, closed Nuo, literary Nuo and martial Nuo. In terms of artistic mining, there are "Nuo Opera" and "Nuo Dance" which complement each other. It is because of this richness that Jiangxi Nuo can keep its life and vitality in the long course of social development. Jiangxi Nuo has formed its own cultural system and occupies a place in folk culture. In the course of its development lasting for thousands of years, Jiangxi Nuo has constantly adapted itself to the development of the times, absorbed nutrition from Buddhism, Confucianism and Taoism, and gradually formed a Jiangxi Nuo culture system which includes beliefs, specific sacrificial ceremonies, sacrificial sites, and Han folk customs and cultural activities influenced by Nuo. For example, Jiangxi Nuo has no divine spectrum, but it has a sacred Nuo temple. Nuo sacrifice is just a primitive religious ceremony without any precepts, but there are still laws and regulations that believers must abide by; Nuo Sacrifice has no philosophical thought necessary for any religion, but it draws ideas such as cause and effect, loyalty and righteousness from Buddhism and Taoism. Jiangxi Nuo is not a mature religion, and there are no scriptures, but there are still Liao prayers that have been formed and handed down from generation to generation. It is particularly noteworthy that after a long period of secularization and entertainment, Jiangxi Nuo has formed its own unique art, that is, Nuo dance, Nuo opera, and the carving and making of Nuo masks. Among them, mask making has surpassed the significance of religious sacrifice and become a striking Han folk handicraft, just as the European church choir has become a folk chorus art. Jiangxi Nuo has spread all over Jiangxi in history, and it is relatively concentrated in the half-moon zone from Wuyuan in the east to Pingxiang in the west, among which Nanfeng, Le 'an and Guangchang in Fuhe Valley are the most concentrated areas in Jiangxi Nuo. In addition, Xiushui, Wanzai and Pengze also have Jiangxi Nuo activities. The Nuo temples in Pingxiang and Nanfeng are dedicated in time, and they are not lonely.
+
===1.Abstract===
 +
The hundred schools of thought are the general name of various academic schools in the pre-Qin period. Among them, the three most influential schools are Laozi, Confucius and Shang Yang, and their views are different. The period from the sixth century BC to the third century BC, that is, the Spring and Autumn and warring States period, was the rejuvenation period of all schools of thought in the pre-Qin period. This period basically laid the foundation of Chinese traditional culture or Sinology, and there has been almost no major breakthrough since then. In this article, we divide the content of the paper into three parts, and respectively discuss the thought and background of Laozi, Confucius and Shang Yang, as well as their characters, and compare the differences and reasons between them. Through the above analysis to emulate the predecessors to face the reality, put forward new problems, put forward new ideas, and open up a channel for our future survival.
  
−
===Nuo mask===
+
===Key words===
−
Chinese Nuo culture includes Nuo temples, Nuo masks, Nuo dances, Nuo operas, Nuo symbols, Nuo costumes, Nuo weapons and other complex whole, including anthropology, ethnology, folklore, religion, drama and many other aspects. Nuo mask is an important part of Nuo culture. It is used in Nuo ceremony, Nuo dance and Nuo opera. There are many kinds of Nuo masks in Jiangxi with different shapes, all of which are carved by willow and camphor wood, and then painted and painted, showing rough simplicity and magnificent Zhuang Dian. Pingxiang Xiang Dong Nuo Mask is an excellent folk traditional sculpture with a long history. East Hunan is under the jurisdiction of Pingxiang, the coal capital of the south of the Yangtze River, and is the west gate of Jiangxi. The surviving Nuo mask carving in xiangdong district originated from the Qing Dynasty, was passed down from Taizhang, Hunan Province, and has been handed down for three generations. It inherited the techniques of Nuo mask carving in the Song Dynasty, with mature technology, simple and delicate carved masks and complex craftsmanship, which is a rare cultural heritage in China's carving field.In 2006, Pingxiang Xiangdong Nuo Mask was listed as the first batch of national intangible cultural heritage list with the approval of the State Council.
+
The Various Schools of Thought; The Period from Pre-Qin Times; Laozi;  Confucius;  Shang Yang
  
−
===Nuo dance===
+
===2.Introduction===
−
Nuo dance is a traditional dance in Jiangxi Province. Nuo dance is a kind of folk dance widely spread around the world, which has the functions of exorcising ghosts, fighting epidemics and offering sacrifices. It is the dance part of Nuo ceremony, and it is usually performed from the New Year's Day to the 16th day of the first month. Pingxiang Nuo dance footwork has the cultural style of Chu witch, the dancers' movements are bold and unrestrained, and their posture is full of shock; Enjoying Nuo dance is divided into three genres: "having fun", "playing the ancient drama" and "rolling Nuo God". It performs for nothing and is good at martial arts. Wuyuan Nuo dance is simple and vivid, and its performance forms can be divided into solo dance, duet dance, trio dance and group dance. Jiangxi Nuo dance integrates totem culture, Taoist culture, folk culture and other connotations.
+
There is an interesting phenomenon that between the sixth century BC and the third century BC, a group of thinkers who established early human civilization appeared in various parts of the world. For example, Confucius and Laozi in China, such as Sakyamuni in India, and a group of scholars represented by Isaiah who created the text of the Bible in the ancient Jewish state, such as ancient Greece from Thales to Aristotle. We will find that around the sixth century BC, the birth of human civilization in various parts of the world coincided with the emergence of a group of thinkers, known as the Axis Age.
  
−
===Conclusions===
+
Why did this happen?
−
There are still many introductions about Jiangxi Nuo. Jiangxi Nuo is like this. It comes from the people and returns to the people. In this process, firewood and fire were handed down from generation to generation, blooming in Ganpo and spreading all over the world. It is ancient, carrying the continuation and expectation of thousands of years of culture; It is also sacred and awesome.
 
  
−
===References===
+
The writing purpose of this paper is not only to review the path of the development of ancient ideas, but also to let everyone know that when you are faced with a social transformation, a major social confusion is constantly spreading and the amount of information is increasing，how do you follow the example of your predecessors to face the reality, ask new questions and put forward new ideas.
−
[1]Xu Qun徐群 .论赣傩的文化特征及赣傩舞的表达 [On the Cultural Characteristics of Jiangxi Nuo and the Expression of Jiangxi Nuo Dance ] [[J ] .时代文学 （下半月），2009 (2 ) :207 - 208.
 
−
[2]Liu Juan刘卷 .赣傩艺术视觉审美特征研究[Research on the Visual Aesthetic Characteristics of Jiangxi Nuo Art] [J ].湖南医科大学学报 :社会科学版，2009(5) :186 -187.
 
−
[3]Fu Hongling 付红玲 ，Wang Qi王琦 . 江西萍乡傩舞艺术特征初探[On the Artistic Features of Jiangxi Nuo Dance][J ].艺 海 ， 2011(4) :90-91.
 
  
−
===Terms and expressions===
+
===3.Background of the genesis of the hundred schools of thought===
−
Nuo culture 傩文化  Gan Nuo 赣傩  Nuo Mask 傩面具  Nuo temples 傩庙       
+
The pre-Qin period is the first great social transformation of Chinese society, we open our horizons, it is actually the first great social transformation of all mankind. How to transform? It took a long time to transform from the way of gathering and hunting to the civilized way of agriculture and animal husbandry. The early days of agricultural civilization was only a marginal supplement to the hunting way of life. By around 600 BC, the civilization of agriculture and animal husbandry was fully mature, and the semi-agricultural and semi-industrial and commercial civilization of ancient Greece around the Mediterranean was also mature.
  
−
===Questions===
+
Therefore, the axis age of the world has three major characteristics. First, the first great social transformation of Chinese society took place in this period; second, this is the mature period of the first civilization of all mankind; third, this is the dazzling period of the sprout of industry and commerce in ancient Greece, and these three come together into an axis era. The pre-Qin era in China is the branch and manifestation of this axis era in East Asia.
−
1.When did Jiangxi Nuo begin? How many years ago?
 
−
2.Why did ancestors create Nuo culture?What was their purpose?
 
−
3.When was Pingxiang Xiang Dong Nuo Mask listed in the first batch of national intangible cultural heritage list?
 
  
−
===Answer===
+
So why has this era become a platform for many thinkers to think? There are three reasons.
−
1.Jiangxi Nuo began more than 2,000 years ago in the early Han Dynasty.
 
−
2.Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.
 
−
3.In 2006
 
  
−
==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==
+
First, there are a lot of problems in social transformation, which is a confused exploration and inquiry. As we all know, in the period of human social transformation, the complexity of social structure presents many social and survival problems that human beings have never seen and never happened before, and these problems will make human beings face great confusion at that time. Thinkers seek answers on the basis of this confusion. Therefore, the perplexity period is a hotbed for the birth of a new culture. Therefore, when faith is broken and confused, we should not think that it is just a bad thing, it indicates that another crop of new culture and new ideas is about to happen.
−
<center>'''The “scholar's four jewels”'''</center>
 
  
−
<center>Xu Wenhui</center>
+
Second, the complexity of survival increases, which is characterized by the increase of the cost of survival, the more difficult and dangerous survival, and the more complex survival structure. In this case, the amount of information is soaring, so people have to face the new survival structure and living environment, which is the second feature of the axis era and the pre-Qin era.
−
===Introduction===
 
−
The"scholar's four jewels"are unique calligraphy and painting tools in China, namely writing brush, ink, paper and inkstone. Brush, ink, paper, inkstone commonly known as the "scholar's four jewels", its name originated from the Northern and Southern Dynasties, since the Song Dynasty, it refers to xuan brush (Xuancheng, Anhui), Hui ink (She County, Anhui), xuan paper (Jing County, Xuancheng, Anhui), she inkstone (She County, Anhui) and so on. As the essence of Traditional Chinese culture, the scholar's four jewels have been accumulated and deposited for thousands of years, and their cultural connotation has been recognized by people more and more, and their value has far exceeded its own function. For example, When CAI Yong wrote‘Bi Fu' in the Eastern Han Dynasty, he endowed the "integrity" of the brush and the "roundness" of the brush with imago features beyond the function of the brush.
 
−
Chinese calligraphy is a profound art with a long history. It has entered the door of the palace of art as early as the Qin and Han Dynasties, and has become an indispensable artistic treasure in Oriental history, and developed into a broad and profound knowledge. Calligraphy is not only an important part of Chinese culture, but also a symbol of the characteristic cultural spirit of the Chinese nation. "To do a good job, you must sharpen your tools." The unique artistic flavor of Chinese calligraphy is inseparable from the "scholar's four jewels" spread through the ages, and it is with brush, ink, paper and inkstone that the myriad forms of calligraphy can be depicted. Even a highly skilled calligrapher, sometimes encountered tools "do not go well", can only be overjoyed, frustrated. Today, brush, ink, paper and inkstone have been included in the national intangible cultural heritage list, jointly promoting the development of calligraphy art. (Zhao 2021:28)
 
  
 +
Third, the fragmented feudal system provides a relatively free and relaxed atmosphere. In the pre-Qin period, China was typical and the only feudal era. At this time, ancient Greece was a city-state culture, that is, a small political bloc. The feudal states were also common in Europe until the Middle Ages. Therefore, it provides some social conditions for freedom of thought. For example, Confucius, if he could not stay in Lu, he could travel around the world; In modern times, Descartes and Voltaire, if he could not stay in France, he could go into exile to other countries and develop his own thoughts. So the fragmented political structure of that era provided a relatively free and relatively relaxed cultural atmosphere.
  
−
===Origin and history===
+
As for the cultural differences between the East and the West. Ancient Greek philosophers and Chinese sages faced different problems.Because East Asia is a closed landform, and it is one of the three primitive farming bases of human beings, it is unable to exchange in industry and commerce, so it is the most typical and concentrated agricultural civilization in the world. Agricultural civilization immediately brought about a hundred-fold surge in population, so interpersonal and resource relations were particularly tense.  
−
The tools and materials of Chinese calligraphy are basically evolved from pen, ink, paper and inkstone. They are often referred to as the "four treasures of the study", roughly speaking, they are the four treasures necessary in a scholar's study.Because the ancient Chinese literati are basically able to write, or draw, or both can write and draw, is inseparable from brush, ink, paper and inkstone these four treasures.
 
−
The name "wenfang(文房)" originated in the Southern and Northern Dynasties (420-589) in Chinese history. It specifically refers to the study of literati, and is known as the "four treasures of the study", with pen, ink, paper and inkstone used in the study. In addition to the four treasures, there are also pen holder, pen holder, ink bed, ink box, arm holder(臂搁), pen wash(笔洗), book town, water cheng(水丞), water spoon, inkstone box, inkstone box, printing mud, printing box, cutting knife, seal, roll and so on, which are also necessary in the study.（Chen Yunqin,2014,98）
 
  
−
====Writing brush====
+
So people in the pre-Qin period in China had to apply their wisdom to the discussion of human relations and social issues.  
−
Because the brush is the main tool for writing. It has been more than 3,000 years since the birth of Chinese characters. We all know that the oldest Chinese characters come from archaeological finds -- shards of oracle bones from the Shang and Zhou dynasties. At that time, there were two ways to engraved words on hard oracle bones: one was to use a knife directly connected with the deed; The other is to write the words in advance on the oracle-bone slice, and then cut it with a knife. The inscribed oracle-bone slices were written with a brush but the uninscribed oracle-bone slices but in fact the brush came into being much earlier than writing.
 
−
Although the Xia dynasty before The Shang and Zhou dynasties is still a blank in terms of literature, we can find a large number of painted patterns on the painted pottery decorations of the Neolithic Age 10,000 to 4,000 years ago. The lines are smooth, clear and full, obviously drawn by soft brushes. From the painted pottery culture further back to 10,000 years ago or even more distant paleolithic rock paintings. Rock paintings all over the world are the oldest universal language of the Paleolithic age and the mark of human symbiosis thousands of years ago.The production of rock painting is divided into engraving and drawing two categories. Among them, the drawing class is divided into two kinds of lithographic painting and tool drawing. Researchers have yet to find any rock paintings that are clearly made with brush, but I imagine that particularly delicate areas must be done with bamboo or wood 'soft brushes(软笔)' wrapped in plant fibers or smashed into tiny shapes with the tips of sticks. This method is still used by some contemporary painters in pursuit of special effects in painting, which should be the earliest pen. Therefore, Cui Bao(崔豹), a member of the Jin Dynasty, said in his notes on "Ancient and Modern times(《古今注》)", "The ancient pen, whether made of bamboo or wood, can be dyed into characters, which is a pen." So we can be sure that the writing brush should have appeared in the Xia, Shang and Zhou dynasties, the word "yu(聿)" in the oracle bone script is the word "writing brush". In the Spring and Autumn period and the Warring States period, different countries called pens differently. "Shuo Wen Jie Zi(《说文解字》)" said: "Chu called it lut, Wu people not law, Yan people called fu, Qin called pen. In the Spring and Autumn period and the Warring States Period, the carrier of writing was mainly on bamboo slips except for a small amount of cloth. For writing on hard materials, the best invention was a pen bound with animal hair.(Fan Zunrong,2021,87)
 
−
The two earliest writing brushes were unearthed from the Chu Tomb at Changtai Pass in Xinyang(信阳), Henan Province and the Chu tomb at Zuogong Mountain in Changsha(长沙), Hunan Province. The writing brush is different from the modern general writing brush. The hair is wrapped in one end of the pen holder with silk thread. The tip length is 2.5 cm. The writing brush unearthed from the Tomb of The Warring States and Qin Dynasties in Sleephudi, Yunmeng County, Hubei Province in 1975 has two shapes. One is to bind the brush on the outside of a bamboo pole and add lacquer to it. The other is to chisel a cavity at the end of the bamboo pole to hide the tip of the pen, which is similar to today's brush-making method.
 
−
In 223 BC, The Qin Dynasty dispatched Meng Tian(蒙恬) to the Region of Zhongshan, now known as Pingshan and Lingshou in Hebei Province, and found that the local rabbit was very healthy, so meng Tian made a pen. CAI Yong(蔡邕) mentioned the "rabbit in Zhongshan(中山兔毫)" as a good pen in his "Pen Discussion(《笔论》)". However, according to the Biography of MAO Ying written by Tang Han Yu, when Meng Tian expedition from Chu to Xuancheng, Anhui province, he found that the local rabbit was very strong, so he made a writing brush, and improved the making method of writing brush by "quilt column method", thus greatly improving the performance of writing brush. Therefore, there is a beautiful reputation of "xuanbi(宣笔)" after the world. Here, we can confirm that the hereditary "Meng Tian Zhu bi", in fact, should be called "improved brush", its method has been inherited for more than 2300 years, as for the specific location can be ignored.
 
  
−
====Ink====
+
And ancient Greece, because it was faced with a small Mediterranean, could obtain food through commercial exchange in North Africa and the near East, while the geographical conditions of ancient Greece were very poor, which forced them to develop a semi-agricultural and semi-industrial way of life. In addition, industrial and commercial civilization obtained resources across regions, so their interpersonal and resource relationships were less tense than in East Asia. Moreover, its social structure is relatively simple, and its social problems are not prominent enough. At the same time, industrial and commercial civilization needs innovation and the computing power of equipment manufacturing. It makes the ancient Greek philosophers devote their main energy to natural problems and logic in geometry.
  
−
Ink also has a long history. Archaeological discoveries have found ink-drawn patterns of fish, deer and plants on pottery from the Neolithic Period. Inks and stone grinding sticks dating back more than 6,700 years have been found at the Jiangzhai site in Lintong, Shaanxi province. There are also calligraphic ink marks on the oracle bones of Yin shang. Ink was used for bamboo slips and wooden tablets used for recipes from the Spring and Autumn and Warring States periods, but natural graphite was used. In the Han Dynasty, artificial ink began to appear. Raw materials from pine tobacco plus glue, hand shape, or to mold pressing. "Han official discussion(《汉官议》)" contained: "Shang Shu to the servant cheng Lang, month to yu Mi big ink, small ink each." In the Song Dynasty, "Ink pills began to appear in the Wei and Jin dynasties. Since then, luozi ink pills have been left behind." Wei Dan(韦诞), a calligrapher who wrote the Book of Brush in The Three Kingdoms period, was also good at making ink. He used lacquer smoke and pine smoke to make ink, which was known as "The ink of Zhong General is like lacquer". Zhong started moo as a culture and entered history. During the Tang and Five Dynasties, there were famous ink workers Xi Chao and his son Tingxian, who made ink well and won the favor of the royal family of the Southern Tang Dynasty. They were given the surname Li, and it was said that "gold is easy to get, but ink is hard to get". Li ink was made in xi Prefecture during the Song Dynasty, so Hui ink became a famous title and became the center of ink making in China. In the Qing Dynasty, the ink-making technology reached its peak, and there were more and more famous ink-makers, among whom were hu Kaiwen, Cao Sugong, Wang Jinsheng and Wang Jiean. Their ingot has been entered into major museums as cultural relics. During the Reign of Emperor Guangxu, the brothers Xie Songdai and Xie Songliang created a kind of ink called "Yuntou Yan(云头艳)", which paved the way for the manufacture of modern ink. In 1915, China's hui ink won the gold medal at the Panama World's Fair.(Fan Zunrong,2021,88)
+
Therefore, in the face of a social transformation, it is inevitable to solve many problems, thus giving birth to great ideas.
  
−
====Paper====
+
===4.Different schools  of thoughts===
  
−
The invention of paper is China's great contribution to the development of world civilization. In 1933, a piece of plant fiber paper of the Western Han Dynasty was unearthed in Robnuer, Xinjiang. In May 1957, a kind of plant fiber paper was discovered in a Western Han Dynasty tomb in Baqiao, an eastern suburb of Xi 'an, and was named Baqiao paper(灞桥纸). In the early 1990s, nearly 1,000 pieces of ancient paper from the Western Han Dynasty were unearthed at dunhuang ancient Site in Gansu Province, mainly made of hemp fiber. Later, CAI Lun of the Eastern Han Dynasty improved the technology of papermaking, using cheaper and more readily available bark, rags, waste fishing nets as raw materials, to produce high-quality and inexpensive paper, and the rapid promotion of papermaking technology in Our country, CAI Lun's achievements will be recorded in history.
+
===4.1The thought of Laozi===
−
After The death of CAI Lun, it is said that one of his apprentices, Kong Dan, came to southern Anhui to make paper with the green sandalwood bark, which was abundant in the local area, and finally achieved great success. This paper fiber is close and delicate, strong ink absorption, toughness and wear resistance, is the predecessor of rice paper. In the Tang dynasty, culture and art flourished before empty space. The huge demand for paper has led to higher and higher quality. According to the records of "New Book of Tang(《新唐书》)", "Six Books of Tang(《唐六典》)" and "Old Book of Tang(《旧唐书》)", in the second year of Tianbao (743 years), there were Anhui, Sichuan, Jiangxi and other places to pay tribute paper, among which the tribute paper of Xuancheng County in southern Anhui was the most exquisite. In fact, the main origin of rice paper is in Jing County, because in the Tang Dynasty, Jing County, Taiping, Ningguo, Guangde, Xuancheng and so on belong to Xuanzhou, so rice paper is still used today. The famous paper recorded in the history books before the Song Dynasty also includes Xue Taojian and water grain paper (also known as flower shade paper) in the Middle Tang Dynasty, Chengxintang paper made by Li Yu in the Southern Tang Dynasty, Xie Gong paper(谢公纸) and Jin Su Jian(金粟笺) in the Song Dynasty, all of which are processed alum paper.
 
  
−
====Inkstone====
+
===4.1.1The introduction of Laozi===
 +
The foundation of the whole thought of Sinology in China all took place in the pre-Qin period, that is, before Qin Shihuang unified China. Since then, China has hardly made any great achievements in the development of ideology and culture. With one exception, Indian Buddhism was introduced into China in the middle of the Eastern Han Dynasty. In the pre-Qin period, the person with the highest thought was Laozi, the first ancestor of pre-Qin thought. Laozi and Confucius have a teacher-apprentice relationship. Confucius left a comment on this teacher: "I see Laozi today, just like seeing a dragon." This is the famous saying of Yulong. When I saw Laozi today, I finally knew what the dragon looked like.
  
−
Inkstone, also known as inkstone pool, inkstone sea, inkstone production since when, is still difficult to determine. In ancient times, it used to be clam shell. In the 1950s, grinding tools were found in the Yangshao Culture site in Banpo, Xi 'an. The concept of inkstone before the Tang Dynasty is different from that of today. At that time, the ink ingot was not directly ground on the inkstone, but another stone was needed to grind the ink on the inkstone until it was fine. Just as now you grind paint with a pestle and mortar. There are many kinds of inkstone materials since ancient times, including jade, copper, porcelain, pottery, tile, stone and other materials. Ink-stone was widely used since the Tang Dynasty. In the Five Dynasties, an ink-stone bureau was set up in the Southern Tang Dynasty to manage the ink-stone making. The technology of ink-stone making was developed and the status of ink-stone was greatly enhanced. From the Song Dynasty, the decorative pattern of inkstone is also gradually exquisite and fine, until the modern, with advanced stone carved into the inkstone, is not a simple party grinding ink tools, but to do the best carving handicraft, luxury goods. Inkstone was widely produced in song Dynasty, and the inkstone making industry was flourishing. Mi Fu(米芾)'s "Inkstone History(《砚史》)" recorded that inkstone was produced in Tangzhou, Wenzhou, Guizhou, Suzhou, Kuizhou, Qingzhou, Duanzhou, Xi, Tanzhou, Zizhou, Xinzhou, Guo, Jianxi, Lushan, Taohe and other places. Inkstone, as one of the four treasures of the study, has been among the elegant life circle of shilin. Since the Tang Dynasty, among numerous inkstones, "four famous inkstones" gradually came into being: Duan-inkstone(端砚), she inkstone(歙砚), Tao inkstone(洮砚) and Cheng-ni inkstone(澄泥砚). Or: Duan-inkstone, she inkstone, tao inkstone, red silk inkstone(红丝砚).(Shen Xipeng,2012,90)
+
At that time, Laozi kept the history books in the Zhou Dynasty, which was equivalent to the “National Division”. He was the consultant of all the knowledge of the royal family and princes of the Zhou Dynasty, and he was the highest representative of the national culture. It is said that in the 22nd year of Lu Zhaogong, that is, 520 BC, a major event happened. Due to the issue of succession to the throne, more than a dozen children fought for the throne and serious royal infighting broke out. The civil war lasted for more than a decade, and the prince finally failed.
  
−
===Features===
+
It is said that he fled to the State of Chu with a large number of Zhou royal books. And Laozi, a historian of the Zhou royal family, is equivalent to the current director of the National Archives Library. If all books and documents are taken away, Laozi will naturally lose his job, so Laozi resigned to travel around the world. This is what we say. It is recorded in the history books that Laozi is sometimes in Chu, sometimes in the State of Chen, and sometimes in the State of Song. Finally, Laozi returned to Qin and died in Shaanxi. This is the historical relics of Laozi.
  
−
====Writing brush====
+
In order to understand Laozi's thought, we can only start with his Tao Te Ching. The morality of Laozi is very different from our literal meaning today. The book is divided into two volumes, the Tao volume, the outlook on the universe and nature, the moral volume, and the social outlook and outlook on life. Tao is the general law of the operation of heaven and earth, and virtue conforms to the Tao of heaven. The core of Taoism is weakness, and the core of moral theory is inaction. Laozi constantly criticizes that the development of human civilization is a process of deviating from the way of heaven and losing material morality.
  
−
First of all, in terms of the size of the brush: the smallest brush should be used for bottle painting, the big one is less than ten hairs, the small one is only a few. And then a little bigger is the gui bi(圭笔), The bigger ones are as thick as a man's arm. Various kinds of pens are divided into a number of numbers for users to choose. Secondly, according to the hardness of the pen hair, it can be divided into three types: hard, soft and both. The characteristics of the hard hao pen are hard and tough, elastic, refreshing, so that the ink is fast, suitable for fast writing, work in one go. There are common bristle pens made of bristle, weasel tail hair made of Wolf pen, "zihao(紫毫)" is a small patch of purple black elastic hair on the back of the hare made purple hao pen, purple hao pen is the most expensive. There is also a mouse beard pen made with the whiskers of a mouse (or squirrel), which is also recorded in the "Dictionary Source"(《辞源》) and "Compendium of Materia Medica(《本草纲目》)" by Li Zizhen of the Ming Dynasty. It was written in the Han Dynasty and was popular in The Three Kingdoms, Jin and Southern and Northern Dynasties. Zhang Zhi, Zhong you and Wang Xi-zhi used it. According to legend, "Orchid Pavilion Preface" is written with a pen. Other hard pen and deer hair, leopard hair, etc. Recently, the great painter Zhang Daqian sent his staff to a farm in Brazil in the 1960s to buy the hair in the ear of a cow with a large sum of money and make dozens of cattle brushes and give them to his friends. Then, there are bamboo pens in Japan, which use hard objects to pound semi-tender bamboo into extremely tough bamboo pens.(Fan Zunrong,2021,87)
+
===4.1.2The interpretation of Tao===
−
Song Dynasty Mi Fu "brush history" also cloud: "Jin generals will check internal history Wang Xizhi" Running book post "authentic... It was written with a bamboo dry pen." It can be seen that the bamboo pen originated in China and was used in the Southern and Northern Dynasties.The raw materials of soft pen are sheep and chicken. Features are: soft edge, poor elasticity, the advantage of ink storage, ink slowly, writing strokes mellow and thick change. Both the sheep's and chicken's brush originated in the Southern Song Dynasty and prevailed in the Qing Dynasty. It is not easy for Ho Shao-kee in the Qing Dynasty to write with a chicken brush and Lin San-chee in the contemporary grass sage to write with a sheep's hand.
+
Laozi said, "Tao gives birth to one, one to two, two to three, and three to all things." This sentence means that Tao derives a chaotic state that even heaven and earth does not appear, chaotic state derives heaven and earth, heaven and earth derives animals, plants and people, animals and plants and people finally derive all things in the world, and all things refer to life and matter. This shows that Laozi believes that all things in heaven and earth evolved gradually. The concept of evolution existed until the 18th century, and it is unusual for Laozi to hold the idea that everything evolved from a family of things 2600 years ago.
  
−
====Ink====
+
"Heaven is Tao, Tao is long" also expresses the difference between persistence and stability in this evolutionary sequence. Tao is persistent and stable. Therefore, Laozi believes that the stability of matter is gradually lost in the process of evolution.
  
−
The varieties of ink are generally divided into three categories: lampblack, pine smoke and selected smoke. Lampblack ink includes lacquer lampblack ink, which is baked with tung oil, sesame oil, lard, rapeseed oil and lacquer, etc., and added with leather glue, musk, borneol and other spices. Soot ink is the best ink, fine texture, hard wear-resisting, black and purple light for the most by, called "purple jade light(紫玉光)". Followed by pure black, green black. It can be divided into four grades successively, namely, jade lacquer smoke, chaogong smoke(超贡烟), gong smoke and top smoke(顶烟), with jade lacquer smoke as the highest quality. Ready-made ink brands also have a lot of, Yi De Ge(一得阁), Cao Su Gong(曹素功) are time-honored. However, although some finished ink is convenient to use, it contains the iron Zhai Weng(铁斋翁) series painting and calligraphy sooty ink (belonging to hui ink) customized by Shanghai Ink Factory for Japan. The glue quantity is large, the viscosity is high, and the pen cannot be pulled. When using, it is necessary to add an appropriate amount of water to remix. Many painters and calligraphers prefer to grind their own ink because it is superior to the finished ink. Use clean water to grind ink. The ink solution grinded by oneself is rich in layers and the shade changes naturally, which is the first choice for painting and calligraphy creation. After grinding, the ink should be dried, put into the box, dry naturally, avoid exposure to the sun and cracking, degumming. Fresh ink is refreshing. If it is used after a day or two, it often presents the old ink separated by ink and wash.(Yan Min,2006,70) When used, it needs to add an appropriate amount of water to mix it.However, the grain is thick and cloudy, but the rice paper will show a special ink rhyme, there is a good.
+
Then he said, "Heaven and earth are not benevolent, and we regard all things as ruminant dogs. If saints are not benevolent, they will treat people as ruminant dogs. " The ruminant dog here is a dog that is only sacrificed with grass, referring to lowly things. It means that heaven and earth are not as fastidious as human civilization, and he treats all things equally and will not give special care to anyone. As a result, all things follow the trend and exist forever. Then the way of man should conform to the way of heaven, so the people who manage the world should do nothing, do not use civilization to derive too many tricks, this is against the way of heaven, it will only destroy the state of human existence.
  
−
====Paper====
+
"it is as good as water, so it is like the way." Laozi uses figurative water to describe the natural way in which Heaven operates, and the best state is like water. Nourish all things without competing with them, and flow downward, in the lowest position and hated by all, which is closest to the Tao.As Liu Xiao dared to say: "the topic of 'Tao and nature' clearly marks the status of nature as the highest principle and the highest value, so its spirit permeates all aspects of Laozi's thought, without mentioning the word 'nature' everywhere.”（刘笑敢，1995）
  
−
According to the raw materials, the raw materials of modern rice paper are mainly sandalwood and straw. Such as "cotton" sandalwood content is 40%; "Clean skin" of sandalwood content is 60%; The content of sandalwood is 80%. The higher of leather the content of the paper tension, toughness, density, soft cotton is stronger, the more can reflect the rich ink level and ink effect. There are many varieties of rice paper, but in terms of use, there are three kinds: raw, cooked and semi-cooked.Health xuan water absorption, ink absorption is strong, ink rhyme changes, ink immediately Yin open; Cooked paper is not. Cooked paper is processed by alum on the basis of raw xuan, or it does not absorb water at all. It is generally used as gongbi painting, of course painting and calligraphy can also be used. Semi-cooked propaganda is between the two, so the dyeing degree is also different, the author feels that some semi-cooked publicity is very suitable for calligraphy creation. The "Daqian paper" made in Jiajiang County, Sichuan province is mainly made of bamboo. During the War of Resistance against Japanese aggression, Zhang Daqian and his cousin once jointly developed the paper. The quality and performance are similar to that of rice paper.
+
Laozi is criticizing that the competition pattern of human civilized society is contrary to the way of heaven. In the primitive gentile society, there was public ownership of property, and no private property, and there was no competition. After privatization, a fierce competition pattern was formed, and everyone strived for the top, so the world was in disorder and life was restless. But there is no such competitive pattern in the operation of heaven and earth.
−
Vellum is also a big category, there are many kinds of coarse, fine. Mulberry bark and hemp are the main raw materials, wenzhou paper is the most important in the market, and other provinces such as Yunnan and Guizhou also produce. The characteristics of vellum are: not as white as rice paper, long and thick fiber, strong tension, loose texture, but toughness is better than rice paper. It is worth mentioning that the vellum can especially withstand the brush repeatedly rub and not broken, repeated dot dye and no pen mark.(Zhao Yue,2019,29)
 
−
Especially handmade yuanshu paper(元书纸), just like cotton cloth, is the first choice of those who learn calligraphy and painting, has the characteristics of vellum. By the way, the earliest authentic calligraphic work preserved in China today is Lu Ji's "Pingfu" of the Western Jin Dynasty in the Palace Museum in Beijing
 
−
The paper was coarse and yellow, very similar to today's Yuanshu paper, 60 years earlier than Wang Xizhi's Orchid Pavilion Preface. So, regardless of the edge paper, yuan shu paper, as long as you have a good grasp, still can be a fine art, and the effect is clumsy, do not have interest.
 
−
Xuan paper(宣纸) can be preserved all the year round because of its excellent quality, which has established its position in Chinese cultural history. Therefore, it has the reputation of "silk longevity is 800 years, paper longevity is 1,000 years". Ancient rice paper still exists today. If it is properly preserved, it often has no dryness, moderate ink spreading and dyeing, natural color, and suitable for calligraphy and painting. It is very refreshing, of course, expensive. Even before 1992, ordinary people could not afford to use it.
 
  
−
====Inkstone====
+
"Heaven and Earth can not be long, and people are even less likely.” The most primitive derivative of heaven and earth can not be eternal, and how weak people are. ”the softest thing in the world can control the hardest thing in the world.”To be gentle, the weakest of course refers to human beings, but people can control things that are much stronger than we are. He found that the weakest human beings with a very low degree of existence have the ability to control objects with a very high degree of existence.
  
−
Pick inkstone, such as the end of the inkstone, knocking stuffy, is the top grade, tile sound second, metal sound again. She inkstone is on the contrary, the sound crisp is the best, the sound turbid is second. Inkstone for use, hair ink for the shape of the second. Especially beginners do not need to buy expensive inkstone.
+
Finally, the Taoist scroll summed up the word "weak", which appeared as many as 11 times in Laozi's text of 5000 words.
−
After a good inkstone to wash, inkstone pool into water to keep it. Many people like to use a common inkstone all the year round, with a cover, the ink pool raised about 0.8 cm in the middle, around the water can be stored, good sealing, ink liquid storage ten days dry, new grinding ink liquid can get two or three days fresh.(Ma Doucheng,2002,16)
 
  
−
===The charm of The “scholar's four jewels”===
+
===4.1.3The interpretation of Te===
 +
The original word of Te's oracle bone inscription is a person walking on a road with a fork , staring only at the front and moving forward wholeheartedly. In other words, to act in accordance with the way of heaven is virtue. Therefore, the morality mentioned by Laozi is not the same thing as the morality we are talking about. The general law of the operation of heaven and earth is Tao, and it is virtue to comply with the Tao of heaven.Virtue is a part of Tao.（张岱年，1982，24）
  
−
For writers, the pen plays an important role in creating a good picture. CAI Yong once said, "If only the writing is soft, it is strange to be born." Because the pen is soft and flexible, the characters can be light or heavy, large or small, and the motions can change endlessly. The development of writing brush is also a process of gradual improvement. It was first invented by Meng Tian, a minister of the Qin Dynasty. He holloped a bamboo tube into a hair cavity, stuffed the rabbit into the cavity, and made a pen after reinforcement. To the Han Dynasty, inherited the Qin dynasty pen-making technology, and then improved. In the Tang Dynasty, Xuancheng, Anhui province, was famous for making hard stylus. At that time, people could only write by hanging their elbows on a low table, so most of the stylus was hard and short, which was convenient for writing. In the Song Dynasty, writing did not need to sit on the floor, there appeared a high table, elbow can be placed on the table, the pen tended to be soft. It was not until the Yuan Dynasty that the yanghao pen, which was abundant in Wuxing, Zhejiang Province, appeared and became popular. In addition to looking at the soft and hard of the brush, we should also consider the length of the brush edge. The long front pen is conducive to the rotation of the lines, and the short front pen is easy to use. Besides, pointiness, roundness, evenness and health are the four virtues of the pen. Writers can choose according to their writing style.The ancients mainly used ink blocks, and the grinding ink is not easy to stick, while modern people mostly use ink to save time and effort. Good ink needs to have black color, light, fine quality, light adhesive quality, anhui shexian hui ink is especially famous. Although black is simple, it can also be divided into different colors: dry, wet, thick, light and dry. In addition to choosing ink, we should also be good at using ink to create layered works and produce better artistic effects in the contrast between black and white.In the "four treasures of the Study", the status of paper can not be underestimated. Before the advent of paper, ancient people usually recorded their texts on animal bones, tortoise shells, bamboo and wood slices. After CAI Lun improved paper making, paper was widely used in life. Refined paper, namely xuan paper, anhui Xuancheng output is the most famous, white color, fine texture. Rice paper and raw, ripe points. Sheng Xuan ink absorption is strong, easy to penetrate, not easy to control. Cooked with alum will not absorb ink, but too cooked paper often does not eat ink. Therefore, most of the Chinese characters used are half-cooked paper.(Zhao Yue,2019,29)
+
He added: “Follow the way all things run, do not have any superfluous action, means morality." He continued to criticize human beings: "when the Tao is lost, people attach importance to the promotion of virtue, when virtue is lost, people attach importance to the promotion of benevolence, then righteousness, and finally propriety." When we advocated virtue（means Te）, we had already lost the Tao, so we began to talk about benevolence, and then we could not even protect the heart of benevolence, so we could only give handouts, and finally lost all Tao, virtue, benevolence and righteousness, and could only give etiquette. Etiquette is the summation of national political law and folk etiquette. It was only when we discarded all these that human civilization began the violent control of severe punishment and draconian laws.In other words, the rulers regulate the world with benevolence and righteousness, and people all over the world run for benevolence and righteousness, abandon their own nature and disguise themselves with benevolence and righteousness.（陈霞，2017）
−
In today's order of "four treasures of the study", the inkstone is not in the leading position, but in the eyes of the ancients, the inkstone as a research of ink tools are very important. Nowadays, the inkstone seems to be less important for writing and more for collection. For daily writing, choose inkstone is not very exquisite, do not have to be valuable, but have to be practical.
 
  
−
===Conclusions===
+
Another sentence is also very clear: "A person with deep moral self-cultivation is like a newborn baby." only a baby born within 7 days is virtuous. Civilized people develop their own wisdom, form a highly intelligent group, release their greed, and constitute a competitive society. In fact, this is a process of deviating from the way of heaven and losing material morality.
  
−
The culture of the Four treasures of the Study has a long history. People create the four treasures of the study in the process of labor, and in turn serve people's life. In the aspect of cultural inheritance, the four Treasures of the study have made great contributions. In the aspect of writing, the four treasures of the study are like people's friends. Therefore, the literati also praised it in their literary works. The culture of the four treasures of the Study before tang Dynasty is the source of the culture of the four treasures of the study after tang Dynasty. The literature of the four treasures of the study before Tang Dynasty has laid a foundation for praising the literature of the four treasures of the study after tang Dynasty both in terms of ideological content and artistic techniques. In the poetry of tang and Song dynasties, the four treasures of Chinese room appeared more frequently. No matter the expression of literati's morality and talent or emotion, they could not be separated from such carriers as ink, paper and inkstone. In terms of ideological content, it was more extensive and in-depth than that of the tang Dynasty. There are also flexibility and diversity in the use of artistic techniques, such as the production materials and techniques of the Four treasures of the Study, the four treasures of the Study and the life and emotion of the literati, the four treasures of the Study and the political people's livelihood, the four treasures of the Study and the cultural inheritance and exchange, etc., and there are differences in the expression of styles due to different times and styles. The images of the four treasures of the study in tang and Song poetry, such as "calligraphy(翰墨)" and "jian(笺)", also placed the author's unique thoughts and feelings. In addition, the combination of the four treasures of the study and other images, not only assisted the creation of characters in the poetry, but also provided convenient conditions for the creation of aesthetic conception in the poetry. The four treasures of the Study appeared in a large number of poems during the Tang and Song dynasties, which was not only related to the unique cultural implication of the four treasures of the study, such as family training, morality, talent, practicality, obsession, embellishing, and kindness, but also closely related to the social features of the time, such as the implementation of cultural and educational policies, the enrichment of study culture, and the development of handicrafts.(Dong Xiuxiu,2018,60)
+
So what are we supposed to do? Laozi said: "to wear away people's sharpness, sharpness and edges, to extricate themselves from disputes, to blend into all phenomena of light, and to mix with the dust of the earth, the greatest is also the smallest. This is called subtle unity." It means that we should close our channels of facial features, do not accept too much external information, close the door of the spiritual world, and frustrate the great aspirations of civilization. Only in this way can we resolve disputes in civilized society.
−
With the popularity of Han culture, the "four treasures of the Study" has been introduced to more countries, which not only strengthens the cultural exchanges between China and other countries, but also helps calligraphy to go abroad and spread to all over the world, making calligraphy art more brilliant. Nowadays, we pay more attention to calligraphy, attach importance to cultural confidence, and constantly create a cultural world belonging to China. Writing good Chinese characters is a skill that each of us should master, and spreading calligraphy culture is also the responsibility of each person.
 
  
−
===References===
+
Therefore, the center of Laozi's theory of morality(means Te) is this sentence: “There is nothing to do ." Virtue means walking along the way, and nothing else is needed. It can be summed up as the word "inaction". Inaction means opposing all civilized actions.If you do nothing, there is nothing that cannot be done. “有为”（means action） means that they cannot practice "Tao". Although they are always inseparable from virtue and fame, they are purposeful, purposeful, camouflage and deceptive.(陈霞，2010)
−
[1]Fan Zunrong 范遵荣,(2021).中国古代的文房四宝[The four treasures of the ancient Chinese study].文史长廊 Literature and history corridor, 87-92
 
  
−
[2]Zhao Yue 赵悦,(2021).在“文房四宝”中感受书法的魅力[Feel the charm of calligraphy in the "Four Treasures of the Study"].科学之友 Friends of the science,28-29
+
His ideal is to return to the primitive gentile society, the country is small and the people are few, even if they have advanced tools, the people value life and death and do not leave their hometown, and they are not bound by beliefs such as brave sacrifice. Even if there are cars, boats and weapons, no one uses them. People return to the simple state and enjoy the simplest happiness of life. Countries also return to the animal kinship society, wolves will eat sheep, but wolves will never eat wolves, the same kind will divide the territory of life, there will never be slaughter. To return to the uncivilized state of existence. “The country is smaller, the people are more stupid, the things are simpler, and the things are simpler." This is Laozi's real ideal.
  
−
[3]Dong Xiuxiu 董秀秀,(2018).唐宋文房四宝文化与诗词创作研究[Study on the Four Treasures culture and Poetry creation in Tang and Song Dynasties].Nan Jing Normal University 南京师范大学
+
We all have a forward-looking perspective, and thinkers can make up for the backward perspective and mobilize our thinking to know the facts. The most important thinkers in the history of human thought, such as Laozi, Confucius, Plato and Rousseau, all expressed the tendency of anti-civilization.
  
−
[4]Pan Jialai 潘嘉来,(2005).中国传统文房四宝[The four treasures of traditional Chinese study].People's Fine Arts Publishing House 人民美术出版社
+
===4.1.4The cause of the thought of Laozi===
 +
Why did Laozi have such a reactionary moral theory and social view?
  
−
[5]Ma Doucheng 马斗成,(2002).苏东坡与砚[Su Dongpo and inkstone].Chinese classics and Culture 中国典籍与文化
+
At that time, East Asian civilization was limited to the Central Plains, which was called the Central Plains civilization. He is surrounded by uncivilized people who don't have to reason logically. In the civilized Central Plains, interpersonal relations are tense, intrigues and wars are everywhere. Shang destroyed Xia, Zhou destroyed Shang, to the Spring and Autumn period, more than 180 vassal states became one, while looking around the primitive clan society, the uncivilized and uncivilized society was peaceful.
  
−
===Terms and expressions===
+
Therefore, by comparison, Laozi can find that civilization is a disaster and the trend of civilization is bad. Laozi believes that all things in heaven and earth originally developed harmoniously like Tao, but human beings gradually deviated from Tao because of their pursuit of selfish desires, resulting in conflicts between man and nature, man and society, man's body and mind and so on.（黎千驹，2022：93-101）In Laozi's text, his view of reactionary society is expressed very clearly. Many ancient thinkers held a critical attitude towards civilization, because civilization was only a small seedling at that time, they could see the whole picture and development trend of civilization, and they could see that it was a process of disaster. This is the basic social view of the Chinese sages in the pre-Qin period. This was also the cause of the tone of conservatism in Chinese culture at that time, in which there was a far-reaching vision, which laid an important foundation for China's stable survival for more than 2000 years.
−
The"scholar's four jewels"  文房四宝
 
  
−
Writing brush, ink, paper and inkstone  笔、墨、纸、砚
+
===4.2The thought of Confucius===
 +
Confucius and Laozi, although they are masters and apprentices, their cultural characters are diametrically opposed.Confucius is best reflected by a sentence in the Analects of Confucius, "knowing that it cannot be done". I know full well that I cannot do it, but I will still try my best to do it, expressing a cultural attitude of actively participating in social activities, which is summed up as "joining the world”.
  
−
the Neolithic Age  新石器时代
+
And what about Laozi? His cultural character is extremely negative. The most representative are the words "do nothing but do nothing" in the Tao Te Cing, which means that tough I did nothing but I have done everything, which is ridiculous. In fact, it means that Tao derives all things from heaven and earth, but does not see any superfluous action. Laozi is extremely negative , summed up as "born", born out of the world. This is why Sima Qian added a special sentence in the Biography of Laozi in Historical Records, calling for different ways to conspire against each other. It means that the Tao between Confucius and Laozi is different, although the two are master-apprentice.
  
−
soft brushes  软笔
+
===4.2.1The characteristic of Confucius' theory: insipid===
 +
Confucius and his Confucianism are almost the soul and benchmark of Chinese traditional ideology and culture, leading Chinese mainstream ideology for more than two thousand years. This is a situation that we can hardly see anywhere else in the world except religion. However, compared with Laozi, Confucius' theory is shallow and straightforward. Because Confucius is concerned with the real social and political problems, while Laozi is concerned with the ultimate problem. Therefore, Confucius' theory is very insipid.
  
−
Rice paper  宣纸
+
In fact, the core of Confucius theory is that monarch and subjects, father and son. The first word is a noun and the second word is a verb. What he means is that the king should be like a gentleman, the minister should be like a minister, the father should be like a father, and the son should be like a son. The doctrine of Confucius is such a straightforward statement. Hegel said, he said, "Confucius' books are just full of old moral lessons." These are his exact words. He even said that it would be better not to translate his books, which would damage his glorious image. Obviously, there is a gap in Hegel's expectations of Confucius. The West was in a state of religious repression at that time. At that time, Westerners knew that there was an empire governing the country by virtue in the East, and its management model established social order on the basis of human ethics and morality, which was much milder than the suppression of human nature by the theocracy in the West. Therefore, they were extremely envious of the East, coupled with some untrue legends at that time, they thought that the East was extremely rich. Therefore, the western philosophers and academic and cultural circles at that time regarded China as the paradise of the East.
  
−
New Book of Tang  《新唐书》
+
===4.2.2The features of Confucius' time===
 +
1. Confucius was born at the end of the Spring and Autumn period, the phenomenon of national destruction occurred constantly, and the monarch was killed constantly. Only 43 cases were recorded in the history books in the past 255 years. And everything went haywire. There is no war between human beings and animals before civilization, and the struggle within the animal species only occurs during estrus for reproductive resources, and this is also an individual struggle. As soon as the outcome is divided, the struggle stops immediately. You don't want to kill each other, let alone a collectivized war. It is only after human civilization that brutal internal killings occur.
  
−
Six Books of Tang  《唐六典》
+
2. In ancient times, there was no severe punishment and severe law, and the country was ruled by virtue. The clan tribal society has always maintained social stability with a soft moral system. Confucius said: "if we govern the people with government decrees and restrict them with penalties, they will be free from sins, but they will not feel it shameful to disobey the rule; if we rule the people with morality and bind them with etiquette, the people will not only have a sense of shame, but will correct their mistakes." If the society is managed by penalty, people will not touch the bottom line of the law in order to evade the punishment of the law, but there will be people to do anything that is not prohibited by law and no matter how immoral it is. Moral ties are no longer enough to maintain social stability, so they have to be regulated in a violent way. Confucius called it the collapse of etiquette and music. The more civilization develops, the more complex the society becomes, and it becomes extremely difficult to survive only with a simple heart in a highly complex society.
  
−
Old Book of Tang  《旧唐书》
+
3. The characteristics of this period:Let's take a look at how the first great social transformation was carried out in the pre-Qin period from the economic, political and cultural aspects. Economically, with the rapid development of productive forces in the pre-Qin period, agricultural civilization tends to be stabilized, farming techniques are widely used, bronzes are widely used, and iron has appeared in farming tools. As we all know, in the early years of mankind, although agricultural civilization took place 8,000 or even 10,000 years ago, in the early thousands of years of agricultural civilization, the way of life of hunting was still dominant. Agricultural farming is still only an auxiliary part of human means of livelihood and food and food materials.
  
−
Alum paper  矾纸类
+
When agriculture develops to a certain scale, the scope of land reclamation becomes larger and larger, and forest vegetation is pushed far away, human beings will completely return to agricultural civilization from the way of life of hunting and gathering civilization. Therefore, the full maturity of agricultural civilization requires large-scale population development, large-scale land reclamation, large-scale destruction of trees, and then people can not reach the forest. Only at this time can agricultural civilization be completely stable. Therefore, after thousands of years, China's agricultural civilization did not take shape until the Zhou Dynasty, and hunting and gathering became a secondary source of feed for life. Not only that, in the Spring and Autumn period, the sprout of industrial and commercial civilization appeared in China's agricultural civilization. With the development of agricultural civilization to a certain extent, due to the gradual complexity of agricultural production tools, a considerable number of products are made of non-agricultural products. The early production of non-agricultural products was done by the farmers themselves. Such as building houses, weaving cloth, and even making pottery, but with the further development of the division of labor, with the further complexity of people's lives, a large number of things cannot be completed by farmers, such as more complex and diverse pottery production, the smelting of bronze, the production of tools, all these things will cause the division of labor to appear in agricultural civilization.
  
−
Dictionary Source  《辞源》
+
With the emergence of the division of labor, some people no longer work in agriculture, but only make certain products for use by others. We do not use this for our own use, but make it for use by others in exchange for goods. This product is called a commodity. As soon as the commodity appears, the exchange takes place. The exchange activity in the early years of mankind was barter, because there were very few kinds of goods. So if the variety of goods continues to increase, the other party does not need what you want to exchange, and you do not often have what the other party needs. Therefore, there is a need for some kind of unified scale of exchange and medium of exchange, also known as general equivalents, that is, such a commodity in which it can measure the value of any commodity, which is money. Therefore, the emergence of money marks the emergence of human exchange, or division of labor, or commodity economy, to a considerable extent. But in the pre-Qin period of China, money had already appeared. It indicates that China's agricultural economy matured on a large scale and the sprout of commodity economy has generally occurred in the pre-Qin period.
  
−
Compendium of Materia Medica  《本草纲目》
+
Let's take a look at the political form. The authority of the emperor of the Zhou Dynasty has fallen, and the original feudal social ties have been lax. Not only that, the vassal states grew up, the activities of annexation of the world continued to occur, national annihilation events emerged one after another, international wars continued to occur, not only that, it unexpectedly appeared a major change in the form of social class. As we all know, the king of Jin in the Spring and Autumn period was rebelled by four important courtiers, namely, the famous Han, Zhao, Wei and Zhi families. At this time, a famous political figure named Zhao Wut appeared in the Zhao family. He announced the liberation of all slaves in Zhao and gave away 30 mu of land. at the same time, he announced to all countries in the Central Plains that if any slaves fled to Zhao from other countries, they would liberate their lives and give away land. Zhao Xiangzi's move led to the instant collapse of slavery in the land of China. Why? Because the idea that the people are precious is a typical feudal thought. That is, for any feudal lord, his best interest lies not in the size of his fief, but in the population of his fief. Because the greater the number of families and population, the greater his tax benefits. Therefore, Zhao Xiangzi liberated the slaves and he got the people. He got two major benefits. First, labor resources, the number of people; the second soldier. Therefore, this led to the liberation of slaves all over the surrounding countries, his citizens would flee, and slavery quickly disintegrated on the land of China.
  
−
Yi De Ge  一得阁
+
The pre-Qin period is the era in which Chinese traditional culture was fully formed.
  
−
Cao Su Gong  曹素功
+
===4.2.3Confucius theory===
 +
The core of Confucius' theory is "monarchs and subjects, father and son". That is to say, Confucius used the most primitive blood social button to rectify the social structure of the super-blood unstable society. In rebuilding the order of the rule of etiquette, Confucius "did not extroversion to heaven and earth but introverted to the hearts of the people, and finally settled on 'benevolence’.”（余英时，2014）
  
−
ink pool  墨池
+
And what is the consanguinity society? It means there is a difference in love. It has something to do with sociobiology. In the middle of the last century, biologists found that all living things and all animals live in social groups. Social biologists have found that the emotions and love of all animals are different. For example, parents love their children most strongly, followed by brothers and sisters. The cub state of any creature needs to be cared for by its elders, otherwise he will not survive. So emotionally, the relationship between parents and children is the heaviest, and then between children, followed by brothers and sisters.
  
−
the tip of a writing brush  笔锋
+
Human agricultural civilization took place in the era of consanguinity society. On every mu of land, we must work together and cultivate carefully in order to get enough food and clothing. This is the basic feature of agricultural civilization. The structure of consanguineous ethnic groups is the most readily available and favorable way to form this stable cooperation.Here we talk about benevolence at most, more than a hundred times.（李泽厚，2008）
  
−
Arm resting pillow  臂搁
+
===4.3The thought of Shang Yang===
 +
===4.3.1The introduction of Shang Yang===
 +
The emergence of Legalism marks the retreat of Confucianism. With the high development of agricultural civilization to the pre-Qin and Spring and Autumn periods, the population has soared, class society has been divided, interpersonal relations and resource relations have gradually become tense, and the competition in human society has become increasingly fierce. It can even be said to be getting worse and worse, so the Legalists began to emerge, and the soft Confucianism withdrew. Legalist doctrine shows the darkness of human nature.
  
−
Writing-brush washer  笔洗
+
Shang Yang was the most representative figure of the Legalists, and he did a very successful thing. It was Shang Yang's reform that helped Qin realize the reform from the rule of virtue to the rule of law. Shang Yang was able to reform in the State of Qin, of course, the main credit went to Qin Xiaogong. At that time Shang Yang is only a guest minister, and he does not have any political influence in the State of Qin. And any reform must touch the interests of the original aristocratic interest groups in the State of Qin and cause the counterattack of the aristocratic groups. He relied entirely on Qin Xiaogong to bear it, so that Shang Yang could continue to reform.
  
−
Paper weight  书镇
+
Shang Yang was very lucky. although Xiaogong was under great pressure and died of illness at the age of 44, he accompanied Shang Yang's reform for more than 20 years. As soon as Xiaogong died, Shang Yang was immediately retaliated by aristocrats. Although King Qin Huiwen, the next king, killed Shang Yang, it was not easy to solve the long-term accumulation of reform for Shang Yang. And King Huiwen of Qin was well aware of the effectiveness of the reform of Shang Yang, and continued the reform of Shang Yang. After the implementation of the later six kings, the government of the king of Qin finally unified the world, and from then on he was known as the first emperor. So we can say that thanks to the reform of Shang Yan, the king of Qin unified the world and became Qin Shihuang.
  
−
Ink well  水丞
+
Shang Yang's reform has two characteristics. First, it is determined to reform without regard for personal safety. Second, he pays no attention to the outside world. As we all know, the average politician must first be able to deal with personnel, but this is not the case with Shang Yang. Liang Qichao, the most famous scholar in the era of the Republic of China, once said that only six people in Chinese history could be called politicians, in other words, other people could only be called politicians, and one of these six politicians was Shang Yang.
  
−
Inkpad  印泥
+
===4.3.2Shang Yang's reform===
 +
In the early days of the reform, he set up a large piece of wood at its south gate in the then temporary capital of the State of Qin, called Yueyang. Then tell anyone in the public that if you carry this wooden rafter from the south gate to the north gate, you will reward ten gold. Gold in the pre-Qin period was not gold but bronze, but a jin of wealth was equivalent to the total harvest of a peasant family in a year, and ten gold was equivalent to the total harvest of a thousand years of farmers, which was a great opportunity to make a fortune. However, all the people watched and laughed, thinking that the official words could not be trusted, because it was too strange, and it also showed that the credibility of the Qin government was not high. As soon as Shang Yang saw that no one was involved, he raised 50 gold. At this time, a young man came out. He said that I carried this piece of wood to the north gate. Even if the government lied to me, there would be no great loss. I would try to carry it over. So carrying the wood to the north gate, Shang Yang immediately rewarded fifty gold, and this man became rich instantly, which is the famous allusion of Qianmu Lixin. What is Shang Yang doing? he is telling the people of the Qin Dynasty that Shang Yang's reform is true. The fundamental spirit of Legalism is that the law is absolutely sacred and the government is not allowed to act outside the scope of the law.（梁启超，2015）Please abide by the law.We can see the wisdom of Shang Yang in practicing the law from this very small matter.
  
−
Ink rest  墨床
+
With regard to the detailed rules of Shang Yang's reform, we give a brief account of the main items.
  
−
Ink cartridge  墨盒
+
First, to force people to learn the lowest level of etiquette, this etiquette is not a Confucian culture, but to get rid of the barbaric wind and establish a modern social configuration at that time.
  
−
===Questions===
+
Second, every citizen should be forced to have a legitimate job, and no one should be idle. What is the national occupation? Take measures to attach importance to agriculture, that is, to develop all the wasteland of Qin. Just like today's British princes are going to serve in the army for some time. Shang Yang stipulated that anyone, including the children of aristocrats and rich businessmen, who were idle, should be sent to the frontier to open up wasteland. From this we can see that Shang Yang's reform is the same as Wu Qi. If he wants to change the national policy, he must deal with the original political structure formed by the original aristocracy, which is of course a serious violation of the interests of the aristocracy.
−
1. Chinese calligraphy is a profound art with a long history. When did it step into the door of the palace of art, become an indispensable artistic treasure in Oriental history, and develop into a broad and profound knowledge?
 
  
−
2. When did the name "wenfang" come from?
+
Third, he also stipulated that a family with two adult men must be separated. There are two benefits: increasing labor enthusiasm and taxes. The reason is that in the big family system in ancient China, everyone ate in a big pot, and because communism was practiced within the family, everyone had no enthusiasm for labor. No matter how much I put in, I will share it equally with everyone and distribute it according to needs, so my enthusiasm for labor is not high. When it comes to a legal society, we should establish a tax system. Tax is based on the family, if the family is large, the tax base is very weak. For these two reasons, Shang Yang's reform requires that any man must be separated once he is married as an adult.
  
−
3. Where were the two earliest writing brushes unearthed at present?
+
Fourth, reward farming. Qin people banned business, that is, the people of Qin were not allowed to do business, but only allowed to engage in agriculture. The income of commercial activities is much higher than that of agriculture, so China has adopted the national policy of emphasizing agriculture and suppressing commerce since ancient times to suppress businessmen, so where to deploy resources? Preferential treatment for foreign businessmen. That is, businessmen from other countries around the world will give preferential policies if they come to do business in the State of Qin. It is a bit like the situation in the early days of Deng Xiaoping's reform, which does not mean that we are advanced, but that we are similar to those of more than 2,000 years ago. Foreign businessmen went to Qin to do business to solve the problem of resource allocation, so they gave preferential policies to foreign businessmen, so the Qin people  engaged in agriculture and foreign businessmen did business, forming an extremely reasonable national economic structure.
  
−
4. When were traces of ink first found?
+
Looking at Shang Yang's reform, the degree of Shang Yang's reform is no less than any revolution. It carries out reforms not only in the economic field, but also in the political field, and it even changes the state system, which used to be a feudal system and has since been an autocratic monarchy. It is not a general political reform, it is a fundamental change of the state system. This kind of thing can usually be accomplished only through revolution. Shang Yang's reform basically adopted the way of no bloodshed and non-violence, and completed this revolutionary reform. This is very rare in history, which is why Liang Qichao said that Shang Yang is one of the only six major politicians in China.Liang Qichao spoke highly of the theory of "rule of law" of ancient Chinese legalists represented by Shang Yang, and thought that "the theory of Legalists means that no matter whether they are wise or wise, they must act within the scope of the law. This is the essence of the theory. “（梁启超，2012)
  
−
5. What are the four virtues of the pen?
+
===5.Conclusion===
 +
With regard to the hundred schools of thought, we discussed in detail the three major factions: Laozi, Confucius and Shang Yang. The writing purpose of this paper is not only to review the path of the ancients' thoughts, but also to let everyone know that when we are faced with a social transformation, a major social confusion and an increasing amount of information, how do we imitate our predecessors to face reality, put forward new problems and put forward new ideas? In this way, human beings will open up a channel for their future survival, which is the most important enlightening significance of this paper.
  
−
===Answer===
+
===References===
−
1. Chinese calligraphy is a profound art with a long history. As early as the Qin and Han Dynasties, it has entered the door of the palace of art, become an indispensable artistic treasure in Eastern history, and developed into a broad and profound knowledge.
+
*[1] 黎千驹: 老子的人生哲学及其价值研究[J]. 贵州工程应用技术学院, 2022.
  
−
2. The name "Wenfang" originated in the Southern and Northern Dynasties (420-589 AD), specifically referring to the study of literati, with pen, ink, paper and inkstone as the use of the study, and is known as the "four treasures of the study".
+
*[2] 刘笑敢: 《试论老子哲学的中心价值》[J]，《中州学刊》1995年第 2 期。
  
−
3.The two earliest writing brushes were unearthed from the Chu Tomb in Changtai Pass, Xinyang city, Henan Province and the Chu tomb in Zuogong Mountain, Changsha City, Hunan Province. The writing brush is different from the modern general writing brush. The hair is wrapped in one end of the pen holder with silk thread. The tip length is 2.5 cm.
+
*[3] 陈霞: 《论道家道德哲学的几个特点》[J]，《宗教学研究》2010 年增刊。
  
−
4. Archaeological discoveries Have found ink-drawn patterns of fish, deer and plants on pottery from the Neolithic Period. Inks and stone grinding sticks dating back more than 6,700 years were found at the Jiangzhai site in Lintong, Shaanxi Province.
+
*[4] 陈霞: 《道家哲学引论》[M]，北京: 中国社会科学出版社，2017年，第132页。
  
−
5. Pointiness, roundness, evenness and health（尖、圆、齐、健） are the four virtues of the pen. Writers can choose according to their writing styles.
+
*[5] 张岱年: 《中国哲学大纲》[M]，北京: 中国社会科学出版社，1982 年，第24页。
  
−
==外国语言文学   Akira Jantarat    202121080009==
+
*[6]余英时. 论天人之际：中国古代思想起源试探[M]. 北京：中华书局，2014.
−
<center>'''The emergence of new linguistic forms in Chinese (neologisms)'''</center>
 
  
−
<center>Akira Jantarat</center>
+
*[7] 李泽厚. 论语今读[M]. 北京：生活·读书·新知三联书店，2008：263.
−
===Abstract===
 
  
−
"Neologisms" are new words or phrases. that created and adapted for use in daily life, but has not officially recognized. As we can see, new linguistic forms in modern China such as “欧巴” (Oppa) are derived from Korean, and “GG” is not the meaning of brother (“哥哥” gege) but is “Good Game” etc. This study aims to study the emergence of factors of new linguistic forms in Chinese. The secondary data collection is both domestically and internationally, showing that there are many factors causing Neologisms in China, whether for cultural, social, or historical reasons or even influenced by the internet world. These results suggest that historical events and the Internet have an impact on language.
+
*[8] 万晓艳. 儒家文化与中华文化的碰撞与冲突[J]. 高等教育与研究, 2009（10).
  
−
===Key words===
+
*[9] 梁启超.中国法理学发达史论[M].北京: 商务印书馆，2012．
−
Chinese, New linguistic, Neologisms
 
  
−
===Introduction===
+
*[10]梁启超.先秦政治思想史[M].北京: 中华书局，2015．
  
−
Language is important to humans because in addition to being a tool for communication It is also a tool for learning and developing human thinking. It is also a tool for transmitting culture and occupation as well as enhancing the unity of people who speak the same language. Language is a symbolic system that functions as a tool of social communication, consisting of sound, vocabulary, and grammar. "Vocabulary is the most important component of language" (Chen Yuan, 2000, p.209)
+
===Terms and expressions===
 +
*Confucius孔子
  
−
"Neologisms" are new words or phrases. It's a popular word that was created. or adapted for use in daily life but has not yet been officially recognized. Nevertheless, more the modern vocabulary, people are more interested. And "Neologisms" include not just new words, it also new constructional patterns, newly innovated in parts of speech (David Crystal, 1996, 73)
+
*The axial age轴心时代
−
Nowadays, technology plays a huge role in the daily life of people of all genders and ages. As a result, words or sentences spoken in Simplified Chinese become a dynamic vocabulary, and are constantly evolving into new words. The world situation where technology is the driving force of development has made a big change in the language industry. Much of the emergence of Neologism is due to the constant new ideas and creative language of people on the Internet, with different usage goals, such as daily news announcements who want to make the news more interesting or even game caster, its can inventing new words intentionally or unintentionally. No matter what language, when old words are not enough to satisfy the need for expression After something new is born, society or person will have an impulse to make words quickly, to be used in the memorization process, or the process of summarizing the main characteristics of things. And when a new word is accepted and widely used in society, that word will become an old word. And Neologism is the reason why languages are still alive.
 
  
−
Neologism in China has grown exponentially compared to the past. And that is to respond to the changing world of the superpower country of the Internet world. The change of the Chinese language and the emergence of Neologism in China not only affected the Chinese language but also affects Chinese culture as well. Therefore the important that we need to research and understand the influences that cause Neologism. Therefore, the objective of this study is to study the influences in various fields that resulted in the emergence of the Neologism form in Chinese or “Neologisms in Chinese”. The study of phenomena created by human society It is very important to Chinese linguistic researchers and social researchers. And also, a matter that should not be ignored, because we are about to enter a decade that has changed from the original.
+
*Geometry几何学
  
−
===Literature Review===
+
*Sinology thought国学思想
  
−
Nowadays, the number of words that we use in our daily life is increasing. The research of new words is becoming more comprehensive and systematic as well. Researching new vocabulary by researchers has resulted in many new words being enriched and increasing awareness of the importance of language. At the same time, many linguistic researchers have taken into account and researched the factors and emergence of new words. This reflects the importance of research on the factors of lexical formation intensified. Here's a summary and an introduction to previous research.
+
*Tao Te Ching道德经
  
−
'''Definition of a new word'''
+
*Public ownership of property财产公有制
  
−
Wang Tiekun, explains that although the current definition of the new term captures the characteristics of the new word from different angles, The nature of creating new words will consist of "Reconstruction, new borrowing, new meaning and new use" of new words. (Wang Tiekun, 1992)
+
*Confucianism儒学
−
Lu Shuxiang, pointed out that some new words and new meanings might be new. But some words are not very new. But it's just an omission from the general dictionary. (Lu Shuxiang, 1984)
 
  
−
'''The birth of a new word in Chinese'''
+
*Bronze Ware青铜器
  
−
In Liu Jin and Hongyin Tao's research titled Chinese language in a global context provided information that Language as a symbolic system is often determined by internal and external factors. Factors outside language such as social identity, culture, tradition, progress, creativity, technology, and conservation. and also said In the context of globalization, English is often seen as a hegemony language. English is growing in popularity to communicate over the Internet. This is one of the results that has enabled China to create a more modern economy, society, and culture and keep up with the evolution of the world. (Liu Jin & Hongyin Tao, 2016)
+
===Questions===
 +
*1.What is the relationship between Confucius and Laozi？
 +
*2.Which school does Shang Yang belong to?
 +
*3.Is the thought of Laozi very positive?
  
−
===Theories===
+
===Answers===
 +
*1.Confucius is a student of Laozi.
 +
*2.Legalists.
 +
*3.No，the thought of him is negative.
  
−
'''Humanistic theories'''
+
==英语笔译 谢晓莹 Xie Xiaoying 202170081601==
 +
<center>'''The Acrobatic Fighting in Peking Opera'''</center>
 +
 +
<center>Xie Xiaoying</center>
 +
 +
===Abstract===
 +
Known as the quintessence of Chinese culture, Peking Opera is an intangible cultural heritage of China and the world with profound cultural heritage. Among the four basic skills of "singing, speaking, acting and combating" that Peking Opera emphasizes, "combating" is the highly artistic refinement of fighting scenes in daily life. The acrobatic fighting in Peking Opera have made great contributions to shaping the characters and enriching the plots, which has become a highly expressive and infectious dance language in Peking Opera performances. With a long history, it draws nourishment from the chivalry culture of ancient China, puts the traditional Chinese martial art culture on the stage, and develops distinguished artistic skills and aesthetic characteristics. Starting from the martial spirit and chivalrous culture of ancient China, this paper expounds the origin and development of acrobatic fighting in Beijing Opera, analyses the reasons of its significant place in Peking Opera based on its artistic techniques, and explores the development path of it in new era, so as to deepen people's understanding of the Peking Opera and carry forward the traditional culture of the Chinese nation.
 +
===Key words===
 +
acrobatic fighting; Peking Opera; martial spirit; chivalry culture; artistic techniques; inheritance and development
 +
===Introduction===
 +
Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden (Zhang Yinhe 2013, 15). As the product of the merging in Peking of Anhui and Hubei opera styles in the late 18th and early 19th centuries, Peking Opera has a set of standardized forms of artistic expression in literature, performance, music, stage art and other aspects. There are four character roles in Peking Opera, that is, Sheng, Dan, Jing and Chou, each with a set of performance procedures and distinctive skills in singing, speaking, acting and combating. Historical stories are the main content of Peking Opera. There are more than 1300 traditional operas, of which more than 300 are often performed. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.
  
−
Humanistic theories consider people as having an agentive role in the social construction of language. Language is a primarily sociocultural phenomenon. The tradition emphasizes culture, nurture, creativity, and diversity.（Koster,2011) Rousseau's who advocated innatism, believed that people had created language in a step-by-step, this process for serving their psychological need to communicate with each other. Thus, language is thought of as a rational human invention.
+
"Combating", one of the four basic skills of Peking Opera, is not only an indispensable means of expression, but also clearly reflects the important position of martial arts in Peking Opera performance. As a traditional Chinese national art, acrobatic fighting is a kind of stage art that borrows offensive and defensive movements of martial arts as a means of physical expression. It absorbs action materials from martial arts and enriches performance skills. In Beijing Opera, the entertainment of acrobatic fighting comes from the acrobatic nature of martial arts. In performance of acrobatic fighting, there are often combat with knives, guns, sticks and other instruments, as well as pair combat and hand-to-hand combat performances, which are so intense that they can always attract the audience and give them associations and resonance. Therefore, although some acrobatic fighting performers are not excellent in singing and speaking, they are able to create distinctive characters with their excellent martial art skills and win great reputation (Liu Haikuan 2005, 58).
  
−
===Background===
+
The acrobatic fighting represented by Peking Opera was an inexhaustible artistic treasure house for other art forms at that time in terms of costumes, martial arts, instruments, Qupai, performances and choreography, providing rich creative space for directors, scriptwriters and actors from generation to generation. However, the decline of the Peking Opera and the operas with both singing and martial characteristics in the current society is a cause for concern, and it is necessary to have a comprehensive understanding of Peking Opera and explore ways to continue its development in the contemporary society.
  
−
'''Definitions of Neologisms'''
+
This paper consists of three chapters. Chapter one gives a brief overview of the origin of the acrobatic fighting in Peking Opera, including the inheritance of the martial spirit of the Chinese nation and the influence of ancient chivalry culture. Chapter two introduces the artistic skills of the acrobatic fighting in Peking Opera and analyzes the character of Zhao Yun and the performance Crossroads based on this skills. Chapter three discusses the inheritance and development of the acrobatic fighting in Peking Opera, such as digging out the lost plays by seeking experience from the predecessors and collecting drama notes from the veteran fans.
 +
===Literature Review===
 +
Peking Opera has a history of more than 150 years since its formal formation in the Tongguang Period in the late Qing Dynasty. Although it is impossible to give a standard answer to the question of the repertoire of acrobatic fighting in Peking opera, it is still possible to find almost all the repertoire in many books that record the repertoire of Peking opera. However, throughout the research on the artistic theory of Peking Opera for more than one hundred years, the research on the martial drama is relatively weak compared with the research on singing drama. On the one hand, the research results on the martial drama are fewer and more difficult than that on the singing drama. On the other hand, among the few articles and treatises on acrobatic fighting, most of them are about famous performers, repertoire, and techniques, while few of them are about the origins, development, current situation, and solutions of problems of acrobatic fighting in Peking opera, and few of them are about a comprehensive study of acrobatic fighting in the context of Chinese history and national psychology (Du Peng 2014, 5).
  
−
A neologism is a relatively recent or isolated term, word, or phrase that may be in the process of entering common use, but that has not been fully accepted into mainstream language. (James M. 2006) Neologisms are often driven by changes in culture and technology. (McDonald, 2005) Neologisms are mostly spread through mass media exposure (Sayadi, 2011), such as Facebook, Twitter, WeChat, Television, etc. Generic brand name designations such as "可乐" for Coca-Cola or "五G" for 5G are spread through popular uses, which have been updated by the media. These terms also express the concept or a concept, that is used instead of explaining certain events or situations that are difficult to explain, to make it easier to understand, and show the culture, concepts, and values of present people.
+
Over the past hundred years, the research works related to the acrobatic fighting can be roughly divided into the following categories: (1) The discussion of the performing skills of the acrobatic fighting. Most of the articles and books about it are summaries and records of technical skills, while some of them also have the requirements and explanations of famous artists for skills of acrobatic fighting, such as ''The Role of Acrobatic Fighting in Traditional Chinese Opera'' by He Jinhai. (2) Repertoire statistics and script compilation. As for the acrobatic fighting repertory in Peking Opera, one can find it in many books recording Peking Opera repertory, such as ''A Compilation of Traditional Peking Opera Scripts''. (3) Collection of art criticism by famous performers. These books contain both the actors' own experience of performing acrobatic fighting and memories of fans and the drama critics who have watched the performances of these famous artists, such as ''The Collection of Art Criticism about Yang Xiaolou'' edited by Dai Shujuan et al. (4) Treatises on memory of famous artists. Most of these works were written by famous Peking Opera masters and recorded by others, which are regarded as important first-hand materials, such as ''A Miscellany on the Performing Arts of Peking Opera'' narrated orally by Qian Baosen and compiled by Pan Xiaofeng . (5) The works of the drama critics. These works not only have a good account of some of the Peking Opera's acrobatic fighting and famous schools, but also have a great contribution to the study of the aesthetics and theories of Peking Opera, such as Qi Rushan's ''The Art of Chinese Opera''. (6) Biographies of famous performers. These works include the memory and summary of the life of the predecessors by later generations. Among them, there are performance materials of famous artists about acrobatic fighting and operas with both singing and martial characteristics, such as Song Danju's ''Stage Art of Song Dezhu''. (7) Dictionaries related to Peking Opera. Such books summarize the expression of special nouns of acrobatic fighting in Peking Opera, such as ''Dictionary of Peking Opera Culture'' by Huang Jun and Xu Xibo.
 +
===Methods and Theories===
 +
Based on the research method of discovering problems, studying them, and solving them, this paper takes the development of acrobatic fighting in Peking Opera as the main clue, involving the study and analysis of its origin, characteristics, current situation, and future development, and seeks effective methods and approaches for the rise and prosperity of acrobatic fighting in Peking Opera while exploring the inner artistic characteristics of it.
  
−
'''Languages and Society Relationship'''
+
This paper starts from the origin of acrobatic fighting, which involves social culture, social psychology, national psychology and other aspects, aiming at the analysis of performance skills of acrobatic fighting in Peking Opera with justification and evidence, and also focuses on the practicality of the theory of the article with the research method of theory in practice. In addition, the breadth of the material requires a more sophisticated research method to be effective. The study of acrobatic fighting in Peking Opera involves a variety of knowledge, including social psychology, history, theater and operatic studies, and Peking Opera performance studies. Only after reading and inquiring enough literature information related to acrobatic fighting in Peking Opera can we have a more comprehensive understanding of it.
 +
===Origin of the Acrobatic Fighting in Peking Opera===
 +
'''1.Inheritance of the Martial Spirit of the Chinese Nation'''
  
−
The connection between language and society is strong, if no one exists the other will be affected. Language is considered the primary tool for communication purposes and goals. This is what creates peace and order in our society. And at the same time, it can destroy society and relationships, if we use language inappropriately.  
+
Throughout the five thousand years of Chinese civilization, the Chinese nation has always been characterized by the endless worship of literature and active martial spirit. They influence each other, depend on each other, and cannot be separated from each other. It is the consistent requirement of the Chinese nation for social talents to be both civil and military. Just as Liang Qichao said, " The martial spirit of the Chinese nation is its original nature" (Liang Qichao 2006, 21).
−
However, our language is controlled by society, or to be correct, language has a preference for us everywhere, every country, every culture in the world, they all have their own point of view, causing acceptance and contempt for another language, but when we use a language with understanding the society or difference culture, we will gradually accept and understand it more.(Merlitomarciano, 2011)
 
  
−
===Impact===
+
The ancient Chinese people lived in the Yellow River basin with harsh natural environment, men hunting and women picking fruits, accompanied by inter-tribal strife, resulting in the worship of the primitive ancestors of force to the extreme. In following dynasties, in order to defend the country, the martial spirit continued: During the Spring and Autumn Period and the Warring States Period, the oftenness of war led to a great number of warriors; In the Western Han Dynasty, when the Hsiung-nu came south to invade the people, Wei Qing and Huo Qubing, two brave generals who were good at fighting defeated them; In the Tang Dynasty, during the Wu Zetian period, The system of selecting scholars for martial arts examinations inspired the poets to join the army and go to the frontier; At the end of the Qing Dynasty, when the western powers invaded China, many famous boxers, such as Huo Yuanjia, defeated the foreigners with martial arts and got rid of the title of “Sick Man of East Asia”... During these wars, the cohesion of the Chinese nation increased and the lives of the common people were greatly affected. Aggression inevitably leads to resistance. Force is the most direct and effective way of wage war of aggression, and it’s also the most advocated way of anti-aggression. With the outbreak, development and end of war of aggression, the military culture has infiltrated into the traditional culture of the Chinese nation stealthily (Du Peng 2014, 20). The social environment provides a strong accumulation of social psychology and national psychology for the generation of war culture, so it can be found in every corner of the traditional Chinese culture. It is not difficult to find the existence of war culture and martial spirit in characters, poems, novels, paintings, operas and dramas.
  
−
Language and social structure are in a co-change state, which is a major change in society since the reform and opening of the country. Which makes new words grow, even more, no matter, that society and culture are constantly changing. Because human needs are endless, the change will be fast or slow depending on the factors involved. Whether it is the level of education of people in social communication and changes over time Language and society belong together. must always go together If society changes language, it changes. it is related This is due to the factors that cause change, such as discovery, conflict, competition, and social and cultural change. Can be summarized as follows.
+
"Once the traditional thinking mode of a nation is formed, it will have the tendency to constrain the nation's mental activities, which some people call psychological stereotypes in psychology" (Jia Zhigang 1996,129). The martial spirit, which has been existing in the blood of the Chinese nation for thousands of years, has a great influence on the heroes on the stage of Peking Opera and the production of acrobatic fighting plays. The national heroes and heroines emerging in various dynasties have provided prototype materials for the characters of martial arts in Peking Opera. Out of the desire for the description of fighting and war between gods and ghosts, and the call for punishing evil and praising national heroes, a large number of acrobatic fighting elements appear in Chinese operas. Among them, the creation and expression of characters of famous generals like Ban Chao, Han Xin, Xue Rengui and Yue Fei are all from real characters in Chinese history, rather than mythological characters and stories. Although there are exaggerations, they are generally based on historical evidence, different from a large number of ethereal characters in ''Journey to the West''.
  
−
'''language and society'''
+
'''2.Influence of Ancient Chivalry Culture'''
  
−
The language change is not abrupt, but gradually, the change is caused by the presence in many aspects, one of which is the society in which the language existing profound changes in social life are manifested in aspects such as politics, economy, culture, education, health care. Science and technology, new things are constantly emerging, new ideas and new ideas. It continues to encourage new vocabulary. (Han Xiaoyu, 2011)
+
The various schools of thought and folk customs have a profound influence on the martial spirit of the state. Conversely, the martial spirit of the state also acts on the courageous characteristics of the people. In a cultural environment with orderly royal control and distinct social hierarchy, it is very unlikely to challenge the traditional social norms including royal power by force (Li Xiaojing 2013, 23). Since the middle of the Spring and Autumn period, with the profound economic, political, social and cultural upheavals, a series of unprecedented new factors constantly emerging, the chivalry culture was born.
  
−
Liu Xiaohong (1998) and Liu Lanmin (2005) mention the motivation for word formation and factors affecting word formation which will be divided into 2 aspects. First, the "internal factors" of language, namely pronunciation, grammar, meaning, and word formation. And the second side is external factors of a language, such as the social and geographical environment including the purpose and motivation of word-formation.
+
"Chivalry" contains three characteristics: commitment, righteousness, and lightness of life and death. Life is inevitably critical, coupled with social injustice and not all-inclusive law, "chivalrous justice" is indispensable. And these chivalrous and righteous people always put other people instead of themselves first, strive to solve other people's difficulties and match their words with their deeds. During the Three Kingdoms period, Liu Bei was fond of making friends with chivalrous men when he was young; In the Eastern Jin Dynasty, Zu Ti got up upon hearing the crow of a rooster and practised with the sword day by day only to serve his country; In Tang Dynasty, many poets wrote to praise the quality of chivalrous men; In the Ming Dynasty, famous novels such as Water Margin enriched the image of chivalrous men...
  
−
Language is the most important human tool. The language used is one of the human conditions for building society. Comparing modern and ancient China, we can see that the vocabulary is richer and the forms of words and sentences are more diverse as well, the development of society will play a role as a historical witness of the language. Communication between different societies will promote language development as well. (Yan Dongmei, 2014) And of course, factors in the change in the semantic system of words. They are not all defined or rationalized by social development. But it is relevant to the main content or purpose of use too. When people's thoughts or culture change The expression and comprehension of words will change accordingly. As a result, the vocabulary system is affected and new words are created. And if we look back in history during the Tang or Song dynasty which is considered an era of economic and cultural prosperity, we can see that the vocabulary system has changed, because society changed ideas or higher social background, gave rise to the origin of New Chinese words related to the level of development of society.  
+
With the gradual enrichment of martial novels, a large number of commentary artists changed them into various versions of sung commentaries and preached them around to popularize them. Later, the storytelling artist Deng Guangdou even created a new style of comment which added the boxing skills in storytelling. In other words, he showed the boxing skills when commenting on Wu Song, making the audience not only feel like seeing Wu Song, but also marvel at the storytellers' excellent boxing skills.  This style of performance, in which the chivalry of the book is expressed in the real kung fu of the storyteller, fully demonstrates the brilliance of the chivalrous characters depicted in the novel and the richness of the storyteller's own performance techniques, and promotes the development of the book review (Du Peng 2014, 34). And these novels and book reviews depicting chivalry had a huge impact on the emergence and development of acrobatic fighting repertoire in the art of opera: The chivalrous characters in the books provided a rich cast of characters for Peking Opera; The novel reviews were interpreted into acrobatic fighting repertoire in Peking Opera; The depiction of characters in the novel reviews permeated Peking Opera costumes; Many of the language and customs from the book reviews were directly inherited from Peking Opera... Thus it can be seen that chivalry culture and crime novels of Ming and Qing Dynasties have a profound psychological impact on Chinese people, and have a direct impact on opera art, especially the acrobatic fighting in Peking Opera.
 +
===Artistic Skills of the Acrobatic Fighting in Peking Opera===
 +
'''1.Aesthetic Techniques'''
  
−
-Reform and opening up in China-
+
Nourished by traditional aesthetic thought, the acrobatic fighting in Peking Opera originates from traditional Chinese culture and have a consistent aesthetic sense of it. As the embodiment of the characters' valor happening in the fierce battle scenes, acrobatic fighting in Peking Opera is characterized by being absolute aesthetic, which is also the feature of the art of Peking Opera. Turning martial art into dance and then turn it into beauty, acrobatic fighting in Peking Opera makes what is originally a cruel and bloody scene into aesthetic stage art, showing the charm of Peking Opera.  Therefore, whether it is a tumble or a move, it is possible to find their common characteristics in the traditional aesthetic thought of "observing objects and taking images", "integrating movement and stillness", and "combining both form and spirit". (Du Peng 2014, 60).
  
−
In the time of reform and opening up in China, the development of the industry science and technology have become more diverse. The culture and society that is considered the basis that formed the havendation of life has also improved and realized more and more. Open attitude spirit of reformation, and China's enthusiasm for new things started to rise very high. At this time, China's exiting into the outside world, causing China to accelerate the rapid development of the economy and international strategy. China builds a global market economy development system with a more open attitude, and one of China's buildings and promote of international affairs is the presence of an Internet network that helps the development of international economies to be more flexible. Also, understanding communication is one of the important things. (Bai Didi, 2007)
+
Due to the characteristics of the means of expression, the plot of the acrobatic fighting is relatively simple, and the psychology of the characters is not so delicate, which makes it more difficult to reflect the ideological content that makes people recall repeatedly and think deeply. The audience understands and recognizes these limitations, and even needs and appreciates them out of preference. The requirements of acrobatic fighting are different from those of singing operas. While acrobatic fighting should certainly teach people patriotism, noble virtues and historical knowledge, the direct manifestation of its value lies in its aesthetic role, i.e., to give the audience its unique healthy aesthetic enjoyment and beauty, and to enrich and enhance the appreciation of the public (Liu Haikuan 2005, 58).
  
−
During this period, foreign languages especially in the economy began to flow into China, affect the living conditions of the language until the adjustment process begins, and have a variety of formats. Therefore, during this period, people used foreign words widely. It can generally be divided as follows:
+
The formal beauty of acrobatic fighting is typical of masculine beauty. What it generally reflects is either military hardware and magnificent battle scenes, or fierce and hand-to-hand combat, or fearless heroes with lofty ideals. These characters are brave and tenacious with superb martial power, moving forward under the fierce music on stage. They have a kind of majestic beauty without decadent and depressing mood, inspiring people to move on. And it is a reflection of the traditional moral concepts and aesthetic requirements of the Chinese people in the art of opera, which has the charm crossing time and space.
  
−
1. Use the original text directly (short name and abbreviations) such as: PHILIPS, CITIZEN, IBM, MTV, XO, which are mostly commercial products names, companies and technological name；
+
The formal beauty of acrobatic fighting has three characteristics: Firstly, the performer's skilled and exquisite somersault skills and kung fu; Secondly, the performer's shapely and beautiful bodies; Thirdly, the beauty of composition formed by the collective cooperation on the stage. The performers combine these three characteristics in a integrated manner, presenting a gorgeous picture of acrobatic fighting. They present a magnificent ancient war scene or a fierce fight in a specific situation in a limited stage space, which reflects the high artistic wisdom of the Chinese people (Liu Haikuan 2005, 58). The acrobatic fighting in Peking Opera generalizes, refines, exaggerates and beautifies life. Not only the actions of the characters are completely choreized, but also the emotions are transformed into the forms of martial arts skills. Everything is unified under the premise of paying attention to the depiction of the inner world of the characters and the authenticity of their thoughts and feelings, and is subject to the overall requirements of formal beauty.
  
−
2. Transliteration, such as: "拜拜" baibai (bye-bye), "巴士" bashi (bus), "的士" dishi (taxi), "香波" xiangbo (shampoo), "托福" tuofu (TOEFL);
+
'''2.Typical Characters and Performances'''
  
−
3. Translation, such as: 健美(bodybuilding), 代沟(generationgap), 热点(hotpoint), 信用卡(creditcard), 公共关系(publicrelations), 跳蚤市场(fleamarket)；
+
The martial spirit of the Chinese nation has a profound influence on Chinese culture. During the two thousand years of feudal rule, most of the warriors and generals carried the martial culture. The military generals and swordsmen of all dynasties exerted significant influence on Chinese society and culture, among which famous military generals include: Sun Wu in the Spring and Autumn Period, Bai Qi in the Warring States Period, Chen Qingzhi in the Northern and Southern Dynasties, Huo Qubing and Han Xin in the Western Han Dynasty, Ban Chao in the Eastern Han Dynasty, Li Jing and Gao Xianzhi in the Tang Dynasty, Yue Fei in the Song Dynasty, and Xu Da in the Ming Dynasty. Famous swordsmen include: Zhuan Zhu and Yu Rang in the Spring and Autumn Period, Nie Zheng, Lu Zhonglian, Hou Ying and Jing Ke in the Warring States Period, etc. While inheriting the martial spirit, they make the chivalry spirit and heroic integrity known to the extreme. These characters are the common archetypes of roles of acrobatic fighting in Peking Opera and the operas with both singing and martial plays. They are also the heroes that people are interested in talking about, playwrights constantly create and artists try their best to show. Among them, Zhao Yun in the Three Kingdoms Period was one of the most special, resourceful and brilliant general characters in Peking Opera. He was brave and courageous with wisdom. His rescue of the master on Steepslope Bridge was recorded and praised by later generations and presented in numerous literary and operatic works.  Among the existing drama in the Yuan Dynasty, there are 21 kinds of drama of the Three Kingdoms, among which 8 are about Zhao Yun; In the Ming and Qing Dynasties, there are more than 20 kinds of drama of the Three Kingdoms, of which 7 are about Zhao Yun. The performances of Yang Xiaolou, Gao Shenglin and Li Huiliang have always been praised.
  
−
4. The combination of transliteration and translation, such as: "迷你裙" miniqun (miniskirt), "T恤衫" T-xushan (T-shirt), "耐克鞋" naikexie (Nike), "霹雳舞" piliwu (breakdance)；
+
In addition to the image of Zhao Yun, the Peking Opera "Crossroads" is also a representative of acrobatic fighting performances. The play is about Jiao Zan, who escorted the prisoners and stayed in a hotel at crossroads in the border of Song and Liao areas, only to find it’s a ganster inn, where Ren Huitang was also there and saved Jiao Zan after fierce fights. On the one hand, this play combines Chinese martial arts and acrobatic movements into opera performances: It’s easy to find that these martial actors have outstanding martial arts skills. For example, the actor who plays the role of Ren Tanghui, strives to achieve unity and integrity from character personality, spiritual outlook to internal temperament and external image. When he appears on the scene, he raises his legs, leaves his feet and falls to the ground quickly, being light and steady. The first three flexible steps, the slight swaying of the upper body, together with the face looking around and observing the movement, show the resourcefulness and heroic spirit of this battle-hardened general. On the other hand, the play perfectly combines silent action with artistic beauty: With martial skills reaching a certain level, short-distance martial actors can perform with their bodies as light as swallow’s. The play "Crossroads" takes place in a specific place and environment, whose performance requires the actors to have such tumbling skills as "cheating legs", "seven feet". All these require the performer to go through hard exercises and profound kung fu, turning the body into a tool to reflect artistic beauty, in order to win the artistic effect of lightness of body (Fan Qiying Li Guanghui 2008, 50). When appreciating the play "Crossroads", we are often feeling the artistic perception brought by Chinese opera, which is expressiveness. In artistic creation, expressiveness is higher than reproducibility. It has long been recognized that our traditional art has incorporated expressiveness into our performance system. So it's no surprise that "Crossroads" has been so popular.
 +
===Inheritance and Development of the Acrobatic Fighting in Peking Opera===
 +
'''1.Current Situation of Acrobatic Fighting'''
  
−
5. Combination of Chinese characters and foreign letters, such as: "卡拉OK" kalaOK (karaoke), "T恤" T-xu (T-shirt)，"BP机" BPji (BP machine), "CT扫描" CT saomiao (CT scan）, "VCD影视机" VCD yingshiji (VCD video machine). (Dongshi, 2009, p.38)
+
In the mid-twentieth century, Chinese opera schools had rich performances of martial arts repertoire. At that time, there were hundreds of outstanding actors performing different operas. However, after the impact of the Cultural Revolution and the reform and opening up, new art forms emerged endlessly, and people no longer took the opera as a regular entertainment and leisure activity as before. The popular singing repertoire of Peking Opera has been greatly affected, and the acrobatic fighting has suffered a very obvious decline. It is very difficult to see the wonderful acrobatic fighting repertoire on the Peking Opera stage today as it was in the past. Even if there is, the quality of the performances is hardly guaranteed. And in the new performance of Peking Opera, it is hard to see any form of new repertoire that involves Wudan, Daomadan, or even Peking Opera martial arts. The shrinkage of traditional repertoire and the absence of new repertoire in Peking Opera have put the current comprehensive inheritance and development of Peking Opera and even the art of opera in a disadvantageous situation (Zhang Xiaocui 2017, 132).
−
This is an emerging example of a new words in the "Reform and Opening up" in China compared to the In the "Cultural Revolution" we can find social and cultural changes in language development. However, the phenomenon of the new word not every word can stay forever, it depending on the time, some words may be temporary. some words may gain new meanings in the future, and this is the evolution of language.
 
  
−
- Modern social development-
+
The decline of acrobatic fighting in Peking Opera and the repertoire emphasizing both literary and military arts in the current society is worrying, which is caused by various reasons, both from the practitioners themselves and from the society. From the performer's point of view, the foundation of the martial arts actors is not good enough and the performance id not so authentic, so the audience is not really satisfied; Some singing actors do not pay attention to the overall development, blindly pursuing the progress of singing skills, so that a lot of operas both with singing and martial skills can not be well preserved, resulting in the shrinkage of the repertoire; The old and new inheritance system bear some difference, so many practitioners today do not practice can also get paid due to the monthly salary system, lacking the perseverance of their predecessors.  In terms of the social environment, some plays were lost in the 1930s and 1940s; After liberation, some policies for maintaining unity had an impact on the repertoire of martial arts; The traditional acrobatic fighting ceased during the Cultural Revolution; There were few acrobatic fighting in the new repertoire; The number of actors of acrobatic fighting has decreased (Du Peng 2014, 108).
  
−
Speech culture is what best reflects society. A child is born and faces a family society first. When entering a wider society, attitudes and habits have changed from the original. Same as the language that must be inversely proportional to society and the progress of the existing. When ideological changes or new ideas emerge, so does the frequency of emergence of new words. As we can see from different periods in history.In this period, addition to the 1978 'Reform and Opening up in China' there were also important events that occurred, such as: 1919 'Fourth Movement' and 1969 'Cultural Revolution’. These three events are historical events in China. That has a huge impact and importance on the development of China. It can be explained as follows.1919 'Fourth Movement'. During this period, new words began to replace traditional Chinese. Dialects are widely used in social communication. The terminology was invented by scholars in that period. And most of them are vocabulary words that access new social ideas such as “新文化运动” (New Culture Movement) and words derived from early Western culture such as "拜拜" (Bye bye), "沙发" (Sofa) and "咖啡" (Coffee) are constantly appearing as well. An example of a term that emerged during the 'Cultural Revolution'.
+
The disappearance of a large number of acrobatic fighting and the opera with both singing and martial skills has led to the serious division of singing and martial skills in Peking Opera performance, the loss of many acrobatic fighting plays, the deterioration of the performers' comprehensive ability of singing, speaking, acting and combating, and the serious tendency of "emphasizing the singing skills and neglecting the martial arts" in opera innovation. The innovation of Peking Opera should be a comprehensive innovation, rather than a single level of development. It can be said that such unbalanced development hinders the benign and comprehensive development of Peking Opera (Zhang Xiaocui 2017, 132).
  
−
1969 'Cultural Revolution'
+
'''2.The Innovative Ways of Development of Acrobatic Fighting in Contemporary Era'''
 +
The analysis and concern about the current situation of Peking Opera is not pure criticism, but to raise and solve problems. The cultural environment of a particular era is complicated, and the acrobatic fighting in Peking Opera can not be easily recovered by shouting out a few words of revitalization. Here we try to propose some solutions for practitioners to think about.
  
−
During the cultural revolution, the class struggle continues, international exchanges and cooperation are in a slow state, but the basis of vocabulary building has changed. The reason was due to social, military, and cultural factors, which resulted in the improved formation and progression of new words, positive response.
+
First of all, opera schools should be the main body of the inheritance of acrobatic fighting and related repertoire. It is a realistic problem that the teaching repertoire of Peking Opera at all levels is in disorder nowadays, which restricts the development of Peking Opera and even the whole teaching of Peking Opera. Schools should increase acrobatic fighting in the teaching repertoire and standardize it. Secondly, it is necessary to restore the endangered or already lost acrobatic fighting repertoire. Some plays are performed repeatedly in various Peking Opera troupes, easily making the audience get bored. So for the sake of the troupes' future and the obligation of inheritance, it is necessary to restore the lost acrobatic fighting repertoire.
−
Shen Yuanyuan has compiled and extracted words from the database statistics, 《人民日报》"People's Daily" contains 54 words that the meaning changes between "Cultural Revolution" and the 26 words that the meaning changed after "Cultural Revolution" (Shen Yuanyuan, 2017, p.43-44) gives an example Shen Yuanyuan has summed up.
 
  
−
During the "Cultural Revolution", there were 4 words that changed their meanings.
+
As for how to explore the lost repertoire, we can start from the following aspects :(1) ask the living predecessors for relevant performance skills and stage experience; (2) Make full use of the recordings and videos left by the seniors; (3) Collect notes from experienced theater fans. With the precious resources of the acrobatic fighting, the recovery of these plays can be considered from the following three aspects: Firstly, start restoring the repertoire from the traditional seasonal repertoire, that is, to find appropriate unpopular plays from each season of the year to resume the performance, so that the audience can not only watch the repertoire rarely seen on the stage, but also inherit and enrich the acrobatic fighting in Peking Opera. Secondly, restore the repertoire from the perspective of characters: It is also a good way to restore it from point to point as time goes by until the repertoire is serialized. Thirdly, select a specific kind of repertoire for recovery: In the process of recovering traditional repertoire, we should not only do it in a solemn and stirring mood, but also learn how to use effective methods and promote acrobatic fighting to the market, believing that they can be accepted and welcomed by audiences (Du Peng 2014, 116).
 +
===Conclusion===
 +
Since the end of the Qing Dynasty and the beginning of the Republic of China, all the artists who became masters of Peking Opera were able to perform both singing skills and martial skills in the martial arts. They were able to break through the limitations of their own lineage, which really pushed the art of Peking Opera to a whole new peak and developed each lineage comprehensively, making the art of Peking Opera of that era wonderful and brilliant. Now, in the twenty-first century, some aspects of Peking Opera seem to have returned to the situation that existed before the masters of Peking Opera, i.e., the singing skills and martial arts are divided, and there is an unprecedented dilemma that the acrobatic fighting repertoire may be lost. There are many reasons for this situation, but the result is the degradation of the ability of actors in various roles, the loss of plays, the fragmentation of plays, the homogenization of skills and so on.
  
−
“香花” (Fragrant flowers), during the Cultural Revolution means ‘Useful works or things’
+
As the younger generation, we should not only have reverence for the older masters and the heights they have promoted the art of Peking Opera, but also do our best to carry forward the opera skills. The Peking Opera troupes and actors of acrobatic fighting are hoped to spare no efforts to pass on the skills through constantly improving the level of business, modestly consulting and learning from the predecessors and strengthening the theoretical accomplishment, so as to inherit acrobatic skills through traditional martial plays. They’re also supposed to explore new ways of innovating acrobatic fighting according to the troupe's actual situation, to "revitalize" the acrobatic fighting in Peking Opera, so that they can be inherited, developed and innovated in the tradition, thus comprehensively promoting the prosperity of the Peking Opera performance market and better serving the socialist cultural market.
 +
===References===
 +
*Dai Shujuan 戴淑娟. (1990). ''杨小楼艺术评论集'' [The Collection of Art Criticism about Yang Xiaolou]. Beijing: China Theatre Press 中国戏剧出版社.
 +
*Du Peng 杜鹏. (2014). 京剧武戏研究——兼论以文为主、以武为辅的剧目表演 [The Study of Acrobatic Fighting in Chinese Peking Opera—Mainly about Chinese Peking Opera characterized by Singing and Acting, Acrobatic Fighting as a Supplement]. 中国艺术研究院博士论文 Chinese National Academy of Arts 5, 34, 60, 108, 116.
 +
*Fan Qiying, Li Guanghui 范齐英, 李光辉. (2008). 小议京剧《三岔口》的表现性 [A Brief Discussion on the Expressiveness of Peking Opera ''Crossroads'']. ''大众文艺'' Popular Culture and Arts (7)50.
 +
*He Jinhai 何金海. (1992). 武打在戏曲中的作用 [The Role of Acrobatic Fighting in Traditional Chinese Opera]. ''戏曲艺术'' Art of Opera (4).
 +
*Huang Jun, Xu Xibo 黄钧, 徐希博. (2001). ''京剧文化辞典'' [Dictionary of Peking Opera Culture]. Shanghai: Chinese Dictionary Publishing House 汉语大词典出版社.
 +
*Jia Zhigang 贾志刚. (1996). ''迈向现代的古老戏剧'' [An Ancient Drama on Its Way to Modernity]. Beijing: China Theatre Press 中国戏剧出版社.
 +
*Li Xiaojing 李晓婧. (2013). 传统社会侠文化与法律文化研究 [Study on Xia-Culture in Traditional Society and Legal Culture]. 南京大学硕士论文 Nanjing University 23.
 +
*Liang Qichao 梁启超. (2006). ''中国之武士道'' [Chinese Bushido]. Beijing: Chinese Archives Press 中国档案出版社.
 +
*Liu Haikuan 刘海宽. (2005). 论京剧武戏中的美学艺术 [Aesthetic Art of Acrobatic Fighting in Peking Opera]. ''青年文学家'' The Youth Writers (12) 58.
 +
*Qi Rushan 齐如山. (1998). ''国剧艺术汇考'' [The Art of Chinese Opera]. Liaoning: Liaoning Education Press 辽宁教育出版社.
 +
*Qian Baosen 钱宝森. (1959). ''京剧表演艺术杂谈'' [A Miscellany on the Performing Arts of Peking Opera]. Beijing: Beijing Publishing House 北京出版社.
 +
*Song Danju 宋丹菊. (2008). ''宋德珠舞台艺术'' [Stage Art of Song Dezhu]. Beijing: Popular Culture& Arts Publishing House 大众文艺出版社.
 +
*Xue Xiaojin, Ma Lianliang et al. 薛晓金, 马连良等. (2009). ''京剧传统剧本汇编'' [A Compilation of Traditional Peking Opera Scripts]. Beijing: Beijing Publishing House北京出版社 .
 +
*Zhang Xiaocui 张晓翠. (2017). 浅议京剧武戏的传承与发展 [On the Inheritance and Development of Peking Opera]. ''剧作家'' Playwright (9) 132.
 +
*Zhang Yinhe 张银河. (2013). 试析武术与京剧武戏文化 [On the Martial Art and Culture of Acrobatic Fighting in Peking Opera]. ''武魂'' Kung Fu (12) 15.
 +
===Terms and expressions===
 +
acrobatic fighting  武戏
  
−
“毒草” (Poisonous weeds), during the Cultural Revolution means ‘Harmful works or things’
+
singing, speaking, acting and combating  唱念做打
  
−
“清除废料” (Remove waste material), during the Cultural Revolution means 'Used as a metaphor to eliminate the rich and counter-revolutionary masses'
+
Sheng, Dan, Jing and Chou  生旦净丑
  
−
“解放干部” (Liberate cadres), during the Cultural Revolution means 'Refers to lifting the scrutiny and criticism or approval of cadres, and then re-appointing' etc.
+
''Crossroads''  《三岔口》
  
−
After the "Cultural Revolution" ended, there were 9 words.
+
Hsiung-nu  匈奴
  
−
“拉练” (Camp and field training)
+
Sick Man of East Asia  东亚病夫
  
−
“专案组” (Inquiry team)
+
''Journey to the West''  《西游记》
  
−
“专案人员” (Investigator)
+
''Water Margin''  《水浒传》
  
−
“大讲特讲” (Talk volubly)
+
Wudan  武旦
  
−
“安置办公室” (Office for resettlement)
+
Daomadan  刀马旦
 +
===Questions===
 +
1.What's the significance of Peking Opera in Chinese history?
  
−
“揭批” (To expose and criticize)
+
2.What are the three characteristics of "Chivalry"?
  
−
“天天读” (Read Mao Zedong's works) every day)
+
3.What are the three characteristics of formal beauty of acrobatic fighting?
  
−
“革命干部” (Revolutionary cadre)
+
4.How to explore the lost repertoire？
  
−
“保持晚节” (Maintain (or uphold) one's integrity in one's later years) etc.
+
===Answers===
 +
1.Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.
  
−
'''Cultural surge'''
+
2.Commitment, righteousness, and lightness of life and death.
  
−
society and culture It is inseparable. It is like a coin with two sides. Each society has a different culture and language. The cultural exchange of society occurs only when communication and transmission are communicated through the use of mediums, it is the language, and at the same time, both culture and language support and develop each other. Language reflects the nature of the nation, not only contains the history country's culture but also the way of life and the way people think. The influx of foreign cultures into China whether western culture or cultures from neighboring countries all affect the existing traditional culture. Of course, that affects the language as well. and giving rise to new languages ​​in China Which will be divided into the following points:
+
3.1)The performer's skilled and exquisite somersault skills and kung fu;
  
−
-western culture-
+
2)The performer's shapely and beautiful bodies;
  
−
China's great openness to the outside world began during the Yuan Dynasty. Openness brought the winds of Western science into China, and the westward journey of Genghis Khan and Kublai Khan has opened the door of western culture to China and has an effect on the present day. (Zhao Binning, 2007) And we cannot deny that Western culture is now a very popular culture in China or Asia, whether in sports, food, or even music. Therefore, the arrival of the West that used English for communication has resulted in some words in Chinese being developed in the form and writing style. However, when everyone realized and understood the meaning thus resulting in a common understanding, for example, New Chinese characters with homophones such as “克隆” pronounced kelong (Clone) , “台风” pronounced taifeng (typhoon) , "榴莲" pronounced liulian (durian) , "跑酷" pronounced paoku (Parkour).  And the words that take from abbreviations and Pinyin characters written in characters and not Chinese characters, such as "五G手机" (5G Phone), "ATM", "HSK" (Simplified of Hanyu shuiping kaoshi, which means Chinese language standard test), etc., and include to the words that are used in everyday life such as "哈哈" (haha) , "AA制" (Algebraic Average),  "巧克力"（Chocolate）, "比特币"（Bitcoin）, etc.
+
3)The beauty of composition formed by the collective cooperation on the stage.
−
English mania in Chinese educational institutions, combined with the rapid development of technology, is the driving force of the modernization of the world. This has resulted in an increase in English rates in China. Can we decide what country this word comes from? Yes, it is challenging, Because the cultures have been mixed until it becomes common for us to use English or words that are adapted from English in everyday life.
 
  
−
-Eastern culture- (Korea)
+
4.1)Ask the living predecessors for relevant performance skills and stage experience;
  
−
The Korean wave emerged from a globalized world with borderless communication. Through K-pop cultural products such as music, TV series, movies, novels, cartoons, and animation. The South Korean government has supported the policy of promoting the industry in the entertainment sector. As a result, the Korean trend quickly gained popularity. Due to the freshness that is the choice of the world market It also makes people around the world more interested in the story of the Korean nationality. The success of this K-pop Contributed to the popularity of Korean, especially among young people. As a result, the Korean language is accepted and taught widely and rapidly in many countries. In China, more young people watch Korean dramas. And use more of the Korean language in daily life such as（ “오빠” read oppa, Chinese “欧巴” ）mean brother 、（“습니다“ read seubnida, Chinese“思密达” ）mean I did, etc.
+
2)Make full use of the recordings and videos left by the seniors;
  
−
'''The Development and communication through technology'''
+
3)Collect notes from experienced theater fans.
  
−
Since China's reform and opening up, the technology world has also developed. Currently, the forms of computer communication are more diverse. For example, Email SMS or “微信” Wechat, qq, ”微博” Weibo, which is the media most used by Chinese teenagers to communicate through a typed format on a computer or mobile phone.
+
==英语笔译 熊嘉玲 Xiong Jialing 202170081602==
 +
<center>'''Yue Opera'''</center>
  
−
According to Beijing Zhiyan Kexin Consulting's analysis of the size and usage rate of instant messaging users in China (2021). Indicate that at present instant messaging has impacted people's lives and jobs. And that message's influence will be extended in the future. Now, instant messaging has become the most popular. Internet applications among Chinese netizens，on June 2021, the instant messaging usage rate in China was 97.3%.
+
<center>Xiong Jialing</center>
  
−
This means access to technology is a high proportion of the Chinese population. And the advancement of technology has spread to all people with mobile phones. This is not only now but also in the future and technology or social media affects the spread of new words that are added to everyday life. Several researchers have commented on this happening. “Media publishing and distribution play an important role in the cross-regional popularity of languages and words. And the advent of the Internet age has accelerated the spread of the new Internet term.”（Han Xiaoyun, 2011）
+
===Abstract===
 +
Yue Opera, an important local opera in China, is one of the five types of Chinese opera. From the original "Chinese Folk Rap"（落地唱书）, it has developed into the second most popular opera in China and is one of the first batch of national intangible cultural heritage. Therefore, Yue Opera plays a very important role in China's art field. This article will give a general introduction to Yue Opera. The first is a brief introduction to the general situation of Yue Opera; In the first chapter, the author will introduce the historical origin and development of Yue Opera. In the second chapter, the author will focus on the introduction of the performance characteristics of Yue Opera, including its singing voice, role of business and so on; In the third chapter, the author will talk about the value of Yue Opera, such as its cultural value, social value and so on. The fourth chapter will mention the inheritance and development of Yue Opera. As one of Chinese operas, Yue Opera has a long history and rich cultural connotation. In today's cultural diversity and economic globalization, it can promote the spread of traditional Chinese culture to let the world see and hear Yue Opera.
 +
===Key words===
 +
Yue Opera;traditional Chinese culture;Chinese opera
 +
===Introduction===
 +
Yue Opera (Yueju in Pinyin) is the second largest opera genre in China, and some scholars consider it to be "the largest local opera genre". It is also one of the five major Chinese opera genres (Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera). Originated in Shengzhou, Zhejiang province, prosperity in the whole country, spread to the world, it has experienced a historical evolution from male to female Yue Opera.In the development, it absorbed the elements of kunqu opera, drama, Shaoxing opera and other operas. It is called "Chinese opera" abroad. It is also known as "the most popular local opera".
 +
Yue Opera is long in lyric, mainly singing, beautiful voice, real and moving performance, beautiful and elegant, with the spirit of jiangnan. Most of them are based on the theme of "talents and beauties", and there are various artistic schools. There are as many as 13 recognized schools. It was mainly popular in Shanghai, Zhejiang, Jiangsu, Fujian, Jiangxi, Anhui and other southern regions, as well as most northern regions such as Beijing and Tianjin. In its heyday, professional troupes existed all over the country except xizang, Guangdong, Guangxi and a few other provinces and autonomous regions. (Qian Hong, edited by the editorial board of Chinese Yue Opera Canon，2006)
  
−
“The essence of the rapid growth of new words is the development of society and the advancement of time. Thousands of households are familiar with new words that are rapidly gaining popularity. and the modern media technology represented by the network is indispensable.” (Wang Shuai, 2011)
+
Yue Opera is also the first batch of national intangible cultural heritage list. Among the modern emerging operas in China, the Yue Opera bred from the regional culture and modern art of the Yangtze River Delta is undoubtedly the most influential. Once upon a time, "Liang Shanbo and Zhu Yingtai" produced by "Shaoxing Women's Literary Opera" and "Shaoxing Women's Opera" were popular in Shanghai. The heroic deeds of the ten Sisters of Yue Opera, represented by Yuan Xuefen, against the bullying of the dark forces shocked the Chinese cultural circle; After the founding of the People's Republic of China, With the help of the movie a Dream of Red Mansions, Yue Opera became a national hit. Premier Zhou Enlai took the film liang Shanbo and Zhu Yingtai as one of new China's diplomatic means to promote the Opera overseas.(Liu,2022)
 +
===The Historical Origin of Yue Opera===
 +
Shengzhou, The Birthplace of Yue Opera
  
−
For example, the most common Chinese words "木有" muyou for "没有" meiyou means 'have not'， "神马" shenma for "什么" shenme means 'what', or "给力" geili. , the original meaning was 'give power', now usually ‘cool, awesome, exciting’. It also uses numbers or letters to communicate instead of words, such as "886" for "拜拜了" which mean ‘bye-bye‘， or even in mobile games that are popular trends in 2021 such as "YYDS" is the most popular word in 2021. The original meaning is "eternal god", which originated from the mouth of "Shan Niruo", the LOL anchor of League of Legends. one buzzword of the year. " (Pacific Ocean computer network, 2022)
+
Yue Opera is one of the five major operas in China and the second largest in China at present. Yue Opera is called "the second in China" in terms of the number of performances and social popularity. In terms of its performing arts history and popular areas, it is probably far inferior to kunqu opera and Huangmei Opera. Due to language limitations, it is mainly popular in Jiangsu, Zhejiang and Shanghai. Yue Opera is generally spread in Shanghai, Zhejiang, southern Jiangsu and other places which are usually said wu language area. So Yue Opera is still a typical local opera. It originated from Shengzhou of Shaoxing in Zhejiang Province, which is the shengzhou city of Shaoxing in Zhejiang Province today. It is evolved from local folk songs and formed by absorbing the characteristics of Kunqu opera and Shaoxing opera in the development process. Shengzhou, the birthplace of Shaoxing opera, has been attracting celebrities from all sides to visit with its unique charm since ancient times. The beautiful scenery here, surrounded by beautiful mountains, with a long history, and its unique dynamic temperament, has created a unique charm and beauty in Shengzhou. The enchanting natural scenery has given here the magic charm, attracting the high sages and celebrities in succession to enjoy the scenery, leaving many immortal chapters spread through the ages for the later generations. With the growing popularity of folk poetry and lyrics, shengzhou people who are good at singing have integrated songs into their lives. Versatile shengzhou people thus became the original creator of Yue Opera art, Shengzhou has also become a fertile soil for the birth of Yue Opera art.
  
−
There is also "Barbie Q" is “BBQ” Babecue, means ‘barbecue’. The top gaming master on Douyin was beaten to death by his opponent, after he spoke the “Barbie Q” word in the live broadcast, “Barbie Q” now has another unique meaning “apocalyptic”. Or even “GG” that is not the meaning of brother (“哥哥” gege) but is “Good Game”. When the losing side is over, "GG" congratulates the opponent using "GG", which means “Good Game”. However, as the word GG becomes more and more used in China, the winner has shifted from congratulation. There was a bit of mockery, so today's GG has another meaning like 'You are done', etc. This is an example of how the Internet affects the spread or evolution of new words. Live broadcast Affects the occurrence of increasing vocabulary in daily life. And this might be creative or it could be a language disaster.
+
The Real Birth of Little Choir, the Predecessor of Yue Opera
  
−
'''China National Language'''
+
From the year of 1906 , Yue Opera entered the stage role playing period. Therefore, it can be regarded as the origin of Yue Opera as the identity of opera. However, the little choir did not come into being suddenly, nor did it start out dressed up for the stage. From the xianfeng period in the 1850s and 1860s, it went through decades of embryonic stages. In terms of art classification, Chinese Folk Rap does not belong to opera, but to quyi. Therefore, it can not be called the "predecessor" of Yue Opera, but its original form of performance.
  
−
Language development is greatly affected by economic development. And areas with economic development in addition to financial growth new things and new ideas are also increasing. Sometimes, there don’t have enough languages ​​that can meet the needs of users. Therefore, it is necessary to borrow some existing words. in different regions as a shortcut to the formation of new words. For instance, Beijing, Guangdong, Shanghai, Hong Kong, and Taiwan, are considered political and cultural centers. including the economic city of the country, it’s not surprising that new neologisms have emerged in these regions and have influenced other regions of China. (Zhao Hongyan, 2011)
+
The origin of Chinese Folk Rap is that when farmers were resting in the fields after work, many people would compose and sing ditty that could reflect the aspirations of the common people, which always aroused the praise of farmers and gradually spread among them. The last few popular songs, everyone can sing. Researchers on the history of Yue Opera generally believe that the sign of the emergence of Chinese Folk Rap is that Jin Qibing and others began to sing Buddhist songs and folk tunes in front of rich households in the nearby countryside in order to make a living.(Pan,2009)
  
−
-Hong Kong, Macao and Taiwan-
+
The early Chinese Folk Rap performers did not completely break away from agriculture while singing Chinese Folk Rap. For many performers, farm work is the main thing to support their families and is the job left to them for generations. It is unimaginable for them to completely break away from farm work. Therefore, during the spring ploughing season from January to February and March, the artists went back to their hometown in Sheng County to work on their fields. Qian Jingsong, Li Shiquan, Gao Binghuo and other artists who had been invited to the "stage" in Yuhang and Yuqian (now part of Lin 'an) talked with the villagers about their debut experience, which aroused the interest of many villagers. They urged artists to do the same at home. Guangxu period (1906) on the qingming Festival on the third day of march in the lunar calendar, on the vacant lot of dongwang village in Sheng County, the village civilian used rice barrel, the door panel set up the stage, invited many artists coarsely-dressed up to sing the Chinese Folk Raps, unexpectedly caused a stir in the countryside, attracted people from many villages to watch. The popularity of this form of singing book in the village even exceeded the artists' expectations.(Edited by Cultural and Historical Data Committee of Shengxian CPPCC,1992)
  
−
After the reform and opening up, Hong Kong and Macao returned to China, and Taiwan that known as China's largest island, influenced by the economy from mainland of China Economic. Exchange and cooperation between Hong Kong, Macao and Taiwan, with China mainland has developed in a broader direction. Most of the dialect vocabulary is found in newspapers, online media, magazines and daily news on the Internet, as well as exchanging through interpersonal communication common words, For example, “派对” (Gathering), “股票” (Stocks), “楼市” (Real estate market), “双赢” (Win-win), “外卖” (Take-out), etc.
+
So they began to think about organizing theater groups to put on more scripted performances, and they came up with a low-key and elegant name for the form: Little Choir". In general, such performance formula has met the basic conditions of opera, so many researchers have always regarded this performance as the origin of Yue Opera. Stage at this time, not only clothing is very simple, Musical Instruments are also very simple. Although the form of "Little Choir" is primitive, the singing is monotonous, and the costumes are simple, but this pioneering move alone is enough to leave a brilliant first in the history of Yue Opera.
 +
Since the birth of the "Little Choir" in Sheng County, it has spread quickly to the surrounding areas. As a literature and art originating in country life, it is not surprising that it first established itself in the country. At the same time, it is constantly exploring transformation, slowly infiltrating into the city,
 +
After 1907, the "Little Choir" has been all over Athens County, and gradually to the neighboring Xinchang, Shangyu, Shaoxing, Yuyao, Fenghua and other places spread, both in the village and the town theater, where are warmly welcomed. For example, in Xinchang, only three or five years after the first contact with the "Little Choir", the number of newly established local opera troupe has reached 30 or 40 classes.
  
−
-Cantonese- (粤语)
+
Performing in the countryside, the troupe must suffer from displacement. Therefore, it is always the ideal of the troupe to perform in a city with a large population, both male and female. Large and medium-sized cities for "Little Choir", is always tempting. On the one hand, large and medium-sized cities have strong consumption capacity and can obtain higher economic benefits. On the other hand, the fact that "Little Choir" can establish itself in big cities is the recognition of "Little Choir" by higher-level audiences, which is a kind of honor.(Pan,2009)
  
−
Cantonese pop culture It is part of making people around the world know China. Especially at the beginning and reform and opening up in China. Guangdong popular culture was the first culture that came into play, and entertained people at that time. And from the point of view of geographical, Guangdong's location is very close to Hong Kong, and Hong Kong has always been the most developed place in Asia before the reform and opening up. People started to imitate the Hong Kong trend, and speaks Cantonese. The economy of Guangdong in that period, achieved a breakthrough in development. As a result, many Cantonese words spread throughout the country and became a trend in China.
+
Shaoxing Civil Opera Period
  
−
===Conclusion===
+
In 1922, the development of Shaoxing Opera entered a new historical stage, that is, the Period of "Shaoxing Civil Opera". Because "Little Choir" was born in Shengzhou, which is subordinate to Shaoxing Prefecture, and the content of "Little Choir" is more focused on family ethics and love, so it is called "Shaoxing Civil Opera". Shaoxing Civil Opera period is the mature stage of the development of Yue Opera. It can be divided into two periods. In the early stage, there are all male actors, so it is called Shaoxing Civil Opera Male Troupe; in the later stage, there are mixed performances of male and female actors, and the transition to female troupe is called Shaoxing Civil Opera Female Troupe.
 +
 +
The Period of Women's Improvement in Shaoxing Civil Opera
  
−
The objective of this paper was to study The emergence of new linguistic forms in Chinese or 'Neologisms'.In summary, the reasons for the emergence of neologisms in China. New words are not created by chance, rather, it is the culture that China has created for keeping the language alive. Influencing factors such as social, military, cultural, and other factors create new concepts in language. The compilation of documents related to Chinese neologisms clearly shows that China's society has changed, whether it is the stability of the social infrastructure or even globalization, both of these have affected the vocabulary of the language, making the language improve and more relevant to that era. But it also raises the question of how the emergence of Chinese neologisms affects language culture. And however the answer questions about the factors causing Chinese neologisms can be observed or learned from Chinese daily communication together, and the documents with supported by various theories that bring challenges, fobringple, Humanistic theories.
+
In the history of The development of Yue Opera, the outbreak of the Anti-Japanese War is an important dividing line. Before this, Shaoxing Civil Opera, which was dominated by male classes, was in its heyday, with famous actors concentrated in Shanghai and female classes flourishing, but the activity area was mainly in Zhejiang. Although there were female classes in Shanghai, most of them were mobile, so their status was not high and their influence was limited in the whole Cultural pattern of Shanghai.
  
−
===References===
+
In the late 1930s, after the outbreak of the Anti-Japanese War, a large number of female classes came to Shanghai for development and rose rapidly. At the same time, male classes declined sharply and were soon replaced by female classes, gradually forming a kind of operas featuring all-female performances. Almost all the famous actors and drama companies were concentrated in Shanghai. The social and cultural environment of Shanghai has provided rich nutrition for the progress of Yue Opera art, promoted the reform of Yue Opera in the new environment, and provided a rare historical opportunity for its rapid development. 
  
−
[1]Anderson, James M. (2006). Malmkjær, Kirsten (ed.). The Linguistics encyclopedia (Ebook ed.). London: Routledge.601
+
"New Yue Opera" Period
  
−
[2]Bai Didi 白迪迪. (2007). 改革开放以来汉语新词语研究[A Study of Chinese New Words Since the Reform and Opening Up]. Tianjin Normal University 天津师范大学. Master's Dissertation 硕士研究生学位论文.
+
The reform of Yue Opera, which started in October 1942, opened up a new era in the history of Yue Opera and had a profound influence on the establishment of the form and style of Yue Opera. The "new Yue Opera" rising in the wave of reform in this period is obviously different from the original women's Yue Opera in terms of repertoire, music, stage image, deconstruction and operation mechanism of troupe. During the period of "New Yue Opera", Yue Opera achieved rapid development. A group of young actors, such as Yuan Xuefen, Yin Guifang, Fan Ruijuan and Fu Quanxiang, became the representatives of the new generation of Yue Opera.
 +
 +
The Development of Yue Opera After Liberation
  
−
[3]Dong Shi 东石. (2009).《改革开放中汉语词汇的发展》出版 ["The Development of Chinese Vocabulary in the Reform and Opening-up" published]. Rhetoric Learning 修辞学习, (1), 38-38.
+
After the founding of the People's Republic of China in 1949, under the leadership of the Communist Party of China, opera art began to enter the process of planned, deployed and focused reform, and Yue Opera also began to adapt to the new era of profound reform. In the early 1950s, a drama reform movement was launched nationwide. During this period, professional drama troupes in Shanghai and Zhejiang carried out the work of "Three reforms" to different degrees successively, which brought new changes to the appearance of Yue Opera. In March 1955, Shanghai Theatre was formally established, gathering a large number of professional talents with high artistic quality in the field of yue Opera, such as editing, directing, acting, music, beauty and so on.  
  
−
[4]Han Xiaoyun 韩晓云. (2011). 现代汉语新词语的产生原因及特点[The causes and characteristics of modern Chinese new words]. 文学教育, (12), 135-135.
+
The Revival of Yue Opera in the New Period
  
−
[5]Jin, L., & Hongyin, T. (2016). Chinese language in a global context. In The Routledge Encyclopedia of the Chinese Language (pp. 157-174). Routledge.
+
The "Cultural Revolution" that began in 1966 severely destroyed Yue Opera. After the end of the "Cultural Revolution", especially after the third Plenary Session of the eleventh Central Committee of the Communist Party of China in 1978, Yue Opera began a comprehensive revival in a new period, ushering in a new spring in the development history of Yue Opera
  
−
[6]Koster, J. (2011). Theories of language. Unpublished ms. Retrieved, 26.  
+
Under the influence of historical conditions, the revival of Yue Opera started from the modern opera performed by men and women. In 1977, the Shanghai Yue Opera reenacted the drama with a co-performance of male and female and was a great success, setting off the wave of the revival of Yue Opera. Soon after that, Shanghai Film Studio made "Xiang Lin's wife" into the first color widescreen style art film of Yue Opera and screened it in the whole country, re-expanding the influence of Yue Opera in the whole country. Traditional and historical operas have also been resumed, and women's Yue Opera has gained recognition and new vitality.
 +
In 2006, on the 100th anniversary of the birth of Yue Opera, it was listed in the first batch of national intangible cultural Heritage list with the approval of The State Council. The future of Yue Opera will be more brilliant.
  
−
[7]Lu Shuxiang 吕叔湘. (1984). 大家来关心新词新义[Let everyone care about new words and new meanings]. Dictionary Research 辞书研究, (1), 8-14.
+
===The Performance Characteristics of Yue Opera===
 +
First, the selection of materials for the Yue Opera plays is mainly based on the love and marriage stories of ancient talents and beauties. Such as Liang Shanbo and Zhu Yingtai, Jia Baoyu and Lin Daiyu, Fan Li and Xi Shi, Lu You and Tang Wan and so on. These stories have long been written and interpreted into various literary and artistic works and passed down from generation to generation among the people. After these stories were compiled into The Yue Opera, the artistic atmosphere of the story and the tragic color of the characters were enhanced, giving people a more vivid and profound impression.
  
−
[8]Luo Niuniu 骆牛牛. (2015). 新时期汉语新词的造词研究[A Study on the Creation of Chinese New Words in the New Period] (Doctoral dissertation, 山东大学).
+
Second, the music of Yue Opera is good at showing the feelings of young men and women. The singing style is based on the "Chinese Folk Rap" of Wuyue water town in the south of Yangtze River, absorbing the folk music of Sheng County. After Yuan Xuefen and lute zhou Baocai cooperation, so that the opera singing form a gentle lingering lyric style.
  
−
[9]McDonald, L. (2005). THE MEANING OF “e-”: NEOLOGISMS AS MARKERS OF CULTURE AND TECHNOLOGY. eTopia. https://doi.org/10.25071/1718-4657.36746
+
Third, the performances of Yue Opera are vivid, natural, elegant and moving. They are full of beauty and talent in the south of the Yangtze River, especially the performances of young girl's role, which combine the scholarliness of scholars with the beauty of young girls. The principle of "virtuality" and "stylization" and the aesthetic pursuit of "symbolism" and "freehand style" formed in the long-term artistic practice of Chinese opera performance have provided a theoretical basis for the formation of the performing art of young women in Yue Opera, so that female actors can play male roles without being restricted by their own gender. Under the guidance of virtual drama and freehand brushwork principle, the female students can not completely imitate the performance of men and force the unity of actors and roles, actors can use stylized performance to look at the male roles in the drama from the perspective of women. What she interprets is not the man in real life, but the man in the woman's mind, that is, the man that the woman idealizes, the man that the woman plays to the audience. This is just like the plum blossom and bamboo painted by Chinese painters in traditional Chinese paintings. They are not plum blossom and bamboo in nature, but plum blossom and bamboo in the artist's mind. Of course, the course of this success is not follow one's inclinations, is not subject to any condition, also need actors themselves have a certain external conditions and mental qualities, such as the tall figure, elegant temperament, generous demeanor, etc., so as to better shape the character image, conveys the verve of male role. Various schools of Yue Opera have blossomed.
  
−
[10]Merlitomarciano. (10, July 2011). Relationship between language and society. https://merlitomarciano.wordpress.com/2011/07/10/relationship-between-language-and-society/
+
Fourth, the stage presentation of the Yue Opera is fresh and elegant, which is often refreshing. The makeup of Yue Opera has absorbed the methods of drama and film, and is characterized by being close to nature, fresh and elegant, rather than exaggerated and colorful. Based on the paintings of ancient ladies in costume, the costumes are changed from complex to simple and gorgeous to clear and beautiful with the characteristics of simplicity and clarity. The scenery is simple and lively, the combination of virtual and real, with the performance of the actors, making full use of modern sound and light technology, giving people an immersive artistic feeling.(Liu,2022)
  
−
[11]Sayadi, Forough. (2011). "The Translation of Neologisms". Translation Journal. Iran.
+
===The Value of Yue Opera===
  
−
[12]Shao Wenting, & Guan Lihong 邵文婷, & 管丽红. (2016). 网络英语新词对汉语的影响[The Influence of Internet English New Words on Chinese]. Collection 收藏, 21.
+
Cultural Value
  
−
[13]Shen Yuan Yuan 申园园. (2017). “文革” 时期词汇研究[A Study of Vocabulary During the "Cultural Revolution"] (Master's thesis, Hebei University 河北大学).43-44.
+
Cultural creation is based on traditional culture and under the influence of modern culture, absorbing new tunes, new choreography, new themes, new talents and new music of modern culture to generate a new round of cultural wave and a "new culture" that is different from the past and more adaptable. Yue Opera is "rich in expressive force, plain and smooth melody, fresh and beautiful with local flavor". It has beautiful melody, graceful and touching pronunciation, beautiful appearance but not coqueness. Both civic and military opera have their own strengths, and it is different from the softness and beauty of Peking Opera. It has a very high viewing value, which is why in recent years, Yue Opera has gained more and more audience's love, causing more and more attention. This is the cultural creation value of Yue Opera.(Jin,2012)
  
−
[14]The official account of Beijing Zhiyan Kexin Consulting Co., Ltd. 北京智研科信咨询有限公司官方账号. (06, September 2021). 2021年中国即时通信用户规模及使用率分析：用户规模达9.83亿人 [Analysis of the scale and utilization rate of instant messaging users in China in 2021: the scale of users reached 983 million]. https://baijiahao.baidu.com/s?id=1710117159366527518&wfr=spider&for=pc
+
From the point of view of Marx's theory of literature and art, all arts (including literature, calligraphy, architecture, painting, opera, etc.) are the reflection of people's lifestyle and cultural psychology in a particular era and region. In the field investigation, we found that most of the people who adhere to Yue Opera are the older generation, because it used to be a part of their life, carrying their joys and sorrows, and relying on their understanding of life. Yue Opera touches the softest part of the heart of a generation in a casual way at some point. These cultural memories, no matter joyful, sad, beautiful or ugly, will become a kind of cultural nutrition and melt into the bones and blood of the whole regional culture and even the national culture, giving us reasons and directions to move forward. This is the cultural creation value of Yue Opera.This is the cultural inheritance value of Yue Opera.(Yang,2021)
  
−
[15]The official account of Guangdong Pacific Internet Information Service Co., Ltd. 广东太平洋互联网信息服务有限公司官方账号. (29, January 2022).年度热词知多少！2021年网络流行词终极盘点 [How much do you know about the annual hot words! The ultimate inventory of online buzzwords in 2021]. https://baijiahao.baidu.com/sid=1723298724102128479&wfr=spider&for=pc&searchword=%E7%BD%91%E7%BB%9C%E8%AF%8D%E8%AF%AD
+
Social value
  
−
[16]Wang Shuai 王帅. (2011). 网络传播与新词的发展[Network Communication and the Development of New Words].News Enthusiasts 新闻爱好者,72.
+
Yue Opera originated in Shengzhou, Zhejiang province, China, so it is easy to explain why all the people in Shaoxing and Shengzhou can hum it and find pleasure in it. Obviously, in the region where It originated and developed, It has become a topic of conversation among the masses after dinner. In the folk, people are also used to organizing various performances and singing competitions of It to enrich their amateur cultural life. Therefore, in the traditional cultural matrix of Yue Opera, there is a kind of aesthetic value called social value, which has laid a solid foundation for extensive social communication among the masses. Therefore, Yue Opera gradually became a social means, which was of great significance in promoting social harmony and stability. Of course, with the continuous expansion of the overseas market of Yue Opera, it is also playing an important role in developing sino-foreign relations, consolidating sino-foreign friendship and realizing the combination of Chinese and foreign culture and art.(Jin,2012)
  
−
[17]Wang Tiekun 王铁昆. (1992). 新词语的判定标准与新词新语词典编纂的原则[The criteria for judging neologisms and the principles of lexicography for neologisms]. The Application of Language and Characters 语言文字应用, (4), 14-20.  
+
The Entertainment Value of Yue Opera.  
  
−
[18]Yan Dongmei 闫冬梅. (2014). 浅谈语言的变化与社会的发展[ A Brief Talk on Language Change and Social Development]. News World 新闻世界, (3), 176-177.
+
As a unique type of traditional culture, History and culture have endowed it with a unique development environment, unique artistic charm, which make It a popular art form among the public. From the emergence and development of Yue Opera to its prosperity and growth, its entertainment value has been accompanied by it. Yue Opera can not only give people visual and auditory satisfaction, but also give the audience great psychological satisfaction, so as to relieve the pressure for the masses and delight the masses physically and mentally. A large number of excellent Plays of Chinese traditional Yue Opera, such as Butterfly Lovers and Peony Pavilion, brought people spiritual sustenance and was one of the important ways for people to interest their heart and soul at that time. For example, the twists and turns of the Story, the beautiful love story and the artistic stage design of the Yue Opera Peony Pavilion not only relieved people's living pressure, but also promoted people's self-cultivation.(Ye,2016)
  
−
[19]Zhao Binning 赵滨宁. (2007). 浅谈西方文化对汉语言的影响[On the Influence of Western Culture on the Chinese Language]. Journal of Harbin University of Commerce: Social Science Edition 哈尔滨商业大学学报: 社会科学版, (1), 127-128.
+
The above research on the value of Yue Opera shows that this local opera has strong charm and development potential. Thus, we can see the reasons behind the "centennial brilliance" and strong influence of Yue Opera. Yue Opera has rich cultural value, including cultural creation value and cultural inheritance value. Shaoxing Opera also has certain social communication value, which can be called a social means. Yue Opera not only promotes social harmony, but even plays a great role in promoting the spread of Chinese culture and cultural exchanges. In addition, Yue Opera has its entertainment value. In daily life, it has enriched the lives of ordinary people and provided them with certain spiritual sustenance, which is of great significance.
  
−
[20]Zhao Hongyan 赵红艳. (2011). 现代汉语新词语来源浅析[ An Analysis of the Sources of New Words in Modern Chinese]. Exam Weekly 考试周刊,(21),19-19.
+
===The Inheritance and Development of Yue Opera===
 +
Yue Opera is one of the most important local operas in China. It has developed into the second most popular opera in China from the original Chinese Folk Rap. However, with the popularization of TV, the establishment of cinemas and the continuous expansion of the Internet, the influx of pop songs, European and American blockbusters and the change of modern people's value orientation, the traditional Yue Opera has been plunged into unprecedented crises. In today's era of vigorously protecting intangible cultural heritage and building a new socialist countryside, how to protect, inherit and develop folk Yue Opera is not only related to the survival of the opera itself, but also an important topic of "intangible cultural heritage" protection, as well as an important content to be studied in mass cultural work.(Zhang,2010)
  
−
==比较文学与跨文化研究   Mahzad 202021080004==
+
Review the Inheritance Status of Yue Opera
−
'''Chinese Mythology and its impact on Chinese Cinema'''
 
−
Mahzad Heydarian
 
  
−
'''Abstract'''
+
Through visits to local cultural departments and literature review, we know that the performance of Yue Opera is faced with fewer and fewer audiences, and the troupe cannot survive. The number of professional Yue Opera troupes has decreased from more than 260 in the 1950s and 1960s to less than 35 now. Most folk yue troupes mainly cover the rural market, but because the market is small, they can not get a greater development. However, under the influence of various cultural and entertainment activities, the audience is mainly around 40 years old, and the younger generation is less interested in it. It can be seen that the audience of Yue Opera rarely come from the youth group, and the audience of Yue Opera is increasingly aging. Although Shengzhou is the birthplace of Yue Opera, its inheritance and development are not good. In terms of relic buildings, the original buildings about Yue Opera are very rare, and the original  birthplace of Yue Opera for women can only be found in the only small village. The exhibition stand protecting the original Yue Opera props is also in disrepair and covered with dust. In terms of museums, most of the objects in the museum are restored by later generations. Props, costumes, Musical Instruments and singing stage are re-made by later generations.(Yang,2021)
−
China has a rich and complex mythology that ages back to approximately four thousand years ago. It could be said that through Chinese history, myth and reality have been very much entangled. We know that historical figures have been worshipped as gods, and ancient myths are sometimes treated as historical truths. Moreover, there has been a great source of inspiration on this issue too i.e., the three great religious traditions _ Confucianism, Daoism and Buddhism_ have certainly had an enormous influence in forming the mythology. The result of all these factors is an amusing collection of characters and tales, both real and fictional. Therefore, mythology has been one of the richest sources for Chinese artists and writers to get attracted to and use their source of inspiration over the times. Moreover, Chinese mythology has become a plentiful source of inspiration for film productions. Chinese mythology has always been a great influence on art including Chinese cinema through internationally known works of animations and movies.
 
  
−
'''Key words:''' Chinese History, Mythology, Ancient Chinese, Myth, Chinese Mythology, Historical Figures, Art, Cinema
+
Problems Faced by the Development of Yue Opera
  
−
'''Chinese mythology'''
+
From the early 1980s to the present, the significant reduction in the number of Yue Opera troupe is the primary problem facing the development of Yue Opera. In the early 1980s, there were seven professional Yue troupes and two professional folk Yue troupes in Jiaxing, while in the mid-1980s, there were only two professional yue troupes. Secondly, from the city to the countryside, the audience of Yue Opera is getting smaller and smaller, and the performance market is getting smaller and smaller. In the past, a company could put on a new play for two or three months. Now it can only put on two or three performances. The audience's enthusiasm for watching Yue Opera has also declined significantly. The third problem facing the development of folk Yue Opera is talent. The performance of Yue Opera has high requirements for talents. It not only requires actors to have beautiful looks and a loud voice, but also to be able to perform. Generally speaking, a good actor can play a role on the stage, no ten or five years is not out, that is to say, one minute on the stage, ten years of work off the stage. Now there is a shortage of talent in the field of Yue Opera. Fourth, repertoire creation is increasingly contracted. In the mass culture system, Yue Opera also received unprecedented cold. At present, cultural centers and art centers around the country mainly focus on the creation of music, dance and fine arts, and there is little interest in the Yue Opera of traditional Chinese opera. There are also few full-time cadres of Yue Opera of drama. In some cultural centers at the county level, full-time cadres of Yue Opera no longer exist.
−
like most mythologies of different regions is a mythology that has been passed over from each generation to the next generations in oral form or recorded in literature in the geographic area now known as Greater China. However, by focusing more on Chinese mythology we could say that, it includes many varied myths from regional and cultural traditions. Much of the mythology involves exhilarating stories full of imaginary characters and existences, the use of enchanted powers, often taking place in a mysterious fairy-tale like place or period. Like many mythologies, Chinese mythology has in the past been believed to be, at least in part, a factual recording of history. End to end with Chinese folk tales, Chinese mythology forms a significant part of Chinese folk belief. like Many stories concerning people and events of the far away past have two purposes: first one offering a closer to historical narratives and second one stories closer to fairy tales and mythologies. “China can trace its historical roots in an unbroken line for more than four thousand years, and its mythological roots extend even farther back in time. From about 2000 to 1500 bce, a people known as the Xia dominated the northern regions of China. The Xia worshipped the snake, a creature that appears in some of the oldest Chinese myths. Eventually, the snake changed into the dragon, which became one of the most enduring symbols of Chinese culture and mythology. New Religious Ideas From about 1500 to 1066 bce, China was ruled by the Shang dynasty. The people at this time worshipped many deities, including natural forces and elements, such as rain, clouds, rivers, mountains, the sun, the moon, and the earth. Their greatest deity, Shang Di, remains an important god in the Chinese pantheon. When a new dynasty, the Zhou, came to power in China in 1066 bce, significant changes took place in religion. People still worshipped the old gods, but ancestor worship became increasingly important. Confucianism and Taoism appeared near the end of the Zhou dynasty. These two religious traditions had an enormous influence on the development of the most basic and lasting principles of Chinese culture.” (Encyclopedia of World Mythology)
 
  
−
'''What is “myth”'''
+
The Reason Why Yue Opera Faces Confusion
−
“Myth, a symbolic narrative, usually of unknown origin and at least partly traditional, that ostensibly relates actual events and that is especially associated with religious belief. It is distinguished from symbolic behavior (cult, ritual) and symbolic places or objects (temples, icons). Myths are specific accounts of gods or superhuman beings involved in extraordinary events or circumstances in a time that is unspecified but which is understood as existing apart from ordinary human experience. The term mythology denotes both the study of myth and the body of myths belonging to a particular religious tradition.” (Encyclopedia Britannica)
 
−
Moreover, we could look into more in-depth explanation of what myth is, such as: myth occupies a significant place among different fictional genres. Barthes views it as a signification mode, communication system, and message. Since myth is speech (parole), Barthes says, anything worthy of a narrative can become it, as “the universe is infinitely suggestive. Any object of the world can pass from a closed, mute existence to an oral, open state to be appropriated by society…” (Barthes 1957, p. 181). It is evident that Barthes’ interpretation extends the limits of mythological narrative beyond the borders of what is traditionally viewed as mythology. Barthes also emphasizes the dynamic of mythological narrative and its connection with the historical time: both in ancient times and today mythology can only have its foundations in history “because myth is speech (parole) chosen by history, it cannot arise from the ‘nature’ of things” (Ibid).
 
−
A very good representative of myth is its relation to the actual world because it could be said that any kind of imaginary is based on realism which lead us to the fictional narratives. Every story has its own limits of departing from reality, outside which myth will no longer be regarded as good narrative. For the understanding of myth, it is also important to discuss the correlation of fiction and truth, fantasy and lies. When Walsh regards fictional discourse from the perspective of truthfulness, he indicates that the relevance of the message in it prevails over truthfulness because from the very start fictional discourse does not pretend to be truthful—it is based on indirect expression, inferences and needs to be interpreted (Walsh 2007, p. 30). This corresponds to Barthes’ opinion that myth does not hide anything—its function is to deform, but not conceal, and there is no need to resort to the unconscious to interpret myths (Barthes 1957, p. 181).
 
−
Myth has existed in every society. Indeed, it would seem to be a basic constituent of human culture. Because the variety is so great, it is difficult to generalize about the nature of myths. But it is clear that in their general characteristics and in their details a people’s myths reflect, express, and explore the people’s self-image. The study of myth is thus of central importance in the study both of individual societies and of human culture as a whole. (Encyclopedia Britannica)
 
−
Therefore, it is possible to assume that, unlike lies, myth does not aim to mislead or deceive. Fictional discourse is a game of sorts, which is understood both by the narrator and the audience. The tacit agreement that fiction is not a lie is accepted by the participants of discourse and is secured by cultural and communicative conventions. It can be argued that sometimes the narrators are convinced that they are telling the truth, i.e., when it relates to religion, prejudice, ideological convictions, etc. But it is important that in such cases they are not trying to deceive or manipulate the audience either. In connection with this Shilkov remarks that fiction belongs to creative genres, whereas lies don’t (Shilkov 2002).
 
−
In many ways myth acts as a “fantasy liberator.” It extends the limits of our universe, creates new landscapes, inhabits them with unknown creatures, forms connections between them, and establishes new modes of behavior, extrapolating the rules of human social communication to the mythological world. (Leontovich 2015)
 
  
−
'''Chinese mythology'''
+
Confusing in today's Yue Opera face of reason is various, but the main reason is that with the change of society and the continuous improvement of living standards. The broad masses of TV and home theater has been gradually into the people, families, people's interest constantly updated, more diverse cultural needs, and a variety of popular songs have taken young people's life. Culture is diverse, Yue Opera was gradually forgotten; Secondly, the propaganda of Yue Opera is not enough. Although the traditional Yue Opera has been quite popular with the masses, the propaganda is far less than that of Peking Opera in the whole country, which causes the dilution of Yue Opera in people's mind. The third is the lack of new strength of Yue Opera. Since the 1990s, fewer and fewer young people like Yue Opera, even fewer professional Yue Opera actors, and now the children basically do not even know what Yue Opera is; Fourth, the operating mechanism of the troupe is not working. It is far from enough for the professional troupe to rely on the financial allocation from the government alone. They have to perform outside to increase their income. (Zhang,2010)
−
Mythology exists as a corpus of texts united by intertextual connections. This is a whole world based on its own philosophy, ethics, rules, norms, and conventions.
 
−
Chinese myths have reached us as a heterogeneous collection of archaic beliefs retained in the context of philosophical, literary and historical texts the authors of which often gave them their own interpretation. That is why they exist in a variety if versions (Encyclopedia of Mythological World 1999, p. 179).
 
−
Chinese mythology is based on a unique religious and ethnic system in which the old worldview is supplemented by the organically coexisting ideas of Taoism, Confucianism, and Buddhism (Rodin 2004, p. 10). It constitutes a complex model of the world, with a detailed context of interaction and a dense network of connections between characters, reflecting the history of the most ancient civilization on the planet. It therefore gives scholars a unique opportunity to observe the dynamics of the human mind in general and Chinese mentality and values in particular. (Leontovich, 2015)
 
−
Chinese mythology includes many varied myths from regional and cultural traditions. Much of the mythology involves exciting stories full of fantastic people and beings, the use of magical powers, often taking place in an exotic mythological place or time. Like many mythologies, Chinese mythology has in the past been believed to be, at least in part, a factual recording of history. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion (Yang, 2005).
 
−
Many stories regarding characters and events of the distant past have a double tradition: ones which present a more historicized or euhemerized version and ones which present a more mythological version. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices. (Ibid)
 
−
There has been extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Elements of pre-Han dynasty mythology such as those in Classic of Mountains and Seas were adapted into these belief systems as they developed (in the case of Taoism), or were assimilated into Chinese culture (in the case of Buddhism). Elements from the teachings and beliefs of these systems became incorporated into Chinese mythology. For example, the Taoist belief of a spiritual Paradise became incorporated into mythology as the place where immortals and deities used to dwell. Sometimes mythological and religious ideas have become widespread across China's many regions and diverse ethnic societies. In other cases, beliefs are more limited to certain social groups, for example, the veneration of white stones by the Qiang. One mythological theme that has a long history and many variations involves a shamanic world view, for example in the cases of Mongolian shamanism among the Mongols, Hmong shamanism among the Miao people, and the shamanic beliefs of the Qing dynasty from 1643 to 1912, derived from the Manchus. Politically, mythology was often used to legitimize the dynasties of China, with the founding house of a dynasty claiming a divine descent. (Wikipedia, Chinese Mythology)
 
  
−
'''Cultural symbols and Chinese art'''
+
Thoughts on Inheritance and Innovation of Yue Opera
−
In Chinese mythological narratives are also very specific, which is proved by means of semiotic and stylistic analyses. We have already mentioned the systematization of the world through the use of different symbols (colors, time, space, etc.). The symbolic function is also performed by miraculous plants, the most significant of which is a peach—a symbol of immortality, beautiful woman and bride. God Shouxing was featured as an old man carrying a peach of longevity. The fruits of immortality grow on a magic peach tree. The peach is one of the fruits named in the five-part model of the world. Pine and pomegranate also belong to the highly valued plants. (Leontovich, 2015)
 
−
Beauty and wealth are symbolized by precious stones. The palaces of mythological rulers are often decorated with jade, jasper, and pearl trees. Jade plays a special role as a Chinese cultural symbol and is used more frequently than others: Yu Di, the ruler of the world in Taoist mythology, is referred to as Jade Emperor; in the estates of divine characters, next to their celestial temples, there are jade terraces and ponds, as well as rich buildings made of jade and gold; the tender skin of people of heavenly beauty is compared to jade; the voice of a female spirit is melodic as the ring of jade pendants; the water flowing out of a jade rock on the island Yingzhou tastes like wine and gives people longevity; jade juice is added to the elixir of immortality; a goblet made of white jade shines at night and by sunrise is filled with sweet dew which prolongs the life of those who drink it. Jasper is used as a similar symbol: Jade Emperor is sometimes called Jasper ruler; myths speak about jasper tower, jasper pond, etc. Symbolism of numbers. Some of the symbolic meanings of numbers connected with Chinese mythology include:
 
−
    1—Dao (man’s way); Progenitor, supreme god Shangdi;
 
−
    2—Yin and Yang;
 
−
    4—sacred animals: Dragon, Phoenix, Qilin, Turtle;
 
−
    7—Seven Taoist skies;
 
−
    10—the earth and three islands of the immortal in the Eastern sea: Fangzhang, Yíngzhou and Penglai.
 
−
    12—twelve cyclic signs: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Sheep/Goat, Monkey, Rooster, Dog, Pig;
 
−
The tendency towards accuracy in the use of numbers, as well as indication of concrete time and place, agrees with the opinion of scholars who believe that Chinese people tend to think in concrete and symbolic terms, unlike Europeans whose thinking is notional and abstract (Devjatov and Martirosjan 2002. Qtd. from: Plotnikova and Jujshina 2008, p. 63).
 
−
Chinese symbols are numerous, their interpretation requires a high level of cultural and linguistic competence, and their in-depth meaning is often lost on modern readers, especially from foreign cultures. (Leontovich, 2015)
 
−
'''
 
−
Examples of Chinese Mythology'''
 
−
Other mythological characters also appear in different aspects of art and culture. Pan Gu is usually portrayed as a little person clothed in a bearskin or leaves, holding a hammer and chisel or the egg of creation. Fu Xi and Nuwa are sometimes depicted in half-human, half-snake form; the two have appeared in several video games, including the popular Dynasty Warriors series. In modern times, Shang Di is one name given to God among Chinese Christians. As interest in Asian culture expands throughout the Western world, characters such as these—and the tales that accompany them, will with no doubt continue to grow in awareness and popularity. Maybe the top ten Chinese myths could be listed as: Journey to the West, Hou Yi, Chang'e, and the Rabbit of the Moon, Investiture of the Gods, Madam White Snake, The Eight Immortals Cross the Eastern Sea, Yu and the Great Flood, The Lotus Lantern, Pangu Creates the World, Nüwa Heals the World, The Three Sovereigns and the Five Emperors.
 
−
Journey to the West a very important example
 
−
Mythology has been one of the richest sources for Chinese artists and writers to draw upon over the centuries, journey to the West is considered to be one of the most important books in Chinese history, and traditional artwork commonly features legendary figures, such as the Five Emperors or the Eight Immortals. In modern times, even with the increasing presence of Western cultural traditions, Chinese mythology remains an integral part of life and art in China. Journey to the West has appeared in many forms and remains the best-known tale of Chinese mythology to those outside China. The Japanese television series Monkey (1978), which also aired in a translated version for British and Australian audiences, was based on the book, and the 2008 English-language film The Forbidden Kingdom, starring Chinese cinema legends Jackie Chan and Jet Li, was inspired by the same legendary characters. (U*X*L Encyclopedia of World Mythology)
 
−
Questionably the most renowned internationally of the four, Journey to the West has since been transformed into numerous TV and film recreations. The face of one of the main characters, Sun Wukong also recognized as the Monkey King is known across China, inspiring timeless art movements, including Dragon Ball and Beijing Opera. The novel is abput the Monkey King as he joins a team of four on their mission to the West to save the ancient scrolls. Written in the 16th century and based on a true pilgrimage story, Journey to the West tells us fairy-tales of overthrow and power. The novel is divided to four sections spread across 1,800 pages that trace the Monkey King’s journey in several independent sections. New characters join the gang every few chapters to then be left behind and exchanged by ghosts and warriors that get in the way. To find out whether or not the gang, escorted by Bodhisattva, successfully makes their way to retrieve the scrolls. For a more completed esplanation we refer to Britanica that mentions: “Journey to the West, Chinese (Pinyin) Xiyouji or (Wade-Giles romanization) Hsi-yu chi, foremost Chinese comic novel, written by Wu Cheng’en, a novelist and poet of the Ming dynasty (1368–1644). The novel is based on the actual 7th-century pilgrimage of the Buddhist monk Xuanzang (602–664) to India in search of sacred texts. The story itself was already a part of Chinese folk and literary tradition in the form of colloquial stories, a poetic novelette, and a six-part drama when Wu Cheng’en formed it into his long and richly humorous novel. Composed of 100 chapters, the novel can be divided into three major sections. The first seven chapters deal with the birth of a monkey from a stone egg and its acquisition of magic powers. Five chapters relate the story of Xuanzang, known as Tripitaka, and the origin of his mission to the Western Paradise. The bulk of the novel recounts the 81 adventures that befall Tripitaka and his entourage of three animal spirits—the magically gifted Monkey, the slow-witted and clumsy Pigsy, and the fish spirit Sandy—on their journey to India and culminates in their attainment of the sacred scrolls.” (Encyclopedia Britannica, Journey to the West, 2022)
 
−
Moreover, Journey to the West has strong roots in Chinese folk religion, Chinese mythology, Confucianist, Taoist, and Buddhist theology, and the pantheon of Taoist immortals and Buddhist bodhisattvas are still reflective of some Chinese religious attitudes today. Enduringly popular, the novel is at once a comic adventure story, a humorous satire of Chinese bureaucracy, a source of spiritual insight, and an extended allegory. (Jenner, 2016)
 
  
−
'''Mythology Representation and Film'''
+
1. Intensify Efforts to Cultivate Professional Yue Opera Actors
−
With the development of digital technology, films based on the adaptation from myths and stories may relate to the term “reshaping”. Examples such as Sun Wukong in the Monkey King: Hero is Back (2015) and Ne Zha in Ne Zha: I am the Destiny (2019) become popular, because the main characters are presented with radically different images. These films impress audiences with not only visual and special enjoyment, but also higher box offices in the market. As Li Xi argued in his work: “The narrative of the mythic text is broad and profound because the archetype and the area it covers are vast and extended. In other words, the mythical story is not a simple reading context, but a collection of mythological elements accumulated over thousands of years, which can activate the collective memory of a region or a nation” (Li, 2010: p. 80). From this point of view, the myths or mythical stories reflect ancient Chinese original understanding of the world, the nature, along with their social life. Such understanding could be powerfully influential and it will be passed down from generation to generation (Luo, 2012: p. 130).
 
−
The power of the magic of these myths means that ancient people did not have the ability to scientifically interpret natural phenomena or situations, however, because they fantasied of God and their beliefs in God helped them solve lots of problems in reality. In China, a big number of animation films being taken from Chinese myths have triggered film producer to think about who shall be Chinese characters and what exactly is meant by these Chinese characters. The next section will focus on the analyses of how Chinese myths are used to create animations, so as to explore why Chinese mythology prompts cultural inheritance in China. (Tang & Gong, 2021)
 
−
Chinese Cultural Elements in Animation Films
 
−
As mentioned in the previous section, Chinese animated works are drawn from Chinese myths and legends, and the structure of the story is derived from Chinese classical themes, leaving a lasting impression on the audience. It is arguably to say that every step of the animation works reflect the greatness of Chinese culture. Take “Silk Roads” for example, it not only tells historical culture, but also shows exotic cultural features, inspiring the creators to make qualified films. In the storyline of a number of excellent Chinese native animations such as The Princess of Iron Fan (1941), The Monkey King (1964), Ne Zha Conquers the Dragon King (1979), and Nine Colored Deer (1981), they have transmitted the conception of ‘rebirth’; a term can also be read in ancient Greek mythologies. However, such re-birth is not literally expressed as similar as reborn, but is understood as the pursuit of the good, the true, and the beautiful to awaken people’s inner spirit (Jiang, 2016: p. 8). For instance, the image of Ne Zha attached with the lotus is a typical plot in Ne Zha Conquers the Dragon King. It expressed a unique relation between life and death. That is to say, the film told audience how the two terms twisted and transferred in the process of reaching one side to the other side. Such transmigration implies that the rebirth is the chance given to good people only. Likewise, Nine Colored Deer used Dunhuang murals to tell the audience how the deer was betrayed by the farmer she helped before, and how she decided to use her divine power to get rid of a risk from an evil. Such “punitive justice” can be obtained in view of Buddhist as well as theological thoughts. “nature” is an ideological-based cultural heritage that the Silk Roads have brought about in the world. In addition, the art of animation is one of the manifestations of visual culture. In the process of the development of Chinese animation films, filmmakers have made a lot of attempts in their visual expressions. (Tang & Gong, 2021)
 
−
From the above analyses we can see that, Chinese mythology contains Chinese cultural roots, cultural characteristics and cultural values, affecting the creation of animated characters in Chinese animation films. The process of the effect can be divided into three layers of evolution in China’s animated history. Early Chinese animation is more likely to have conversations with children, for instance, Little Tadpole Looks for Mommy (1961) and Mu Di (1963) used simple storylines to tell children the importance of protecting animals as well as environment in daily life. In this sense, the making of the animation has a certain function for education. In addition, Chinese mythology has a certain sense of charm that audience see Chinese stories not only to be adapted into Chinese animations, but also into Disney style cartoons. For instance, hero-based images in Chinese narrative stories have been displayed in several American movies. Take Kung Fu Panda for example, although Bao in the film reveals a strong individualism advocated by American culture, the cartoon borrowed a series of Chinese cultural elements in the movie. Both Kung Fu and Panda can be seen as typical symbols of China: the former is probably an embodiment of Chinese heroes; the latter adopts what some might see as an enviable lifestyle among Chinese youngsters: eating and lying around all the time. While the character of Bao follows the Chinese-style moral code such as son should respect father and man should take responsibilities (Yan & He, 2014: p. 22), thus, Bao becomes a true and visible hero in the public eye. (Tang & Gong, 2021)
 
−
works such as The Story of Any Lift (1979) was from Uighur folks, Shui Lu was adapted from a folklore of Taiwan (1985), and The Legend of the Water-splashing Festival (1988) depicted the life style of the Dai people. Stories from ethnic minorities have given Chinese animators the impetus to make more works, allowing audience to see that animations can take a variety of roles and possibilities. As Qin Xiaolin argued: Animations become an indispensable part in film industry. They are no longer made for children but for adults as well, as they bring about greater joy for sharing and imagination to life (Qin, 2019: p. 87).
 
−
From 2010 to present, the technical level of Chinese domestic animation production has been established comprehensively, and 3D animation films have become the mainstream. However, as more and more foreign films (such as ones from Japan, Europe, and the United States) are being imported into China, Chinese animated works is left in the shadows of these animated foreign films. It was only with the release of 《西游记之大圣归来》Monkey King: Hero is Back in 2015, a computer animated film, that Chinese animated works took back the rein. The film was a huge hit and broke the record for Chinese domestic animated movies with CN¥956 million at China’s box office. After the success of Journey to the West, several other high-quality animated films were released, such as《大鱼海棠》 Big Fish and Begonia and 《白蛇缘起》 White Snake. Though none of these movies made headway in regards to the box office, they did make filmmakers more and more interested in animated works. This all changed with the breakthrough animated film,《哪吒之魔童降世》Ne Zha. Released in 2019, it became the second highest-grossing film of all time in China, the highest-grossing animated non-English film, and the highest-grossing animated film in a single territory. It was with this film that Chinese animated films, as a medium, finally broke the notion in China that domestic animated films are only for children. With Nezha, and a spinoff, Jiang Ziya, Chinese animation has now come to be known as a veritable source of entertainment for all ages. (Wikipedia, Chinese Cinema)
 
  
−
'''Conclusion'''
+
In the early 1950s, the period when Yue Opera flourished and developed was also the period when a large number of Art masters of Yue Opera came out. They internalized the art of Yue Opera into their lives, and their personalities and drama forms reached a harmonious unity, which became the highest condensation mode of Yue Opera art. Even when people at that time recalled the development of Yue Opera, the names of a large number of Yue Opera actors first appeared in their mind. Therefore, training a number of young actors to carry forward the Yue Opera with independent artistic life will be the first condition for Yue Opera to obtain its new development.
−
The paper intended to show that Chinese mythological stories have been able to make a unique fictional world reflecting the uniqueness of Chinese mentality. Chinese mythology and reality could be said to be pretty much interwind trough the centuries and this has surely affected many artists including film makers. As we could see there are many examples of internationally well-known movies and cartoons such as: Journey to the West or animations based on Chinese myths and beliefs like Kung Fu Panda which are filled with Chinese symbols and cultural traditions. It of course does not mean that people in modern China use the ancient mythical observations and ideas in their understanding of the world; nevertheless, similar to other homelands in the different parts of the world, the metaphors of imaginary creations and worlds are preserved as a cultural background and a source of inspiration to make new and creative works of art trough the times. The effect of mythological thinking on the Chinese population is learning and respecting for the past, respect and worshiping ancestors, consideration to details, creativity, and the ability to form possible imaginary worlds. All these characteristics can be seen in the various forms of art such as Chinese cinema.
 
  
−
'''References'''
+
2. Intensify the Creation of Scripts for Yue Opera
−
"Chinese Mythology." U*X*L Encyclopedia of World Mythology. Encyclopedia.com. 10 Jun. 2022 <https://www.encyclopedia.com>.
 
  
−
Britannica, The Editors of Encyclopedia. "Journey to the West". Encyclopedia Britannica, Invalid Date, https://www.britannica.com/topic/Journey-to-the-West. Accessed 27 June 2022.
+
In particular, the audience should choose the most concerned good subject matter, in the spread of "Butterfly Lovers", "Xianglin Sister-in-law" and other classic bridge based on the new culture and people's appeal, innovation. If shaoxing opera wants to get enough attention and attention in the contemporary era, it must have scripts that can reflect the values of The Times and express the demands of the people as a guarantee. This should give enough care and attention to the playwright, establish a long-term mechanism to stimulate and protect their creative enthusiasm.
  
−
Bolle, Kees W. , Buxton, Richard G.A. and Smith, Jonathan Z.. "myth". Encyclopedia Britannica, Invalid Date, https://www.britannica.com/topic/myth. Accessed 27 June 2022.
+
3. Innovate the Promotion Method of Yue Opera
  
−
Barthes, R. (1957). Le mythe aujourd’hui. In Mythologies (pp. 181–233). Paris: Éditions du Seuil.
+
In the past, the art of Yue Opera was born as a kind of market culture of residents, but now, as a cultural heritage, Yue Opera is gradually transforming from popular culture to elegant art. Therefore, when it comes to effectively dealing with the cultural watch and spiritual breakout of Yue Opera, the first thing we need is to adjust our mentality towards the cultural phenomenon of Yue Opera. We do not advocate the Yue Opera itself directly to change to become a new culture, but should be advocated through the way of improvement and innovation make Yue Opera culture gradually in the masses of the people has the characteristics of a new era of traditional culture, such as development "Yue Opera" series of gen, create IP with Yue Opera character animation image, using new media communication way, Through a number of new channels, such as "live streaming of Internet celebrities", "school-enterprise cooperation" and "star endorsing", the new culture serves the traditional culture of Shaoxing opera and spreads the melody of Yue Opera among a wider social group. (Yang,2021)
  
−
Devjatov, A., & Martirosjan, M. (2002). Chinese breakthrough and lessons for Russia. Moscow: Veche.
+
===Conclusion===
 +
As a traditional Chinese culture, Yue Opera has its own unique appreciation value. In today's multicultural world, we cannot abandon our traditional culture. We should try our best to inherit and carry forward our traditional culture, so that they can adapt to the changes of The Times and keep pace with The Times. But at the same time retain the traditional culture, let the world hear the voice of China.
 +
===References===
 +
*Jin Yingzi金英子(2012). 越剧传统文化基质和审美价值研究[Study on Traditional Culture Matrix and Aesthetic Value of Yue Opera]. 音乐探索Explorations in Music(02): 39-41.
 +
*Liu Wenfeng刘文峰(2022). 扬长补短，再创辉煌——关于越剧传承发展的思考[Develop Strengths and Complement Weaknesses to create Brilliance -- Reflections on the Inheritance and Development of Yue Opera]. 中国非物质文化遗产China's Intangible Cultural Heritage(01): 35-39.
 +
*Pan Yuqi潘玉琪(2009). 越剧的诞生、发展及其人文背景研究（1906-1949）[Study on the Birth, Development and Cultural Background of Yue Opera (1906-1949)].复旦大学Fudan University.
 +
*Qian Hong, edited by the editorial board of Chinese Yue Opera Canon钱宏主编，《中国越剧大典》编委会编著(2006)．《中国越剧大典》[The Grand Ceremony of Chinese Yue Opera]．杭州市：浙江文艺出版社、浙江文艺音像出版社Hangzhou: Zhejiang Literature and Art Publishing House, Zhejiang Literature and Art Audio and Video Publishing house.
 +
*Yang Ruyuan杨汝远(2021). 论非遗文化在现代化进程中的守望与传承——以越剧为例[On the Watch and Inheritance of Intangible Cultural Heritage in the Modernization Process -- Taking Yue Opera as An Example]. 汉字文化Sinogram Culture(06): 175-177.
 +
*Ye Haixiong叶海雄(2016). 越剧传统文化基质和审美价值探讨[Discussion on Traditional Culture Matrix and Aesthetic Value of Shaoxing Opera]. 戏剧之家,Home Drama(06): 52.
 +
*Zhang Peiying张配英(2010). 浅论民间越剧的传承与创新[On the Inheritance and Innovation of Folk Yue Opera]. 大舞台Great Stage(10): 79.
 +
*Edited by Cultural and Historical Data Committee of Shengxian CPPCC嵊县政协文史资料委员会编(1992)﹐《越剧溯源》[The Origin of Yue Opera]. 浙江人民出版社Zhejiang People's Publishing House(5): 23
  
−
Encyclopedia of Mythological World. (1999). A. Cotterell (Ed.). Bath: Barnes & Noble Books.
+
===Terms and expressions===
 +
Yue Opera 越剧
  
−
Hai Tang, & Xiaobin Gong (2021). A Study of the Inherited Relations between Classical Mythology and the Making of Chinese Animation Films, Scientific Research Publishing, MY Studio, Jiangnan University, Wuxi, China, ISSN Online: 2165-4336.
+
Chinese Folk Rap 落地唱书
  
−
Jenner, William John Francis (3 February 2016). "Journeys to the East, 'Journey to the West". Los Angeles Review of Books.
+
Pingju opera  评剧
  
−
Journal of Hunan University of Technology, 6, 130-133.
+
Little Choir  小歌班
  
−
Jiang, C. (2016). The Representation of the Silk Road Culture in Chinese Traditional Animation. Art Research Letters, 5, 7-16. (In Chinese)
+
Shaoxing Civil Opera 绍兴文戏
−
Li, X. (2010). The Interpretation of the 21st Century Mythology—A Study of the Magic Movies of Movie Genre. Journal of Guizhou University (Art Edition), 24, 79-82.
 
  
−
Luo, X. (2012). Ideological Criticism of the Mythology-based Symbolic Analysis Mode.
+
Peony Pavilion 牡丹亭
  
−
Leontovich, O. The world of Chinese fictional narratives: content, characters and social impact. Int. Commun. Chin. Cult 2, 301–317 (2015)
+
===Questions===
 +
1.What are the five major Chinese opera genres?
  
−
Shilkov. Y. M. (2002). Ja (A.Slinin) i MY [Me (A. Slinin) and Us]. St. Petersburg: Sankt-Peterburgskoe filosofskoe obshhestvo [St. Petersburg Philosophical Society]. Series X. http://anthropology.ru/ru/texts/shilkov/slinin.html. Accessed 3 Nov, 2014.
+
2.Where is the birthplace of Yue Opera?
  
−
Wikipedia, Chinese Mythology
+
3.How to inherit and innovate Yue Opera?
  
−
Wikipedia, Chinese Cinema
+
===Answers===
 +
1.Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera.
  
−
Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press. ISBN 978-0-19-533263-6.
+
2.Shengzhou
  
−
==英语语言文学   Mimi 2020GBJ002301==
+
3.Firstly, intensify efforts to cultivate professional Yue Opera actors.Secondly,intensify the creation of scripts for Yue Opera. Thirdly, innovate the promotion method of Yue Opera.
−
          Chinese modern literature
 

Revision as of 08:09, 5 July 2022

Back to course homepage: Chinese_Language_and_Culture_2022, back to final exam paper overview: 20220630_Culture

This is the final exam paper website no. 8

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: 20220630_Culture_save

  • 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 王亚娟 Wang Yajuan 202170081598

Filial Piety in China
Wang Yajuan

Introduction

Filial piety has been a tradition of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been priority in the traditional Chinese politics and cultures. (Xiao Longhang 2006: 1)China's unique patriarchal social system determines that filial piety goes through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic.

Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach it. In feudal society, when the system was thriving, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016;11) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety of Chinese filial piety, then briefly compare and analyzes Chinese and western filial piety, finally a brief conclusion about filial piety will be given.

Origin and Basic Meaning of Filial Piety

The exact origin of the idea of filial piety is still inconclusive in academic circles. Because in the absence of exact archaeological findings and written records, all conclusions drawn by scholars are only speculations, with imaginary approximations but no factual results. Therefore, the origin can only be explored in the ancient literature. (Wang Xiaohu 2014:3 .)

The explanation of filial piety in Erya-Shihun(《尔雅·释训》) is "being nice to parents is filial piety"; the explanation in Relics from South is “The Chinese character ‘孝’(filial piety) is a combination of the Chinese character ‘老’ (old) with the lower right corner omitted, and 子 (son), thus, 孝 means to serve one's parents well, and it means that children respect and support their parents.’’ Today's scholars interpret the Jinwen（金文inscriptions on ancient bronze objects） form of filial piety in much the same way as the above, and the explanation of filial piety in the Ci Hai(《辞海》) is “to be nice to parents well”, which is almost identical to the explanation in the Erya；Tang Yin's On the Origin of Characters《文字源流浅说》 is even more interesting: “Like a '子'（son） walking with his head bearing ‘老’（the old man）, showing ‘孝’（filial piety） by the shape of supporting an old man to walk.’’ It can be seen that the ancient form of the character "孝”（filial piety） and the meaning of "nice to parents" match perfectly, so "filial piety" is regarded as a kind of good deed and virtue of children to their parents. (Yang Jianhai 2017:10)

In history, records of "respect olders" first began with Three Sovereigns and Five Emperors:"昔者，有虞氏贵德而尚齿，夏后氏贵爵而尚齿，殷人贵富而尚齿，周人贵亲而尚齿”（From the time of Yu and Shun, although they respected virtuous people, they did not forget to respect older people; in the Xia Dynasty, although they respected people with titles, they did not forget to respect older people; in the Yin Dynasty, although they respected people with money, they did not forget to respect older people; in the Zhou Dynasty, although they respected people with kinship, they did not forget to respect older people.”）and “有虞氏养国老于上庠，养庶老于下庠；夏后氏养国老于东序，养庶老于西......(Fan Yan 2016:11)(In the era of the yu, the retired senior officials were entertained at the upper school and the retired scholars at the lower school; the offspring of Xia entertained the retired senior officials in the east and the old people in the west...)

From the available information, the Jin dynasty appeared on the "filial piety" records, such as "“天子明哲，观孝与申（神）”(The emperor judged a man's virtue by his filial piety and religious belief) People in Yin Period believed that the ancestors could directly worship God and are the main medium between God and the human world. Since the ancestors were the medium between the human world and the divine world, they naturally became the masters of the earth and thus could bring disasters and blessings. (Yang Jianhai 2017:134)This is the reason why the Yin people attached special importance to heavy burial and had religious worship of their ancestors.

After King Wu of Zhou pacified the world, he redistributed the world and restored the social orders, therefore, Zhou Dynasty not only inherited the traditions of the previous dynasties, but also created customs and festivals to honor and respect the elderly. For example, the "乡饮酒（country drinking ceremony）" was a unique form of village gathering in the Zhou Dynasty, where the younger generation expressed their respect to their elders by making a toast. During the banquet, ancient songs or chapters from the Book of Songs(《诗经》) were played to praise the virtue and prestige of the elderly. (Fan Yan 2016:11)

Filial piety in the sense of ethical norms is not fully highlighted until Confucius: "“夫孝，天之经也，地之义也，民之行也。”(Filial piety, like the operation of heaven, is eternal and unchanging; like the natural growth of all things on earth, it is natural and justified, and is the natural behavior of the people.）and “天地之性，人为贵。人之行，莫大于孝。”"The nature of heaven is valued by man. The conduct of man is no greater than filial piety." Mencius inherited this view and proposed, "“事孰为大？事亲为大“（What is the greatest thing to do? To serve one's parents is the greatest） (Fan Yan 2016:11). Confucianism believes that filial piety and respect for one's elders is a natural and righteous thing to do, and it is the foundation of one's life.

Confucianism has laid the foundation for the most influential part of filial piety in Chinese people for more than two thousand years because Confucian sages, represented by Confucius, completed the transformation of filial piety from religion to philosophy, from "pursuing filial piety" to "nurturing filial piety" during the Spring and Autumn and Warring States periods. As we all know, Confucius created a philosophical system with "benevolence" as the core concept, reinterpreting the Western Zhou "rites" from the viewpoint of "doctrine of benevolence". He also believes that filial piety is no longer due to the external pressure of society and the constraints of gods, but is an emotional demand and moral consciousness from people's heart and he also combined "filial piety" with "rites", saying that one should treat one's parents and elders with "生，事之以礼；死，葬之以礼，祭之以礼’’ (Yang Jianhai 2017:135)(rites in life, rites in burial, and rites in sacrifice) .

Evolution of the Meaning of Filial Piety

After the formation of filial piety in the time of Confucius, it continued to develop.


1.The Han and Wei And Jin Period

During the Han Dynasty, there was a more obvious trend of expanding the idea of filial piety, and after the adoption of Dong Zhongshu's proposal of “罢黜百家，独尊儒术（dismissing the hundred schools and respecting only Confucianism）”, the Han Emperor began to promote Confucianism. The idea of "filial piety" was closely related to social politics, and during the Western Han Dynasty, the implementation of filial piety was encouraged through the establishment of an official for filial piety, and the old caring was established as a system, which had extremely severe legal penalties for those who were not provided for their parents - would to be beheaded.(Ma Yaobin 2017:101)Through such external coercive norms, instead of focusing on the internalization of the idea from the heart, the idea of filial piety was heavily colored by politics, making the people's filial behavior more formal.

From the beginning, the rulers of the Wei and Jin periods advocated the rule of the state by filial piety as the basis of governance and he sets an example for all his subjects by serving his own mother personally. The rulers of the Wei and Jin dynasties attached great importance to the Classic of Filial Piety, not only having the great scholars teach it, but also made notes themselves. When the emperor lectured on The Classic of Filial Piety(《孝经》), he had to be accompanied by important ministers, and there was a clear division of labor, including lecturing, reading, reading and extracting sentences. (Fan Yan 2016：12)

2.The Tang Dynasty, Song and Yuan Dynasty

In the Tang dynasty, although filial piety was still not given much attention, the ethics of filial piety was still enriched and developed by the royal family out of the need to rule. First, Emperor Xuanzong of Tang twice annotated The Classic of Filial Piety(《孝经》), which became the common version used today; second, The Classic of Filial Piety became a compulsory subject for the imperial examinations; third, Tang Code（《唐律疏议》）, which is the highest legislative achievement of the Chinese legal system, pays special attention to filial piety, in which there are 58 articles that can reflect "filial piety".（Yang Zhigang 2012：262）

During the Song and Yuan dynasties, the traditional idea of filial piety in China was to a certain extent alienated, for example, the filial sons and acts of filial piety in the book 24 Stories of Filial Piety（《二十四孝》） which was written in the Yuan Dynasty, could find their prototypes in the Song Dynasty. 24 Stories of Filial Piety was collected by Guo Juijing of the Yuan Dynasty, with many versions and mostly similar contents, recording the stories of twenty-four filial sons from the ancient times to the Tang and Song dynasties, such as Zhongyu "carrying rice for a hundred miles" and Wang Bao "hearing the thunder and weeping at the grave" and so on,which all reflect the deepest concern and respect of children for their parents, and even after their parents have passed away, they are still able to respect and raise their parents. . (Ma Yaobin 2017:101) However, there are also some foolish acts of filial piety, such as Guo Ju's "burying his son for his mother"and Wang Xiang's "lying on ice for seeking carp for mother", which are either the loss of basic humanity or foolishness, and are not worth promoting.

3.The Ming Dynasty and Qing Dynasty

During the Ming Dynasty, against the backdrop pf reinforced centralization of power and people’s confined minds, filial piety was advocated in a perverse way, and it was the darkest period of feudal culture. Luo Lun said in the Outline of Principle of Feudal Moral Conduct(《扶植纲常疏》): "孝者，天之经也，地之义也。国而非此不可以为国，家而非此不可以为家。’’(Filial piety is unalterable principle. Without it, the country can not be the country and home can not be home ) (Xiao Longhang 2006:9)There were many loyal subjects and many filial sons in the Ming Dynasty, but many of them were foolishly loyal and blind filial people under the dark rituals,which had a profound influence on later generations.

The Qing dynasty, as a foreign regime, after entering the country to inherit the great unity, continuously learn the Han culture and also with the power of "filial piety" to rule, and the Kangxi emperor placed emphasis on the three principles and the five rules in which the "filial piety" was put in the first place. He believed that to rule the world, the emperor should respect the rule of filial piety. At the same time, the folk power also spared no effort to promote and publicize filial piety with the help of popular teaching materials, such as The Hundred Filial Piety Charts(《百孝图》), which were widely disseminated until the late Qing Dynasty and the early Republican period. (Yang Jianhai 2017:137)

4.In Modern Times

In modern times, new reform and revolutionary forces have become increasingly critical of traditional filial piety, and南京临时政府《临时约法》( the Provisional Treaty enacted by the Nanjing Provisional Government) , completely ousting Confucianism, which had ruled China for a long time, making democratic thought the mainstream ideology of the democratic revolution. (Li Renjun 2010:42)

The New Culture Movement （新文化运动）made an unprecedented rethinking of filial piety. In his essay Speaking of Filial Piety(《说孝》), Wu Yu pointed out that "the original meaning of filial piety is to gratitude." It is a social virtue for children to care for their parents, but it is wrong to derive other morals from it while Chen Duxiu believed that the adverse effect of the patriarchal system, with its emphasis on filial piety was to exacerbate social inequality." Lu Xun, who was a master of ideas in establishing a new type of ethical relationship between parents and children during the New Culture Movement, believed that love and respect was the cornerstone of establishing a new type ideology between families, "To expand this love, one must understand and take the child as the principal; secondly to guide instead of commanding or chastising; and third, to liberate, so that the child becomes an independent person." (Xiao Qunzhong 2001:124)

In short, during the New Culture Movement, these thoughts about the establishment of a new ethic of father-child relationship, which was consistent with the slogan of "democracy, science, advocating new morality and opposing old morality"at that time. (Li Renjun 2010：43)This new concept of "freedom and equality" also laid the ideological foundation for the establishment of new relations in modern times.

5.In Contemporary Times

In contemporary times, people have begun to adhere to the Marxist and rethink the current development of filial piety and its practice in our country. In recent years, when the song "《常回家看看》Come home often" has entered thousands of households, filial piety has once again become a hot topic. People are beginning to rethink the idea of filial piety in the context of the new era, and general public is focusing more on the concern and reflection on parents' emotions. (Ma Yaobin 2017:102)

Influence of Filial Piety on China

Filial piety has a long history as a traditional Chinese ethical culture and has a universal influence in society. Its strong power has played a great role in consolidating the centralized rule of feudal dynasties and stability of civil families in successive generations. (Li Renjun 2010：45) However, many of these views are feudal dregs that are having a negative impact on society.

1.Negative Influence

In our history, the concept of filial piety has had many shortcomings.

(1)Fool the People

Traditional filial piety emphasizes the "three principles and five rules" to fool the people, just as Confucius said: "民可使由之,不可使知之"(With the people, we can only make them do what we want them to do, not why they want to do it). By propagating the idea of loyalty and filial piety and polarizing it, the people were made obedient and the ministers were made loyal, not thinking of rebellion and rarely rebelling. Wu Yu points out that “China has been turned into a big factory for the production of obedient people. Such is the great role of the word filial piety!" (Zhao Qing, Zheng Cheng 1985)

(2)Inequality

The relationship between ruler and subject, father and son in traditional filial piety and the resulting hierarchical concept lead to the inequality between people. Although it involves the idea of respecting the old and loving the young, it is always the "elders" that is absolutely dominant. (Xiao Longhang 2006:29)

(3)Feudalism

Filial piety that has been transformed by the ruling class and used to rule the people, should be criticized and discarded. The meaning and role of filial piety has been mystified, and myths and legends about filial piety being able to sense heavenly things have spread throughout the world. (Li Chunhua, Yu Dahai 2006:26) As a result, there were some extreme cases and some people did inhumane things, such as hurting themselves to benefit one's parents and kill one's son to support his mother, thus exerting a bad impact on history.

(4)Conservativeness

Persevere and unity can be said to be the basic spirit of Chinese filial piety. Filial piety emphasizes respect for ancestors and treating parents well, "三年无改于父道”（He didn't change his father's ways for three years）, and respect and obedience to their parents and ancestors,and if not, they are regarded as "rebellious sons" and "black sheep" and are severely reprimanded. Moreover, it is very conservative and unequal, as the sons identify with their fathers and submit to them. (Xiao Qunzhong 2001;42 )

2.Positive Influence

Despite the many shortcomings of filial piety, we cannot deny the positive role it has played in our country's history:

(1)Shaping the Character of People.

Filial piety is the basis for establishing one's character. Sima Guang of the Song Dynasty said, "治身莫先于孝”(There is no better way to sahp one's character than by filial piety.) "夫孝，始于事亲，中于事君,终于立身”(Filial piety begins with serving one's relatives and ends with serving the king,Finally, it is the foundation of shaping one’s mind.)" The scope of falial piety no longer limited to the family, but a social cause. (Xiao Longhang 2006：28)The responsibility to parents and family constitutes an inexhaustible motivation for the ancient people to build their career and dedicate themselves to the country and the nation, which promotes social progress.

(2)Promote Family Harmony

Filial piety, that is the core foundation of family harmony. Our parents are the source of our life. The affection between children and parents is deepest, and filial piety is the fundamental of being a human being. "睦于父母之党，可谓孝矣”If you are good to your parents, you can be considered filial" (Shen Shanhong 19895 ). Being filial to parents is conducive to improving family relations, creating a sense of wholeness and harmony in the family, and promoting the development of all members of the family.

(3)Enriching Chinese Culture

As traditional Chinese culture dominated by Confucian culture, with Confucianism, Buddhism and Taoism interlinked, filial piety is the mainstream of Confucianism, and also is found in Shi and Tao, and has contributed to the development of Shi and Tao culture. The Buddhist scriptures such as The Anthology of Hong Ming(《弘明集》) and the Taoist scriptures such as Scripture of the Great Peace（《太平经》）are also rich in filial thoughts. (Xiao Long Hang 2006:33)In addition, with the passage of time, filial piety gradually integrated into the fields of philosophy, literature, art, and folklore, playing an expanding role for the national culture.

(4)Maintaining Social Stability

“其为人也孝弟，而好犯上者鲜矣。不好犯上，而好作乱者，未之有也。”（It is rare to see the kind of person who is filial to his parents and loves his brother but likes to offend his superiors; it is even more rare to see the kind of person who does not like to offend his superiors but likes to rebel.）"“事亲者，居上不骄，为下不乱。”(Ning Yegao 1995)反之，“居上而骄，为下而乱则刑，在丑而争则兵。“（He who serves his parents is not proud when he is in a higher position, not disruptive when he is in a lower position, and not contentious when he is among the people. If you are proud in a higher position, you will perish; if you are disorderly in a lower position, you will be punished; if you are angry among the people, you will be attacked.）This kind of conduct, which has been honored for thousands of years, does have a deep meaning and a realistic role. Moreover, the value of filial piety does not lie only in loving one's relatives, as filial piety begins with loving one's parents and then moves on to love people and love society. Therefore, filial piety is conducive to social harmony.

Comparison between Chinese and Western Filial Piety

Filial piety in both China and the West emerged with family, and its initial meaning is basically the same: filial to parents. (Lian Luxia 2012:) However, Chinese and Western filial piety are based on different geographical, political, economic, and cultural conditions, which influence the differences in the Chinese and Western understanding of the meaning of filial piety.

(1) Differences in the Objects In the feudal society, parents had absolute authority. After entering feudal society, Chinese filial piety culture developed from respect for parents at the family level to loyalty to the ruler at the social level. By promoting filial culture, feudal rulers were able to achieve their political indoctrination and feudal rule. In an environment that preached the combination of loyalty and filial piety, and the integration of family and ruling (Li Xiang, 2010:52), filial piety was even bound to people as a code of conduct in ancient patriarchal societies.

In the West, the meaningful of filial culture at the social level is not significant, and its mainly refers to respect for parents. Unlike China, however, respect does not mean absolute obedience, and the West attaches more importance to the personal independence between parents and children, and it is more often reflected in the religious sphere. (Huang Shujuan 2021:190)

(2)Differences Between Chinese and Western Family Ethics

Confucius said, "事父母几谏，见志不从，又敬不违，劳而不怨。(Serve your parents, and if they are wrong, politely advise them. If you express your own opinion and your parents are unwilling to listen to it, you should still be respectful to them and not disobey them, and work for them without resentment.)" Chinese feudal society took filial piety as the fundamental of feudal rule. Influenced by Confucianism, parents and elders had absolute authority in the family, and filial piety was reflected in the attitude and behavior of children toward their parents.

The West pursues equality and believes that all men are born equal, and that the relationship between children and parents is also equal. According to Rousseau, "The most primitive society, the only natural society, is the family; the son is dependent on the father only when his protection is needed, and once this need ceases, the natural union breaks down. Each becomes equally independent of the other." (Hu Yuanjiang, Chen Haitao, 2007:48)

All in all, the differences between Chinese and Western attitudes to filial piety exist objectively, so in the face of this difference, one cannot simply judge it by good or bad and the two cultures in different countries are valuable treasures for all mankind. (Lian Lu Xia 2012:203) Today, the Chinese and Western cultures of filial piety are influencing each other and learning from each other because Chinese culture of filial piety shines with the light of humanity, while Western pension system is conducive to economic development. With the continuous development of globalization, western societies can learn from Chinese love and care for the elderly while in the face of social problems such as population aging, there should be more equal between Chinese elders and youngers.

Conclusion

Filial piety has profoundly influenced the habits, psychological qualities and national spirit of our nation. According to Mr. Wei Yingmin, "filial piety is not only applicable to one society, one class or one era, but it is super-class or cross-era, and it is applicable in several eras" (He Naichuan 2002).

In the study of filial piety culture in China, we analyze the history of filial piety as well as its values and drawbacks. We can have a clearer understanding of filial piety, and then better take its essence and remove its dross. Traditional culture is to be traced and analyzed in order to inherit and innovate.

Filial piety is not only an ethical requirement, but also a tool of the feudal rulers in history and in recent times, people have gained a deeper understanding of filial piety through the inheritance and renewal of traditional culture. Respect for elders is a need for human development, and traditional culture plays an important role in maintaining family relationships. At present, China vigorously promotes the core values of socialism, and a harmonious and stable society needs filial piety to play its positive role, so under the new situation, it is the mission to inherit and carry forward the reasonable part of traditional culture and actively explore a new way to deal with filial culture.

Terms and Expressions

References

Questions

Answers

英语笔译 肖冬晴 Xiao Dongqing 202170081599

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

Abstract

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

Key words

Verbal humour; Chinese sketch comedy; cooperative principle

Introduction

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

However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping (2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Ting (2020), on the other hand, analysed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling (2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.

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

There are studies concentrating on the mechanism of humour in comedy. For example, Dang Fengxiao and Cheng Xiongyong(2021) studied on the humourous language in sketch comedy from the perspective of speech act theory while Wei Ya'e studied the sketch comedy presented by Mahua Funage using logic rules. Looking across the border, Adesoye Ronke Eunice (2018) investigated humour and how it is achieved using phonological processes. Parashar Poorva and Tewari Paul (2020) analysed the humour in The Lonely Island and tried to work out its essence as well as how absurdism and stupid comedy provides insight into millennial and internet psychology. Alex Clayton (2020) studied humour from the perspective of rhetoric through vivid, highly readable analyses of individual sketches.

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

Cooperative Principle

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

To further specify the CP, Grice introduced four key categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several specific maxims and sub-maxims. In simple terms, quantity maxim is to be informative, quality maxim is to be truthful, relation maxim is to be relevant and manner maxim is to be clear. These describe specific rational principles observed by people who follow the cooperative principle in pursuit of effective communication. Therefore, applying the maxims is a way to explain the link between utterances and what is understood from them.

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

Chinese Sketch Comedy

Chinese sketch comedy first gained popularity after the Spring Festival Gala in 1984 when comedian Chen Peisi presented “eating noodles” on stage with his partner Zhu Shimao. Since then, this art form embodying acting and setting on stage sprung up like mushrooms across China and underwent refinement after years of development. Famous sketch comedians include Chen Peisi, Zhao Benshan, Fan Wei, Guo Da, Pan Changjiang, Song Dandan and so forth. The advent of the millennial witnessed the flourishing of this artistic form in which passionate performances of the younger generation, with Shen Teng, Ma Li, and Jia Ling taking the lead, engaged with great enthusiasm and produced a series of humourous yet educational works.

3.1 Historical origin

Chinese Sketch comedy got its name from art schools and performing groups. In the performing art community, the single or group performance which creates a simple scene through body and language is dubbed as “sketch comedy”, an event originally adopted to examine the basics of students of performing arts when teachers threw a topic during an interview and students were required to respond to that on the spot.

As a form of performance about small things in people's daily lives, Chinese sketch comedy has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, errenzhuan and comic drama and is generally believed to originate in the 1980s. Normally, sketch comedy revolves around just one topic, but with a lot of action and lively language. With the help of the promotion by the annual Spring Festival Gala, Chinese sketch comedy became a very popular artistic form in China. The first sketch comedy in China was“eating noodles” (in 1984) which was performed by Chen Peisi. Classic Chinese sketch comedy includes “Blind Date” performed by Zhao Benshan and Huang Xiaojuan in 1989, “The Adventures of Migrant Worker” led by Gong Hanlin and Zhao Lirong in 1996 and “Selling Crutches” by Zhao Benshan and Fan Wei in 2001, etc. Famous comedy groups in operation are DEYUNSHE initiated by Guo Degang, Mahua FunAge best known for its member Shen Teng, Big Bowl Entertainment led by Jia Ling, Zhao Benshan and his students, and Shanghai Xiaoguo Culture started by Li Dan, in which Mahua FunAge, Big Bowl Entertainment and Xiaoguo are still active on screen taking up sketch comedy, the Zhao’s team play “partially” for its fans in China’s northeast and DEYUNSHE mainly focus on passing on crosstalk to the next generation for the audience.

3.2 Features of Chinese Sketch Comedy

Chinese sketch comedy is sharp and witty, with simple plots, which represents as the most fundamental character that distinguish itself from other forms of art and performance. It may not be as sophisticated as other stage performances such as drama and opera, but it is able to render to its audience wisdom and thought-provoking perceptions based on its witty dialogue wrapped up in humour.

Chinese sketch comedy is also an art form that is highly narrative. As many of the topics are directly taken from the life of the people living in the grassroot, it appeals to all ages and entertains people from all works of life. Stories are the fundamental part of sketch comedies which are presented by the characters and the development of the plot interwoven with hookers of suspense, surprise and sudden changes.

Laughter is what sketch comedy aims to achieve ultimately. As the embodiment of stage play, xiangsheng, errenzhuan and comic drama, the modern sketch comedy manages to give the strengths of the artistic forms into full play with the help of modern technology, throwing humourous verbal “packages” consecutively and smoothly to the audience in the hope of eliciting ecstasy from them.

After giving a brief explanation of the theoretical basis and development of Chinese sketch comedy, the following chapter is to elaborate and exemplify the mechanism of humour in specific cases from the perspective of violation of CP in its four key categories, namely the violation of quantity maxim, quality maxim, relation maxim and manner maxim.

3.3 Classifications of Chinese Sketch Comedy

Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

An Overview of Cooperative Principle Violation in Chinese Sketch Comedy

As the kind of sketch comedy presented on stage are plenty, the cases this thesis is to select and analyse are mainly to taken from the ones presented by Mahua FunAge and Big Bowl Entertainment. Here is the detailed analysis of the comic dialogues:

4.1 Verbal Humour Resulted from Violation of Quantity Maxim

Quantity maxim requires that the contribution is as informative as required. In other words, the contribution should not be more informative than is required. However, this maxim is often violated in daily conversation when too much or incomplete contributions are made, which is especially common and humourous when it comes to sketch comedy jokes. For example:

Hao Jian: Oh my god! Are you feeling alright? Where did you hurt?

The old lady (lying on the road groaning): Oh, my elbow! Oh, my kneecaps! And my waist! None of them are painful!

The example above is taken from “To Help or not to Help”(《扶不扶》) in the Spring Festival Gala in 2014. In the opening part of the comedy, Hao the biker was intended to get his broken bike repaired after a car accident. On the way to the repair shop, an old lady with memory problems accidentally slipped on the ice and fell at the back of his bicycle, mistaking him to be the one who knocked her down. In this dialogue, the old lady was expected to answer where was painful. However, she adopted a funny “elimination” method carrying a bunch of irrelevant body parts as her reply. By creating a surprise contrary to what most of the audience would tend to presume, conversations of this kind produce a comic effect by violating quantity maxim.

Here is another case taken from “Making Friends”(《投其所好》) played in 2015:

Official: Is it true that you loved playing ping-pong in your spare time at your department?

Hao Jian(interrupts): I apologise. It was me being too playful. I now see that I was wrong and I swear that I’ll never play ping-pong again! If I were to commit it again, I would have my hands cut……

This satirical sketch comedy focused on the social phenomenon of “making friends” through bribery in order to get things done. In the part mentioned, what the official intended to do was to persuade Hao to practise more and try to be proficient in table tennis so as to flatter the new boss. However, Hao misunderstood the official. Instead of giving a “yes” or “no” to the question, he added up many remarks and even made an oath. It was the violation of quantity maxim in his clumsiness that made this part of acting hilarious.

4.2 Verbal Humour Resulted from Violation of Quality Maxim

Quality maxim requires the interlocutors to be sincere and talk about true things. It has two sub-maxims, namely “do not say what you believe is false” and “do not say that for which you lack adequate evidence.” But in real life, this maxim is also often violated by people who tries not to hurt other people’s feelings or who with special intensions. Here is an example from “The Real and Fake Teacher”(《真假老师》) made its debut on the stage of the Spring Festival Gala in 2018:

Teacher: Nice to meet you, Madam, I’m Xiaoming’s head teacher, Ms Jia.

Cleaner: You too! I’m Xiaoming’s mother, Jia (the surname ‘Jia’ and fake are homophones in Chinese. Here the cleaner accidentally blurted it out).

Teacher: Excuse me?

Cleaner: I mean, my family name’s also Jia.

Teacher: But I remember Xiaoming’s parent is called Wang Guixiang(apparently a girl’s name)…

Cleaner: And that’s his father.

Teacher: Zhang Xiaoming actually had a father named Wang Guixiang?

Cleaner: You see, we are from a quite complicated family…

In China, it is a tradition to name the child after the surname of one of the parents, normally that of the father. In this example, the cleaner tried to make a cover-up for her accident alleging the girlish name Wang Guixiang(meaning the fragrance of sweet-scented osmanthus) which has nothing to do with Xiaoming’s last name, belongs to the boy’s father. By stating consciously something fake one after another, the cleaner created a sense of humour.

Here is another example violating quality maxim from “Happiness of Today”(《今天的幸福》):

Wife: Tell me a little bit about your father please, baby.

Hao Jian: My dad is a huge success in the future! You know what, he even gets his name on the Fordes list!

Husband (poking Hao, whispering): It’s Forbes!

Hao Jian: Oh, right! Forbes made it later, too. Yet he still can’t hold a handle to my dad…

"Happiness of Today" was a sketch comedy inspired by the time-travelling drama and TV series such as “Palace”(《宫》) and “Treading on Thin Ice”(《步步惊心》). In this scene, Hao Jian was asked to play the son of the wife of his friend who travelled all along from the future back to the present to reassure the “mother” who’s in labour and mitigate her prenatal syndrome. In this example, Hao Jian was making up something that was clearly not true to humour his pregnant “mother”. What made this dialogue even more funny was his lack of knowledge about the “Forbes list” and the clumsy cover-up he made after correct hints from his partner.

4.3 Verbal Humour Resulted from Violation of Relation Maxim

Relation maxim is not only one of the most important maxims of the pragmatics theory, but also a protocol with which should be complied by all. It requires speakers to talk about things which are relevant to the topics. Violation of this maxim could bring about humour as well. The following examples are also taken from the sketch comedy “The Real and Fake Teacher”:

Xiaoming: You see, I am a high school student. Recently I have made some mistakes at school and my teacher is about to conduct a home visit. But the thing is, my parents are currently working abroad and I’m afraid my teacher be here at any minute, so I was wondering if you could, er, wow, that’s a little embarrassing…

Cleaner: Oh, I see. When will she arrive?

Xiaoming: She’ll be here at 10:00.

Cleaner: I’ll finish my job at 9:50 sharp.

In this example, what the student meant was to ask the cleaner to pretend as his mother so that there would be a parent present for the coming home visit. However, the cleaner misunderstood him and gave an irrelevant reply to the request. In this way, humour was generated.

Here is another example taken from this episode concerning the violation of relation maxim:

Teacher: You see, school education won’t do without the help of family education. After all, family is the place where goodness starts. These are the words of the famous educator Sukhomlynsky. I’m sure you must know about him, don’t you?

Cleaner: Eat… eat an apple, please.

In this case, the teacher quoted a motto from Sukhomlynsky, an influential educator from the Soviet Union to remind the “mother” the important role family and family education plays in a child’s development. However, the cleaner obviously had no idea of the educator and didn’t know how to respond. To avoid awkwardness and break the silence, she had only to hand the teacher an apple and divert her attention. In doing so, laughter was elicited from her irrelevant behaviour.

4.4 Verbal Humour Resulted from Violation of Manner Maxim

Unlike the three maxims above which focus on the contents conveyed in the process of talking, manner maxim mainly concentrates on the way how things are expressed. Its sub-maxims include to avoid obscurity of expression, to avoid ambiguity, to be brief and to be orderly. But this maxim is often violated in real life, too. Below is an example taken form the comedy “Happiness of Today” (《今天的幸福》) presented in the Spring Festival Gala in 2012:

Wife: My dear, what do you do then?

Hao Jian: (to the husband, whispering) Ah? Daddy, I don’t think we talked about this before …

Husband: Never mind. Just make up one! As if your mother were a master of the names of jobs.

Hao Jian: I scrub (the husband poking him)…wash…bathe…I study the epidermis of human beings!

Wife: Oh, you are a doctor then!

Hao Jian: You see, I specialise on dirt-ology.

In this comedy, Hao was actually a bather whose main job was to help scrub and wash the dirt off the customers in a public bathhouse. When his “mother” asked him about his job, he described it in an obscure way and even coined a term to sound more professional. His words apparently violated the manner maxim, yet it is the obscurity that made the dialogue funny.

The second example in this section is another one taken from “The Real and Fake Teacher” about job inquiry:

Xiaoming’s father: What on earth do you do, Miss?

Teacher: Well, I can tell you with great proud that I am a gardener!

Xiaoming’s father: Gardener? Then why don’t you water the flowers outside right away?

The mechanism of humour in this example works a little bit differently from the one mentioned in the first place. Instead of using some obscure term to explain what she does, the real teacher Ms Jia selected the word “gardener” with dual meanings to make a self-introduction. Apparently, the package proved to be a success regarding Xiaoming’s father’s misunderstanding.

Here is another example taken from Jia Ling’s autobiographical sketch comedy “Hi, mom!” (《你好，李焕英》)debuted on the stage of “Comedy General Mobilisation”(《喜剧总动员》) in 2016. “Hi, mom!” was a play in which the heroine Jia Ling travelled through space and time to the 1980s to spend some time with her mother who had passed away in a car accident in the 21st century. In the prologue where the two heroines made their first appearance, here comes their dialogue:

Li Huangying: Come on, go inside and stay a while with your grandma!

Jia Ling: I can’t!

Li Huanying: What do you mean you can’t? She loves you a lot! How could you say such hurtful things?

Jia Ling: Because she can’t stop sewing my ripped trousers!

In the example above, Jia used ambiguity in her reply to her mother’s question. It was not until the viewers watch further that they found out why the granddaughter would be so reluctant when it comes to her grandma’s sewing trousers, an act that was supposed to seem loving and caring----it was about the contradiction in aesthetic taste between generations. In this way, Humour comes along with the explanation.

Conclusion

Humour plays an important part in people’s daily conversation which conveys abundant cultural connotations. Grice’s cooperative principle as the core of pragmatics, is also a guiding principle according to which people converse. Once CP is violated, pleasure in humour which comes along with it could be felt. As an artistic form playing an important role in modern China, Chinese sketch comedy has been entertaining its audience of all ages with its funny plots and packages embedded in verbal humour. This thesis selected the sketch comedy performed by Mahua FunAge and Big Bowl Entertainment on the stage of Spring Festival Gala as its corpus and studied the mechanism of verbal humour under the guidance of Cooperative Principle. It has been found that to a large extent, it is the violation of quantity maxim, quality maxim, relation maxim and manner maxim that generated the humour in sketch comedy. As an integral part of Chinese sketch comedy, verbal humour was created through constant violation of Cooperative Principle and its maxims.

However, limitations are inevitable as a result of time and the limited knowledge of the writer. Moreover, as the theories on linguistics are becoming increasingly abundant, analysis about verbal humour should be made from different perspectives and with diversified texts as well. Only through this process could verbal humour and its mechanism be further understood and Cooperative Principle further applied in research and studies.

References

  • Adesoye Ronke Eunice (2018). Phonological distortion as a humorous strategy in Folarin Falana’s comedy skits[J]. The European Journal of Humour Research, 6(4): 60-74.
  • Clayton , A. (2020). Funny How? Sketch Comedy and the Art of Humor. Horizons of Cinema, State University of New York Press.
  • Dang Fengxiao，Cheng Xiongyong (2021). Analysis of Humorous Speech Act in the Skit Help or Not Help[J]. International Journal of Education and Management, 6(1).
  • Grice, H.P.(1975). Logic and Conversation[M]. New York: Academic Press.
  • Parashar Poorva, Tewari Parul (2021). Locating humour in Absurdism and comedy in millennial humour[J]. Comedy Studies, 12(1): 65-74.
  • Yao Xiaomin, Song Liya.Verbal(2019). Humour in English Jokes from the Perspective of Violation of Cooperative Principle[J]. Harbin: Northeast Forestry University.
  • Cai Hui, Yin Xing 蔡辉, 尹星. (2005). 西方幽默理论综述研究[A Review of Western Humour Theory]. 外语研究Foreign Language Research(01):5-8+15.
  • Ge Lingling 戈玲玲. (2011). 论幽默文本中本源概念的翻译模式——基于汉英双语平行语料库的研究[On the Pattern of Translating Alien Sources in Humourous Texts—— A Study Based on a Chinese-English Bilingual Parallel Corpus]. 外语学刊Foreign Language Research(01):117-122.
  • Hu Zhuanglin 胡壮麟. (2017). 语言学教程[Linguistics: A Course Book]. Beijing: Peking University Press北京: 北京大学出版社.
  • Li Lanping 李兰萍. (2002). 语用原则与英语幽默[On Pragmatic Principles and English Humour]. 天津外国语学院学报Journal of Tianjin Foreign Studies University(02):32-36.
  • Wei Ya’e 魏亚娥. (2022). 幽默的产生与逻辑规律的违反——以沈腾春晚小品为例[The Generation of Humour and the Violation of Logic Law -- A case Study of Shen Teng's Spring Festival Gala]. 今古文创 JinGu Creative Literature(02): 95-97.
  • Xu Jie, Zeng Xianmo 徐洁, 曾贤模. (2020). 以言致笑——从言语行为理论视角解析小品《扰民了您》中的幽默[Laughter through Words -- An Analysis of Humour in You Are Disturbing from the Perspective of Speech Act Theory]. 汉字文化Sinogram Culture(23):22-24.
  • Yang Ting 杨婷. (2020). 认知视角下的言语幽默分析——以“生活大爆炸”为例[An Analysis of Verbal Humour from a Cognitive Perspective: A Case Study of The Big Bang Theory]. Shaanxi: Shaanxi Normal University陕西师范大学.

Terms and expressions

Chinese sketch comedy 小品

Cooperative Principle 合作原则

quantity maxim 数量原则

quality maxim 质量原则

relation maxim 关系原则

manner maxim 方式原则

Spring Festival Gala 春节联欢晚会

packages “包袱”

sweet-scented osmanthus 桂花

Questions

1. What are the maxims of Cooperative Principle?

2. What’s the name of the first sketch comedy in China?

3. How do you categorise Chinese sketch comedy?

Answers

1. There are four maxims in total, namely quantity maxim, quality maxim, relation maxim and manner maxim.

2. The first sketch comedy in China is “eating noodles” played by Chen Peisi and Zhu Shimao in 1984.

3. Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

英语笔译 肖佳莉 Xiao Jiali 202170081600

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

1.Abstract

The hundred schools of thought are the general name of various academic schools in the pre-Qin period. Among them, the three most influential schools are Laozi, Confucius and Shang Yang, and their views are different. The period from the sixth century BC to the third century BC, that is, the Spring and Autumn and warring States period, was the rejuvenation period of all schools of thought in the pre-Qin period. This period basically laid the foundation of Chinese traditional culture or Sinology, and there has been almost no major breakthrough since then. In this article, we divide the content of the paper into three parts, and respectively discuss the thought and background of Laozi, Confucius and Shang Yang, as well as their characters, and compare the differences and reasons between them. Through the above analysis to emulate the predecessors to face the reality, put forward new problems, put forward new ideas, and open up a channel for our future survival.

Key words

The Various Schools of Thought; The Period from Pre-Qin Times; Laozi; Confucius; Shang Yang

2.Introduction

There is an interesting phenomenon that between the sixth century BC and the third century BC, a group of thinkers who established early human civilization appeared in various parts of the world. For example, Confucius and Laozi in China, such as Sakyamuni in India, and a group of scholars represented by Isaiah who created the text of the Bible in the ancient Jewish state, such as ancient Greece from Thales to Aristotle. We will find that around the sixth century BC, the birth of human civilization in various parts of the world coincided with the emergence of a group of thinkers, known as the Axis Age.

Why did this happen?

The writing purpose of this paper is not only to review the path of the development of ancient ideas, but also to let everyone know that when you are faced with a social transformation, a major social confusion is constantly spreading and the amount of information is increasing，how do you follow the example of your predecessors to face the reality, ask new questions and put forward new ideas.

3.Background of the genesis of the hundred schools of thought

The pre-Qin period is the first great social transformation of Chinese society, we open our horizons, it is actually the first great social transformation of all mankind. How to transform? It took a long time to transform from the way of gathering and hunting to the civilized way of agriculture and animal husbandry. The early days of agricultural civilization was only a marginal supplement to the hunting way of life. By around 600 BC, the civilization of agriculture and animal husbandry was fully mature, and the semi-agricultural and semi-industrial and commercial civilization of ancient Greece around the Mediterranean was also mature.

Therefore, the axis age of the world has three major characteristics. First, the first great social transformation of Chinese society took place in this period; second, this is the mature period of the first civilization of all mankind; third, this is the dazzling period of the sprout of industry and commerce in ancient Greece, and these three come together into an axis era. The pre-Qin era in China is the branch and manifestation of this axis era in East Asia.

So why has this era become a platform for many thinkers to think? There are three reasons.

First, there are a lot of problems in social transformation, which is a confused exploration and inquiry. As we all know, in the period of human social transformation, the complexity of social structure presents many social and survival problems that human beings have never seen and never happened before, and these problems will make human beings face great confusion at that time. Thinkers seek answers on the basis of this confusion. Therefore, the perplexity period is a hotbed for the birth of a new culture. Therefore, when faith is broken and confused, we should not think that it is just a bad thing, it indicates that another crop of new culture and new ideas is about to happen.

Second, the complexity of survival increases, which is characterized by the increase of the cost of survival, the more difficult and dangerous survival, and the more complex survival structure. In this case, the amount of information is soaring, so people have to face the new survival structure and living environment, which is the second feature of the axis era and the pre-Qin era.

Third, the fragmented feudal system provides a relatively free and relaxed atmosphere. In the pre-Qin period, China was typical and the only feudal era. At this time, ancient Greece was a city-state culture, that is, a small political bloc. The feudal states were also common in Europe until the Middle Ages. Therefore, it provides some social conditions for freedom of thought. For example, Confucius, if he could not stay in Lu, he could travel around the world; In modern times, Descartes and Voltaire, if he could not stay in France, he could go into exile to other countries and develop his own thoughts. So the fragmented political structure of that era provided a relatively free and relatively relaxed cultural atmosphere.

As for the cultural differences between the East and the West. Ancient Greek philosophers and Chinese sages faced different problems.Because East Asia is a closed landform, and it is one of the three primitive farming bases of human beings, it is unable to exchange in industry and commerce, so it is the most typical and concentrated agricultural civilization in the world. Agricultural civilization immediately brought about a hundred-fold surge in population, so interpersonal and resource relations were particularly tense.

So people in the pre-Qin period in China had to apply their wisdom to the discussion of human relations and social issues.

And ancient Greece, because it was faced with a small Mediterranean, could obtain food through commercial exchange in North Africa and the near East, while the geographical conditions of ancient Greece were very poor, which forced them to develop a semi-agricultural and semi-industrial way of life. In addition, industrial and commercial civilization obtained resources across regions, so their interpersonal and resource relationships were less tense than in East Asia. Moreover, its social structure is relatively simple, and its social problems are not prominent enough. At the same time, industrial and commercial civilization needs innovation and the computing power of equipment manufacturing. It makes the ancient Greek philosophers devote their main energy to natural problems and logic in geometry.

Therefore, in the face of a social transformation, it is inevitable to solve many problems, thus giving birth to great ideas.

4.Different schools of thoughts

4.1The thought of Laozi

4.1.1The introduction of Laozi

The foundation of the whole thought of Sinology in China all took place in the pre-Qin period, that is, before Qin Shihuang unified China. Since then, China has hardly made any great achievements in the development of ideology and culture. With one exception, Indian Buddhism was introduced into China in the middle of the Eastern Han Dynasty. In the pre-Qin period, the person with the highest thought was Laozi, the first ancestor of pre-Qin thought. Laozi and Confucius have a teacher-apprentice relationship. Confucius left a comment on this teacher: "I see Laozi today, just like seeing a dragon." This is the famous saying of Yulong. When I saw Laozi today, I finally knew what the dragon looked like.

At that time, Laozi kept the history books in the Zhou Dynasty, which was equivalent to the “National Division”. He was the consultant of all the knowledge of the royal family and princes of the Zhou Dynasty, and he was the highest representative of the national culture. It is said that in the 22nd year of Lu Zhaogong, that is, 520 BC, a major event happened. Due to the issue of succession to the throne, more than a dozen children fought for the throne and serious royal infighting broke out. The civil war lasted for more than a decade, and the prince finally failed.

It is said that he fled to the State of Chu with a large number of Zhou royal books. And Laozi, a historian of the Zhou royal family, is equivalent to the current director of the National Archives Library. If all books and documents are taken away, Laozi will naturally lose his job, so Laozi resigned to travel around the world. This is what we say. It is recorded in the history books that Laozi is sometimes in Chu, sometimes in the State of Chen, and sometimes in the State of Song. Finally, Laozi returned to Qin and died in Shaanxi. This is the historical relics of Laozi.

In order to understand Laozi's thought, we can only start with his Tao Te Ching. The morality of Laozi is very different from our literal meaning today. The book is divided into two volumes, the Tao volume, the outlook on the universe and nature, the moral volume, and the social outlook and outlook on life. Tao is the general law of the operation of heaven and earth, and virtue conforms to the Tao of heaven. The core of Taoism is weakness, and the core of moral theory is inaction. Laozi constantly criticizes that the development of human civilization is a process of deviating from the way of heaven and losing material morality.

4.1.2The interpretation of Tao

Laozi said, "Tao gives birth to one, one to two, two to three, and three to all things." This sentence means that Tao derives a chaotic state that even heaven and earth does not appear, chaotic state derives heaven and earth, heaven and earth derives animals, plants and people, animals and plants and people finally derive all things in the world, and all things refer to life and matter. This shows that Laozi believes that all things in heaven and earth evolved gradually. The concept of evolution existed until the 18th century, and it is unusual for Laozi to hold the idea that everything evolved from a family of things 2600 years ago.

"Heaven is Tao, Tao is long" also expresses the difference between persistence and stability in this evolutionary sequence. Tao is persistent and stable. Therefore, Laozi believes that the stability of matter is gradually lost in the process of evolution.

Then he said, "Heaven and earth are not benevolent, and we regard all things as ruminant dogs. If saints are not benevolent, they will treat people as ruminant dogs. " The ruminant dog here is a dog that is only sacrificed with grass, referring to lowly things. It means that heaven and earth are not as fastidious as human civilization, and he treats all things equally and will not give special care to anyone. As a result, all things follow the trend and exist forever. Then the way of man should conform to the way of heaven, so the people who manage the world should do nothing, do not use civilization to derive too many tricks, this is against the way of heaven, it will only destroy the state of human existence.

"it is as good as water, so it is like the way." Laozi uses figurative water to describe the natural way in which Heaven operates, and the best state is like water. Nourish all things without competing with them, and flow downward, in the lowest position and hated by all, which is closest to the Tao.As Liu Xiao dared to say: "the topic of 'Tao and nature' clearly marks the status of nature as the highest principle and the highest value, so its spirit permeates all aspects of Laozi's thought, without mentioning the word 'nature' everywhere.”（刘笑敢，1995）

Laozi is criticizing that the competition pattern of human civilized society is contrary to the way of heaven. In the primitive gentile society, there was public ownership of property, and no private property, and there was no competition. After privatization, a fierce competition pattern was formed, and everyone strived for the top, so the world was in disorder and life was restless. But there is no such competitive pattern in the operation of heaven and earth.

"Heaven and Earth can not be long, and people are even less likely.” The most primitive derivative of heaven and earth can not be eternal, and how weak people are. ”the softest thing in the world can control the hardest thing in the world.”To be gentle, the weakest of course refers to human beings, but people can control things that are much stronger than we are. He found that the weakest human beings with a very low degree of existence have the ability to control objects with a very high degree of existence.

Finally, the Taoist scroll summed up the word "weak", which appeared as many as 11 times in Laozi's text of 5000 words.

4.1.3The interpretation of Te

The original word of Te's oracle bone inscription is a person walking on a road with a fork , staring only at the front and moving forward wholeheartedly. In other words, to act in accordance with the way of heaven is virtue. Therefore, the morality mentioned by Laozi is not the same thing as the morality we are talking about. The general law of the operation of heaven and earth is Tao, and it is virtue to comply with the Tao of heaven.Virtue is a part of Tao.（张岱年，1982，24）

He added: “Follow the way all things run, do not have any superfluous action, means morality." He continued to criticize human beings: "when the Tao is lost, people attach importance to the promotion of virtue, when virtue is lost, people attach importance to the promotion of benevolence, then righteousness, and finally propriety." When we advocated virtue（means Te）, we had already lost the Tao, so we began to talk about benevolence, and then we could not even protect the heart of benevolence, so we could only give handouts, and finally lost all Tao, virtue, benevolence and righteousness, and could only give etiquette. Etiquette is the summation of national political law and folk etiquette. It was only when we discarded all these that human civilization began the violent control of severe punishment and draconian laws.In other words, the rulers regulate the world with benevolence and righteousness, and people all over the world run for benevolence and righteousness, abandon their own nature and disguise themselves with benevolence and righteousness.（陈霞，2017）

Another sentence is also very clear: "A person with deep moral self-cultivation is like a newborn baby." only a baby born within 7 days is virtuous. Civilized people develop their own wisdom, form a highly intelligent group, release their greed, and constitute a competitive society. In fact, this is a process of deviating from the way of heaven and losing material morality.

So what are we supposed to do? Laozi said: "to wear away people's sharpness, sharpness and edges, to extricate themselves from disputes, to blend into all phenomena of light, and to mix with the dust of the earth, the greatest is also the smallest. This is called subtle unity." It means that we should close our channels of facial features, do not accept too much external information, close the door of the spiritual world, and frustrate the great aspirations of civilization. Only in this way can we resolve disputes in civilized society.

Therefore, the center of Laozi's theory of morality(means Te) is this sentence: “There is nothing to do ." Virtue means walking along the way, and nothing else is needed. It can be summed up as the word "inaction". Inaction means opposing all civilized actions.If you do nothing, there is nothing that cannot be done. “有为”（means action） means that they cannot practice "Tao". Although they are always inseparable from virtue and fame, they are purposeful, purposeful, camouflage and deceptive.(陈霞，2010)

His ideal is to return to the primitive gentile society, the country is small and the people are few, even if they have advanced tools, the people value life and death and do not leave their hometown, and they are not bound by beliefs such as brave sacrifice. Even if there are cars, boats and weapons, no one uses them. People return to the simple state and enjoy the simplest happiness of life. Countries also return to the animal kinship society, wolves will eat sheep, but wolves will never eat wolves, the same kind will divide the territory of life, there will never be slaughter. To return to the uncivilized state of existence. “The country is smaller, the people are more stupid, the things are simpler, and the things are simpler." This is Laozi's real ideal.

We all have a forward-looking perspective, and thinkers can make up for the backward perspective and mobilize our thinking to know the facts. The most important thinkers in the history of human thought, such as Laozi, Confucius, Plato and Rousseau, all expressed the tendency of anti-civilization.

4.1.4The cause of the thought of Laozi

Why did Laozi have such a reactionary moral theory and social view?

At that time, East Asian civilization was limited to the Central Plains, which was called the Central Plains civilization. He is surrounded by uncivilized people who don't have to reason logically. In the civilized Central Plains, interpersonal relations are tense, intrigues and wars are everywhere. Shang destroyed Xia, Zhou destroyed Shang, to the Spring and Autumn period, more than 180 vassal states became one, while looking around the primitive clan society, the uncivilized and uncivilized society was peaceful.

Therefore, by comparison, Laozi can find that civilization is a disaster and the trend of civilization is bad. Laozi believes that all things in heaven and earth originally developed harmoniously like Tao, but human beings gradually deviated from Tao because of their pursuit of selfish desires, resulting in conflicts between man and nature, man and society, man's body and mind and so on.（黎千驹，2022：93-101）In Laozi's text, his view of reactionary society is expressed very clearly. Many ancient thinkers held a critical attitude towards civilization, because civilization was only a small seedling at that time, they could see the whole picture and development trend of civilization, and they could see that it was a process of disaster. This is the basic social view of the Chinese sages in the pre-Qin period. This was also the cause of the tone of conservatism in Chinese culture at that time, in which there was a far-reaching vision, which laid an important foundation for China's stable survival for more than 2000 years.

4.2The thought of Confucius

Confucius and Laozi, although they are masters and apprentices, their cultural characters are diametrically opposed.Confucius is best reflected by a sentence in the Analects of Confucius, "knowing that it cannot be done". I know full well that I cannot do it, but I will still try my best to do it, expressing a cultural attitude of actively participating in social activities, which is summed up as "joining the world”.

And what about Laozi? His cultural character is extremely negative. The most representative are the words "do nothing but do nothing" in the Tao Te Cing, which means that tough I did nothing but I have done everything, which is ridiculous. In fact, it means that Tao derives all things from heaven and earth, but does not see any superfluous action. Laozi is extremely negative , summed up as "born", born out of the world. This is why Sima Qian added a special sentence in the Biography of Laozi in Historical Records, calling for different ways to conspire against each other. It means that the Tao between Confucius and Laozi is different, although the two are master-apprentice.

4.2.1The characteristic of Confucius' theory: insipid

Confucius and his Confucianism are almost the soul and benchmark of Chinese traditional ideology and culture, leading Chinese mainstream ideology for more than two thousand years. This is a situation that we can hardly see anywhere else in the world except religion. However, compared with Laozi, Confucius' theory is shallow and straightforward. Because Confucius is concerned with the real social and political problems, while Laozi is concerned with the ultimate problem. Therefore, Confucius' theory is very insipid.

In fact, the core of Confucius theory is that monarch and subjects, father and son. The first word is a noun and the second word is a verb. What he means is that the king should be like a gentleman, the minister should be like a minister, the father should be like a father, and the son should be like a son. The doctrine of Confucius is such a straightforward statement. Hegel said, he said, "Confucius' books are just full of old moral lessons." These are his exact words. He even said that it would be better not to translate his books, which would damage his glorious image. Obviously, there is a gap in Hegel's expectations of Confucius. The West was in a state of religious repression at that time. At that time, Westerners knew that there was an empire governing the country by virtue in the East, and its management model established social order on the basis of human ethics and morality, which was much milder than the suppression of human nature by the theocracy in the West. Therefore, they were extremely envious of the East, coupled with some untrue legends at that time, they thought that the East was extremely rich. Therefore, the western philosophers and academic and cultural circles at that time regarded China as the paradise of the East.

4.2.2The features of Confucius' time

1. Confucius was born at the end of the Spring and Autumn period, the phenomenon of national destruction occurred constantly, and the monarch was killed constantly. Only 43 cases were recorded in the history books in the past 255 years. And everything went haywire. There is no war between human beings and animals before civilization, and the struggle within the animal species only occurs during estrus for reproductive resources, and this is also an individual struggle. As soon as the outcome is divided, the struggle stops immediately. You don't want to kill each other, let alone a collectivized war. It is only after human civilization that brutal internal killings occur.

2. In ancient times, there was no severe punishment and severe law, and the country was ruled by virtue. The clan tribal society has always maintained social stability with a soft moral system. Confucius said: "if we govern the people with government decrees and restrict them with penalties, they will be free from sins, but they will not feel it shameful to disobey the rule; if we rule the people with morality and bind them with etiquette, the people will not only have a sense of shame, but will correct their mistakes." If the society is managed by penalty, people will not touch the bottom line of the law in order to evade the punishment of the law, but there will be people to do anything that is not prohibited by law and no matter how immoral it is. Moral ties are no longer enough to maintain social stability, so they have to be regulated in a violent way. Confucius called it the collapse of etiquette and music. The more civilization develops, the more complex the society becomes, and it becomes extremely difficult to survive only with a simple heart in a highly complex society.

3. The characteristics of this period:Let's take a look at how the first great social transformation was carried out in the pre-Qin period from the economic, political and cultural aspects. Economically, with the rapid development of productive forces in the pre-Qin period, agricultural civilization tends to be stabilized, farming techniques are widely used, bronzes are widely used, and iron has appeared in farming tools. As we all know, in the early years of mankind, although agricultural civilization took place 8,000 or even 10,000 years ago, in the early thousands of years of agricultural civilization, the way of life of hunting was still dominant. Agricultural farming is still only an auxiliary part of human means of livelihood and food and food materials.

When agriculture develops to a certain scale, the scope of land reclamation becomes larger and larger, and forest vegetation is pushed far away, human beings will completely return to agricultural civilization from the way of life of hunting and gathering civilization. Therefore, the full maturity of agricultural civilization requires large-scale population development, large-scale land reclamation, large-scale destruction of trees, and then people can not reach the forest. Only at this time can agricultural civilization be completely stable. Therefore, after thousands of years, China's agricultural civilization did not take shape until the Zhou Dynasty, and hunting and gathering became a secondary source of feed for life. Not only that, in the Spring and Autumn period, the sprout of industrial and commercial civilization appeared in China's agricultural civilization. With the development of agricultural civilization to a certain extent, due to the gradual complexity of agricultural production tools, a considerable number of products are made of non-agricultural products. The early production of non-agricultural products was done by the farmers themselves. Such as building houses, weaving cloth, and even making pottery, but with the further development of the division of labor, with the further complexity of people's lives, a large number of things cannot be completed by farmers, such as more complex and diverse pottery production, the smelting of bronze, the production of tools, all these things will cause the division of labor to appear in agricultural civilization.

With the emergence of the division of labor, some people no longer work in agriculture, but only make certain products for use by others. We do not use this for our own use, but make it for use by others in exchange for goods. This product is called a commodity. As soon as the commodity appears, the exchange takes place. The exchange activity in the early years of mankind was barter, because there were very few kinds of goods. So if the variety of goods continues to increase, the other party does not need what you want to exchange, and you do not often have what the other party needs. Therefore, there is a need for some kind of unified scale of exchange and medium of exchange, also known as general equivalents, that is, such a commodity in which it can measure the value of any commodity, which is money. Therefore, the emergence of money marks the emergence of human exchange, or division of labor, or commodity economy, to a considerable extent. But in the pre-Qin period of China, money had already appeared. It indicates that China's agricultural economy matured on a large scale and the sprout of commodity economy has generally occurred in the pre-Qin period.

Let's take a look at the political form. The authority of the emperor of the Zhou Dynasty has fallen, and the original feudal social ties have been lax. Not only that, the vassal states grew up, the activities of annexation of the world continued to occur, national annihilation events emerged one after another, international wars continued to occur, not only that, it unexpectedly appeared a major change in the form of social class. As we all know, the king of Jin in the Spring and Autumn period was rebelled by four important courtiers, namely, the famous Han, Zhao, Wei and Zhi families. At this time, a famous political figure named Zhao Wut appeared in the Zhao family. He announced the liberation of all slaves in Zhao and gave away 30 mu of land. at the same time, he announced to all countries in the Central Plains that if any slaves fled to Zhao from other countries, they would liberate their lives and give away land. Zhao Xiangzi's move led to the instant collapse of slavery in the land of China. Why? Because the idea that the people are precious is a typical feudal thought. That is, for any feudal lord, his best interest lies not in the size of his fief, but in the population of his fief. Because the greater the number of families and population, the greater his tax benefits. Therefore, Zhao Xiangzi liberated the slaves and he got the people. He got two major benefits. First, labor resources, the number of people; the second soldier. Therefore, this led to the liberation of slaves all over the surrounding countries, his citizens would flee, and slavery quickly disintegrated on the land of China.

The pre-Qin period is the era in which Chinese traditional culture was fully formed.

4.2.3Confucius theory

The core of Confucius' theory is "monarchs and subjects, father and son". That is to say, Confucius used the most primitive blood social button to rectify the social structure of the super-blood unstable society. In rebuilding the order of the rule of etiquette, Confucius "did not extroversion to heaven and earth but introverted to the hearts of the people, and finally settled on 'benevolence’.”（余英时，2014）

And what is the consanguinity society? It means there is a difference in love. It has something to do with sociobiology. In the middle of the last century, biologists found that all living things and all animals live in social groups. Social biologists have found that the emotions and love of all animals are different. For example, parents love their children most strongly, followed by brothers and sisters. The cub state of any creature needs to be cared for by its elders, otherwise he will not survive. So emotionally, the relationship between parents and children is the heaviest, and then between children, followed by brothers and sisters.

Human agricultural civilization took place in the era of consanguinity society. On every mu of land, we must work together and cultivate carefully in order to get enough food and clothing. This is the basic feature of agricultural civilization. The structure of consanguineous ethnic groups is the most readily available and favorable way to form this stable cooperation.Here we talk about benevolence at most, more than a hundred times.（李泽厚，2008）

4.3The thought of Shang Yang

4.3.1The introduction of Shang Yang

The emergence of Legalism marks the retreat of Confucianism. With the high development of agricultural civilization to the pre-Qin and Spring and Autumn periods, the population has soared, class society has been divided, interpersonal relations and resource relations have gradually become tense, and the competition in human society has become increasingly fierce. It can even be said to be getting worse and worse, so the Legalists began to emerge, and the soft Confucianism withdrew. Legalist doctrine shows the darkness of human nature.

Shang Yang was the most representative figure of the Legalists, and he did a very successful thing. It was Shang Yang's reform that helped Qin realize the reform from the rule of virtue to the rule of law. Shang Yang was able to reform in the State of Qin, of course, the main credit went to Qin Xiaogong. At that time Shang Yang is only a guest minister, and he does not have any political influence in the State of Qin. And any reform must touch the interests of the original aristocratic interest groups in the State of Qin and cause the counterattack of the aristocratic groups. He relied entirely on Qin Xiaogong to bear it, so that Shang Yang could continue to reform.

Shang Yang was very lucky. although Xiaogong was under great pressure and died of illness at the age of 44, he accompanied Shang Yang's reform for more than 20 years. As soon as Xiaogong died, Shang Yang was immediately retaliated by aristocrats. Although King Qin Huiwen, the next king, killed Shang Yang, it was not easy to solve the long-term accumulation of reform for Shang Yang. And King Huiwen of Qin was well aware of the effectiveness of the reform of Shang Yang, and continued the reform of Shang Yang. After the implementation of the later six kings, the government of the king of Qin finally unified the world, and from then on he was known as the first emperor. So we can say that thanks to the reform of Shang Yan, the king of Qin unified the world and became Qin Shihuang.

Shang Yang's reform has two characteristics. First, it is determined to reform without regard for personal safety. Second, he pays no attention to the outside world. As we all know, the average politician must first be able to deal with personnel, but this is not the case with Shang Yang. Liang Qichao, the most famous scholar in the era of the Republic of China, once said that only six people in Chinese history could be called politicians, in other words, other people could only be called politicians, and one of these six politicians was Shang Yang.

4.3.2Shang Yang's reform

In the early days of the reform, he set up a large piece of wood at its south gate in the then temporary capital of the State of Qin, called Yueyang. Then tell anyone in the public that if you carry this wooden rafter from the south gate to the north gate, you will reward ten gold. Gold in the pre-Qin period was not gold but bronze, but a jin of wealth was equivalent to the total harvest of a peasant family in a year, and ten gold was equivalent to the total harvest of a thousand years of farmers, which was a great opportunity to make a fortune. However, all the people watched and laughed, thinking that the official words could not be trusted, because it was too strange, and it also showed that the credibility of the Qin government was not high. As soon as Shang Yang saw that no one was involved, he raised 50 gold. At this time, a young man came out. He said that I carried this piece of wood to the north gate. Even if the government lied to me, there would be no great loss. I would try to carry it over. So carrying the wood to the north gate, Shang Yang immediately rewarded fifty gold, and this man became rich instantly, which is the famous allusion of Qianmu Lixin. What is Shang Yang doing? he is telling the people of the Qin Dynasty that Shang Yang's reform is true. The fundamental spirit of Legalism is that the law is absolutely sacred and the government is not allowed to act outside the scope of the law.（梁启超，2015）Please abide by the law.We can see the wisdom of Shang Yang in practicing the law from this very small matter.

With regard to the detailed rules of Shang Yang's reform, we give a brief account of the main items.

First, to force people to learn the lowest level of etiquette, this etiquette is not a Confucian culture, but to get rid of the barbaric wind and establish a modern social configuration at that time.

Second, every citizen should be forced to have a legitimate job, and no one should be idle. What is the national occupation? Take measures to attach importance to agriculture, that is, to develop all the wasteland of Qin. Just like today's British princes are going to serve in the army for some time. Shang Yang stipulated that anyone, including the children of aristocrats and rich businessmen, who were idle, should be sent to the frontier to open up wasteland. From this we can see that Shang Yang's reform is the same as Wu Qi. If he wants to change the national policy, he must deal with the original political structure formed by the original aristocracy, which is of course a serious violation of the interests of the aristocracy.

Third, he also stipulated that a family with two adult men must be separated. There are two benefits: increasing labor enthusiasm and taxes. The reason is that in the big family system in ancient China, everyone ate in a big pot, and because communism was practiced within the family, everyone had no enthusiasm for labor. No matter how much I put in, I will share it equally with everyone and distribute it according to needs, so my enthusiasm for labor is not high. When it comes to a legal society, we should establish a tax system. Tax is based on the family, if the family is large, the tax base is very weak. For these two reasons, Shang Yang's reform requires that any man must be separated once he is married as an adult.

Fourth, reward farming. Qin people banned business, that is, the people of Qin were not allowed to do business, but only allowed to engage in agriculture. The income of commercial activities is much higher than that of agriculture, so China has adopted the national policy of emphasizing agriculture and suppressing commerce since ancient times to suppress businessmen, so where to deploy resources? Preferential treatment for foreign businessmen. That is, businessmen from other countries around the world will give preferential policies if they come to do business in the State of Qin. It is a bit like the situation in the early days of Deng Xiaoping's reform, which does not mean that we are advanced, but that we are similar to those of more than 2,000 years ago. Foreign businessmen went to Qin to do business to solve the problem of resource allocation, so they gave preferential policies to foreign businessmen, so the Qin people engaged in agriculture and foreign businessmen did business, forming an extremely reasonable national economic structure.

Looking at Shang Yang's reform, the degree of Shang Yang's reform is no less than any revolution. It carries out reforms not only in the economic field, but also in the political field, and it even changes the state system, which used to be a feudal system and has since been an autocratic monarchy. It is not a general political reform, it is a fundamental change of the state system. This kind of thing can usually be accomplished only through revolution. Shang Yang's reform basically adopted the way of no bloodshed and non-violence, and completed this revolutionary reform. This is very rare in history, which is why Liang Qichao said that Shang Yang is one of the only six major politicians in China.Liang Qichao spoke highly of the theory of "rule of law" of ancient Chinese legalists represented by Shang Yang, and thought that "the theory of Legalists means that no matter whether they are wise or wise, they must act within the scope of the law. This is the essence of the theory. “（梁启超，2012)

5.Conclusion

With regard to the hundred schools of thought, we discussed in detail the three major factions: Laozi, Confucius and Shang Yang. The writing purpose of this paper is not only to review the path of the ancients' thoughts, but also to let everyone know that when we are faced with a social transformation, a major social confusion and an increasing amount of information, how do we imitate our predecessors to face reality, put forward new problems and put forward new ideas? In this way, human beings will open up a channel for their future survival, which is the most important enlightening significance of this paper.

References

  • [1] 黎千驹: 老子的人生哲学及其价值研究[J]. 贵州工程应用技术学院, 2022.
  • [2] 刘笑敢: 《试论老子哲学的中心价值》[J]，《中州学刊》1995年第 2 期。
  • [3] 陈霞: 《论道家道德哲学的几个特点》[J]，《宗教学研究》2010 年增刊。
  • [4] 陈霞: 《道家哲学引论》[M]，北京: 中国社会科学出版社，2017年，第132页。
  • [5] 张岱年: 《中国哲学大纲》[M]，北京: 中国社会科学出版社，1982 年，第24页。
  • [6]余英时. 论天人之际：中国古代思想起源试探[M]. 北京：中华书局，2014.
  • [7] 李泽厚. 论语今读[M]. 北京：生活·读书·新知三联书店，2008：263.
  • [8] 万晓艳. 儒家文化与中华文化的碰撞与冲突[J]. 高等教育与研究, 2009（10).
  • [9] 梁启超.中国法理学发达史论[M].北京: 商务印书馆，2012．
  • [10]梁启超.先秦政治思想史[M].北京: 中华书局，2015．

Terms and expressions

  • Confucius孔子
  • The axial age轴心时代
  • Geometry几何学
  • Sinology thought国学思想
  • Tao Te Ching道德经
  • Public ownership of property财产公有制
  • Confucianism儒学
  • Bronze Ware青铜器

Questions

  • 1.What is the relationship between Confucius and Laozi？
  • 2.Which school does Shang Yang belong to?
  • 3.Is the thought of Laozi very positive?

Answers

  • 1.Confucius is a student of Laozi.
  • 2.Legalists.
  • 3.No，the thought of him is negative.

英语笔译 谢晓莹 Xie Xiaoying 202170081601

The Acrobatic Fighting in Peking Opera
Xie Xiaoying

Abstract

Known as the quintessence of Chinese culture, Peking Opera is an intangible cultural heritage of China and the world with profound cultural heritage. Among the four basic skills of "singing, speaking, acting and combating" that Peking Opera emphasizes, "combating" is the highly artistic refinement of fighting scenes in daily life. The acrobatic fighting in Peking Opera have made great contributions to shaping the characters and enriching the plots, which has become a highly expressive and infectious dance language in Peking Opera performances. With a long history, it draws nourishment from the chivalry culture of ancient China, puts the traditional Chinese martial art culture on the stage, and develops distinguished artistic skills and aesthetic characteristics. Starting from the martial spirit and chivalrous culture of ancient China, this paper expounds the origin and development of acrobatic fighting in Beijing Opera, analyses the reasons of its significant place in Peking Opera based on its artistic techniques, and explores the development path of it in new era, so as to deepen people's understanding of the Peking Opera and carry forward the traditional culture of the Chinese nation.

Key words

acrobatic fighting; Peking Opera; martial spirit; chivalry culture; artistic techniques; inheritance and development

Introduction

Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden (Zhang Yinhe 2013, 15). As the product of the merging in Peking of Anhui and Hubei opera styles in the late 18th and early 19th centuries, Peking Opera has a set of standardized forms of artistic expression in literature, performance, music, stage art and other aspects. There are four character roles in Peking Opera, that is, Sheng, Dan, Jing and Chou, each with a set of performance procedures and distinctive skills in singing, speaking, acting and combating. Historical stories are the main content of Peking Opera. There are more than 1300 traditional operas, of which more than 300 are often performed. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.

"Combating", one of the four basic skills of Peking Opera, is not only an indispensable means of expression, but also clearly reflects the important position of martial arts in Peking Opera performance. As a traditional Chinese national art, acrobatic fighting is a kind of stage art that borrows offensive and defensive movements of martial arts as a means of physical expression. It absorbs action materials from martial arts and enriches performance skills. In Beijing Opera, the entertainment of acrobatic fighting comes from the acrobatic nature of martial arts. In performance of acrobatic fighting, there are often combat with knives, guns, sticks and other instruments, as well as pair combat and hand-to-hand combat performances, which are so intense that they can always attract the audience and give them associations and resonance. Therefore, although some acrobatic fighting performers are not excellent in singing and speaking, they are able to create distinctive characters with their excellent martial art skills and win great reputation (Liu Haikuan 2005, 58).

The acrobatic fighting represented by Peking Opera was an inexhaustible artistic treasure house for other art forms at that time in terms of costumes, martial arts, instruments, Qupai, performances and choreography, providing rich creative space for directors, scriptwriters and actors from generation to generation. However, the decline of the Peking Opera and the operas with both singing and martial characteristics in the current society is a cause for concern, and it is necessary to have a comprehensive understanding of Peking Opera and explore ways to continue its development in the contemporary society.

This paper consists of three chapters. Chapter one gives a brief overview of the origin of the acrobatic fighting in Peking Opera, including the inheritance of the martial spirit of the Chinese nation and the influence of ancient chivalry culture. Chapter two introduces the artistic skills of the acrobatic fighting in Peking Opera and analyzes the character of Zhao Yun and the performance Crossroads based on this skills. Chapter three discusses the inheritance and development of the acrobatic fighting in Peking Opera, such as digging out the lost plays by seeking experience from the predecessors and collecting drama notes from the veteran fans.

Literature Review

Peking Opera has a history of more than 150 years since its formal formation in the Tongguang Period in the late Qing Dynasty. Although it is impossible to give a standard answer to the question of the repertoire of acrobatic fighting in Peking opera, it is still possible to find almost all the repertoire in many books that record the repertoire of Peking opera. However, throughout the research on the artistic theory of Peking Opera for more than one hundred years, the research on the martial drama is relatively weak compared with the research on singing drama. On the one hand, the research results on the martial drama are fewer and more difficult than that on the singing drama. On the other hand, among the few articles and treatises on acrobatic fighting, most of them are about famous performers, repertoire, and techniques, while few of them are about the origins, development, current situation, and solutions of problems of acrobatic fighting in Peking opera, and few of them are about a comprehensive study of acrobatic fighting in the context of Chinese history and national psychology (Du Peng 2014, 5).

Over the past hundred years, the research works related to the acrobatic fighting can be roughly divided into the following categories: (1) The discussion of the performing skills of the acrobatic fighting. Most of the articles and books about it are summaries and records of technical skills, while some of them also have the requirements and explanations of famous artists for skills of acrobatic fighting, such as The Role of Acrobatic Fighting in Traditional Chinese Opera by He Jinhai. (2) Repertoire statistics and script compilation. As for the acrobatic fighting repertory in Peking Opera, one can find it in many books recording Peking Opera repertory, such as A Compilation of Traditional Peking Opera Scripts. (3) Collection of art criticism by famous performers. These books contain both the actors' own experience of performing acrobatic fighting and memories of fans and the drama critics who have watched the performances of these famous artists, such as The Collection of Art Criticism about Yang Xiaolou edited by Dai Shujuan et al. (4) Treatises on memory of famous artists. Most of these works were written by famous Peking Opera masters and recorded by others, which are regarded as important first-hand materials, such as A Miscellany on the Performing Arts of Peking Opera narrated orally by Qian Baosen and compiled by Pan Xiaofeng . (5) The works of the drama critics. These works not only have a good account of some of the Peking Opera's acrobatic fighting and famous schools, but also have a great contribution to the study of the aesthetics and theories of Peking Opera, such as Qi Rushan's The Art of Chinese Opera. (6) Biographies of famous performers. These works include the memory and summary of the life of the predecessors by later generations. Among them, there are performance materials of famous artists about acrobatic fighting and operas with both singing and martial characteristics, such as Song Danju's Stage Art of Song Dezhu. (7) Dictionaries related to Peking Opera. Such books summarize the expression of special nouns of acrobatic fighting in Peking Opera, such as Dictionary of Peking Opera Culture by Huang Jun and Xu Xibo.

Methods and Theories

Based on the research method of discovering problems, studying them, and solving them, this paper takes the development of acrobatic fighting in Peking Opera as the main clue, involving the study and analysis of its origin, characteristics, current situation, and future development, and seeks effective methods and approaches for the rise and prosperity of acrobatic fighting in Peking Opera while exploring the inner artistic characteristics of it.

This paper starts from the origin of acrobatic fighting, which involves social culture, social psychology, national psychology and other aspects, aiming at the analysis of performance skills of acrobatic fighting in Peking Opera with justification and evidence, and also focuses on the practicality of the theory of the article with the research method of theory in practice. In addition, the breadth of the material requires a more sophisticated research method to be effective. The study of acrobatic fighting in Peking Opera involves a variety of knowledge, including social psychology, history, theater and operatic studies, and Peking Opera performance studies. Only after reading and inquiring enough literature information related to acrobatic fighting in Peking Opera can we have a more comprehensive understanding of it.

Origin of the Acrobatic Fighting in Peking Opera

1.Inheritance of the Martial Spirit of the Chinese Nation

Throughout the five thousand years of Chinese civilization, the Chinese nation has always been characterized by the endless worship of literature and active martial spirit. They influence each other, depend on each other, and cannot be separated from each other. It is the consistent requirement of the Chinese nation for social talents to be both civil and military. Just as Liang Qichao said, " The martial spirit of the Chinese nation is its original nature" (Liang Qichao 2006, 21).

The ancient Chinese people lived in the Yellow River basin with harsh natural environment, men hunting and women picking fruits, accompanied by inter-tribal strife, resulting in the worship of the primitive ancestors of force to the extreme. In following dynasties, in order to defend the country, the martial spirit continued: During the Spring and Autumn Period and the Warring States Period, the oftenness of war led to a great number of warriors; In the Western Han Dynasty, when the Hsiung-nu came south to invade the people, Wei Qing and Huo Qubing, two brave generals who were good at fighting defeated them; In the Tang Dynasty, during the Wu Zetian period, The system of selecting scholars for martial arts examinations inspired the poets to join the army and go to the frontier; At the end of the Qing Dynasty, when the western powers invaded China, many famous boxers, such as Huo Yuanjia, defeated the foreigners with martial arts and got rid of the title of “Sick Man of East Asia”... During these wars, the cohesion of the Chinese nation increased and the lives of the common people were greatly affected. Aggression inevitably leads to resistance. Force is the most direct and effective way of wage war of aggression, and it’s also the most advocated way of anti-aggression. With the outbreak, development and end of war of aggression, the military culture has infiltrated into the traditional culture of the Chinese nation stealthily (Du Peng 2014, 20). The social environment provides a strong accumulation of social psychology and national psychology for the generation of war culture, so it can be found in every corner of the traditional Chinese culture. It is not difficult to find the existence of war culture and martial spirit in characters, poems, novels, paintings, operas and dramas.

"Once the traditional thinking mode of a nation is formed, it will have the tendency to constrain the nation's mental activities, which some people call psychological stereotypes in psychology" (Jia Zhigang 1996,129). The martial spirit, which has been existing in the blood of the Chinese nation for thousands of years, has a great influence on the heroes on the stage of Peking Opera and the production of acrobatic fighting plays. The national heroes and heroines emerging in various dynasties have provided prototype materials for the characters of martial arts in Peking Opera. Out of the desire for the description of fighting and war between gods and ghosts, and the call for punishing evil and praising national heroes, a large number of acrobatic fighting elements appear in Chinese operas. Among them, the creation and expression of characters of famous generals like Ban Chao, Han Xin, Xue Rengui and Yue Fei are all from real characters in Chinese history, rather than mythological characters and stories. Although there are exaggerations, they are generally based on historical evidence, different from a large number of ethereal characters in Journey to the West.

2.Influence of Ancient Chivalry Culture

The various schools of thought and folk customs have a profound influence on the martial spirit of the state. Conversely, the martial spirit of the state also acts on the courageous characteristics of the people. In a cultural environment with orderly royal control and distinct social hierarchy, it is very unlikely to challenge the traditional social norms including royal power by force (Li Xiaojing 2013, 23). Since the middle of the Spring and Autumn period, with the profound economic, political, social and cultural upheavals, a series of unprecedented new factors constantly emerging, the chivalry culture was born.

"Chivalry" contains three characteristics: commitment, righteousness, and lightness of life and death. Life is inevitably critical, coupled with social injustice and not all-inclusive law, "chivalrous justice" is indispensable. And these chivalrous and righteous people always put other people instead of themselves first, strive to solve other people's difficulties and match their words with their deeds. During the Three Kingdoms period, Liu Bei was fond of making friends with chivalrous men when he was young; In the Eastern Jin Dynasty, Zu Ti got up upon hearing the crow of a rooster and practised with the sword day by day only to serve his country; In Tang Dynasty, many poets wrote to praise the quality of chivalrous men; In the Ming Dynasty, famous novels such as Water Margin enriched the image of chivalrous men...

With the gradual enrichment of martial novels, a large number of commentary artists changed them into various versions of sung commentaries and preached them around to popularize them. Later, the storytelling artist Deng Guangdou even created a new style of comment which added the boxing skills in storytelling. In other words, he showed the boxing skills when commenting on Wu Song, making the audience not only feel like seeing Wu Song, but also marvel at the storytellers' excellent boxing skills. This style of performance, in which the chivalry of the book is expressed in the real kung fu of the storyteller, fully demonstrates the brilliance of the chivalrous characters depicted in the novel and the richness of the storyteller's own performance techniques, and promotes the development of the book review (Du Peng 2014, 34). And these novels and book reviews depicting chivalry had a huge impact on the emergence and development of acrobatic fighting repertoire in the art of opera: The chivalrous characters in the books provided a rich cast of characters for Peking Opera; The novel reviews were interpreted into acrobatic fighting repertoire in Peking Opera; The depiction of characters in the novel reviews permeated Peking Opera costumes; Many of the language and customs from the book reviews were directly inherited from Peking Opera... Thus it can be seen that chivalry culture and crime novels of Ming and Qing Dynasties have a profound psychological impact on Chinese people, and have a direct impact on opera art, especially the acrobatic fighting in Peking Opera.

Artistic Skills of the Acrobatic Fighting in Peking Opera

1.Aesthetic Techniques

Nourished by traditional aesthetic thought, the acrobatic fighting in Peking Opera originates from traditional Chinese culture and have a consistent aesthetic sense of it. As the embodiment of the characters' valor happening in the fierce battle scenes, acrobatic fighting in Peking Opera is characterized by being absolute aesthetic, which is also the feature of the art of Peking Opera. Turning martial art into dance and then turn it into beauty, acrobatic fighting in Peking Opera makes what is originally a cruel and bloody scene into aesthetic stage art, showing the charm of Peking Opera. Therefore, whether it is a tumble or a move, it is possible to find their common characteristics in the traditional aesthetic thought of "observing objects and taking images", "integrating movement and stillness", and "combining both form and spirit". (Du Peng 2014, 60).

Due to the characteristics of the means of expression, the plot of the acrobatic fighting is relatively simple, and the psychology of the characters is not so delicate, which makes it more difficult to reflect the ideological content that makes people recall repeatedly and think deeply. The audience understands and recognizes these limitations, and even needs and appreciates them out of preference. The requirements of acrobatic fighting are different from those of singing operas. While acrobatic fighting should certainly teach people patriotism, noble virtues and historical knowledge, the direct manifestation of its value lies in its aesthetic role, i.e., to give the audience its unique healthy aesthetic enjoyment and beauty, and to enrich and enhance the appreciation of the public (Liu Haikuan 2005, 58).

The formal beauty of acrobatic fighting is typical of masculine beauty. What it generally reflects is either military hardware and magnificent battle scenes, or fierce and hand-to-hand combat, or fearless heroes with lofty ideals. These characters are brave and tenacious with superb martial power, moving forward under the fierce music on stage. They have a kind of majestic beauty without decadent and depressing mood, inspiring people to move on. And it is a reflection of the traditional moral concepts and aesthetic requirements of the Chinese people in the art of opera, which has the charm crossing time and space.

The formal beauty of acrobatic fighting has three characteristics: Firstly, the performer's skilled and exquisite somersault skills and kung fu; Secondly, the performer's shapely and beautiful bodies; Thirdly, the beauty of composition formed by the collective cooperation on the stage. The performers combine these three characteristics in a integrated manner, presenting a gorgeous picture of acrobatic fighting. They present a magnificent ancient war scene or a fierce fight in a specific situation in a limited stage space, which reflects the high artistic wisdom of the Chinese people (Liu Haikuan 2005, 58). The acrobatic fighting in Peking Opera generalizes, refines, exaggerates and beautifies life. Not only the actions of the characters are completely choreized, but also the emotions are transformed into the forms of martial arts skills. Everything is unified under the premise of paying attention to the depiction of the inner world of the characters and the authenticity of their thoughts and feelings, and is subject to the overall requirements of formal beauty.

2.Typical Characters and Performances

The martial spirit of the Chinese nation has a profound influence on Chinese culture. During the two thousand years of feudal rule, most of the warriors and generals carried the martial culture. The military generals and swordsmen of all dynasties exerted significant influence on Chinese society and culture, among which famous military generals include: Sun Wu in the Spring and Autumn Period, Bai Qi in the Warring States Period, Chen Qingzhi in the Northern and Southern Dynasties, Huo Qubing and Han Xin in the Western Han Dynasty, Ban Chao in the Eastern Han Dynasty, Li Jing and Gao Xianzhi in the Tang Dynasty, Yue Fei in the Song Dynasty, and Xu Da in the Ming Dynasty. Famous swordsmen include: Zhuan Zhu and Yu Rang in the Spring and Autumn Period, Nie Zheng, Lu Zhonglian, Hou Ying and Jing Ke in the Warring States Period, etc. While inheriting the martial spirit, they make the chivalry spirit and heroic integrity known to the extreme. These characters are the common archetypes of roles of acrobatic fighting in Peking Opera and the operas with both singing and martial plays. They are also the heroes that people are interested in talking about, playwrights constantly create and artists try their best to show. Among them, Zhao Yun in the Three Kingdoms Period was one of the most special, resourceful and brilliant general characters in Peking Opera. He was brave and courageous with wisdom. His rescue of the master on Steepslope Bridge was recorded and praised by later generations and presented in numerous literary and operatic works. Among the existing drama in the Yuan Dynasty, there are 21 kinds of drama of the Three Kingdoms, among which 8 are about Zhao Yun; In the Ming and Qing Dynasties, there are more than 20 kinds of drama of the Three Kingdoms, of which 7 are about Zhao Yun. The performances of Yang Xiaolou, Gao Shenglin and Li Huiliang have always been praised.

In addition to the image of Zhao Yun, the Peking Opera "Crossroads" is also a representative of acrobatic fighting performances. The play is about Jiao Zan, who escorted the prisoners and stayed in a hotel at crossroads in the border of Song and Liao areas, only to find it’s a ganster inn, where Ren Huitang was also there and saved Jiao Zan after fierce fights. On the one hand, this play combines Chinese martial arts and acrobatic movements into opera performances: It’s easy to find that these martial actors have outstanding martial arts skills. For example, the actor who plays the role of Ren Tanghui, strives to achieve unity and integrity from character personality, spiritual outlook to internal temperament and external image. When he appears on the scene, he raises his legs, leaves his feet and falls to the ground quickly, being light and steady. The first three flexible steps, the slight swaying of the upper body, together with the face looking around and observing the movement, show the resourcefulness and heroic spirit of this battle-hardened general. On the other hand, the play perfectly combines silent action with artistic beauty: With martial skills reaching a certain level, short-distance martial actors can perform with their bodies as light as swallow’s. The play "Crossroads" takes place in a specific place and environment, whose performance requires the actors to have such tumbling skills as "cheating legs", "seven feet". All these require the performer to go through hard exercises and profound kung fu, turning the body into a tool to reflect artistic beauty, in order to win the artistic effect of lightness of body (Fan Qiying Li Guanghui 2008, 50). When appreciating the play "Crossroads", we are often feeling the artistic perception brought by Chinese opera, which is expressiveness. In artistic creation, expressiveness is higher than reproducibility. It has long been recognized that our traditional art has incorporated expressiveness into our performance system. So it's no surprise that "Crossroads" has been so popular.

Inheritance and Development of the Acrobatic Fighting in Peking Opera

1.Current Situation of Acrobatic Fighting

In the mid-twentieth century, Chinese opera schools had rich performances of martial arts repertoire. At that time, there were hundreds of outstanding actors performing different operas. However, after the impact of the Cultural Revolution and the reform and opening up, new art forms emerged endlessly, and people no longer took the opera as a regular entertainment and leisure activity as before. The popular singing repertoire of Peking Opera has been greatly affected, and the acrobatic fighting has suffered a very obvious decline. It is very difficult to see the wonderful acrobatic fighting repertoire on the Peking Opera stage today as it was in the past. Even if there is, the quality of the performances is hardly guaranteed. And in the new performance of Peking Opera, it is hard to see any form of new repertoire that involves Wudan, Daomadan, or even Peking Opera martial arts. The shrinkage of traditional repertoire and the absence of new repertoire in Peking Opera have put the current comprehensive inheritance and development of Peking Opera and even the art of opera in a disadvantageous situation (Zhang Xiaocui 2017, 132).

The decline of acrobatic fighting in Peking Opera and the repertoire emphasizing both literary and military arts in the current society is worrying, which is caused by various reasons, both from the practitioners themselves and from the society. From the performer's point of view, the foundation of the martial arts actors is not good enough and the performance id not so authentic, so the audience is not really satisfied; Some singing actors do not pay attention to the overall development, blindly pursuing the progress of singing skills, so that a lot of operas both with singing and martial skills can not be well preserved, resulting in the shrinkage of the repertoire; The old and new inheritance system bear some difference, so many practitioners today do not practice can also get paid due to the monthly salary system, lacking the perseverance of their predecessors. In terms of the social environment, some plays were lost in the 1930s and 1940s; After liberation, some policies for maintaining unity had an impact on the repertoire of martial arts; The traditional acrobatic fighting ceased during the Cultural Revolution; There were few acrobatic fighting in the new repertoire; The number of actors of acrobatic fighting has decreased (Du Peng 2014, 108).

The disappearance of a large number of acrobatic fighting and the opera with both singing and martial skills has led to the serious division of singing and martial skills in Peking Opera performance, the loss of many acrobatic fighting plays, the deterioration of the performers' comprehensive ability of singing, speaking, acting and combating, and the serious tendency of "emphasizing the singing skills and neglecting the martial arts" in opera innovation. The innovation of Peking Opera should be a comprehensive innovation, rather than a single level of development. It can be said that such unbalanced development hinders the benign and comprehensive development of Peking Opera (Zhang Xiaocui 2017, 132).

2.The Innovative Ways of Development of Acrobatic Fighting in Contemporary Era The analysis and concern about the current situation of Peking Opera is not pure criticism, but to raise and solve problems. The cultural environment of a particular era is complicated, and the acrobatic fighting in Peking Opera can not be easily recovered by shouting out a few words of revitalization. Here we try to propose some solutions for practitioners to think about.

First of all, opera schools should be the main body of the inheritance of acrobatic fighting and related repertoire. It is a realistic problem that the teaching repertoire of Peking Opera at all levels is in disorder nowadays, which restricts the development of Peking Opera and even the whole teaching of Peking Opera. Schools should increase acrobatic fighting in the teaching repertoire and standardize it. Secondly, it is necessary to restore the endangered or already lost acrobatic fighting repertoire. Some plays are performed repeatedly in various Peking Opera troupes, easily making the audience get bored. So for the sake of the troupes' future and the obligation of inheritance, it is necessary to restore the lost acrobatic fighting repertoire.

As for how to explore the lost repertoire, we can start from the following aspects :(1) ask the living predecessors for relevant performance skills and stage experience; (2) Make full use of the recordings and videos left by the seniors; (3) Collect notes from experienced theater fans. With the precious resources of the acrobatic fighting, the recovery of these plays can be considered from the following three aspects: Firstly, start restoring the repertoire from the traditional seasonal repertoire, that is, to find appropriate unpopular plays from each season of the year to resume the performance, so that the audience can not only watch the repertoire rarely seen on the stage, but also inherit and enrich the acrobatic fighting in Peking Opera. Secondly, restore the repertoire from the perspective of characters: It is also a good way to restore it from point to point as time goes by until the repertoire is serialized. Thirdly, select a specific kind of repertoire for recovery: In the process of recovering traditional repertoire, we should not only do it in a solemn and stirring mood, but also learn how to use effective methods and promote acrobatic fighting to the market, believing that they can be accepted and welcomed by audiences (Du Peng 2014, 116).

Conclusion

Since the end of the Qing Dynasty and the beginning of the Republic of China, all the artists who became masters of Peking Opera were able to perform both singing skills and martial skills in the martial arts. They were able to break through the limitations of their own lineage, which really pushed the art of Peking Opera to a whole new peak and developed each lineage comprehensively, making the art of Peking Opera of that era wonderful and brilliant. Now, in the twenty-first century, some aspects of Peking Opera seem to have returned to the situation that existed before the masters of Peking Opera, i.e., the singing skills and martial arts are divided, and there is an unprecedented dilemma that the acrobatic fighting repertoire may be lost. There are many reasons for this situation, but the result is the degradation of the ability of actors in various roles, the loss of plays, the fragmentation of plays, the homogenization of skills and so on.

As the younger generation, we should not only have reverence for the older masters and the heights they have promoted the art of Peking Opera, but also do our best to carry forward the opera skills. The Peking Opera troupes and actors of acrobatic fighting are hoped to spare no efforts to pass on the skills through constantly improving the level of business, modestly consulting and learning from the predecessors and strengthening the theoretical accomplishment, so as to inherit acrobatic skills through traditional martial plays. They’re also supposed to explore new ways of innovating acrobatic fighting according to the troupe's actual situation, to "revitalize" the acrobatic fighting in Peking Opera, so that they can be inherited, developed and innovated in the tradition, thus comprehensively promoting the prosperity of the Peking Opera performance market and better serving the socialist cultural market.

References

  • Dai Shujuan 戴淑娟. (1990). 杨小楼艺术评论集 [The Collection of Art Criticism about Yang Xiaolou]. Beijing: China Theatre Press 中国戏剧出版社.
  • Du Peng 杜鹏. (2014). 京剧武戏研究——兼论以文为主、以武为辅的剧目表演 [The Study of Acrobatic Fighting in Chinese Peking Opera—Mainly about Chinese Peking Opera characterized by Singing and Acting, Acrobatic Fighting as a Supplement]. 中国艺术研究院博士论文 Chinese National Academy of Arts 5, 34, 60, 108, 116.
  • Fan Qiying, Li Guanghui 范齐英, 李光辉. (2008). 小议京剧《三岔口》的表现性 [A Brief Discussion on the Expressiveness of Peking Opera Crossroads]. 大众文艺 Popular Culture and Arts (7)50.
  • He Jinhai 何金海. (1992). 武打在戏曲中的作用 [The Role of Acrobatic Fighting in Traditional Chinese Opera]. 戏曲艺术 Art of Opera (4).
  • Huang Jun, Xu Xibo 黄钧, 徐希博. (2001). 京剧文化辞典 [Dictionary of Peking Opera Culture]. Shanghai: Chinese Dictionary Publishing House 汉语大词典出版社.
  • Jia Zhigang 贾志刚. (1996). 迈向现代的古老戏剧 [An Ancient Drama on Its Way to Modernity]. Beijing: China Theatre Press 中国戏剧出版社.
  • Li Xiaojing 李晓婧. (2013). 传统社会侠文化与法律文化研究 [Study on Xia-Culture in Traditional Society and Legal Culture]. 南京大学硕士论文 Nanjing University 23.
  • Liang Qichao 梁启超. (2006). 中国之武士道 [Chinese Bushido]. Beijing: Chinese Archives Press 中国档案出版社.
  • Liu Haikuan 刘海宽. (2005). 论京剧武戏中的美学艺术 [Aesthetic Art of Acrobatic Fighting in Peking Opera]. 青年文学家 The Youth Writers (12) 58.
  • Qi Rushan 齐如山. (1998). 国剧艺术汇考 [The Art of Chinese Opera]. Liaoning: Liaoning Education Press 辽宁教育出版社.
  • Qian Baosen 钱宝森. (1959). 京剧表演艺术杂谈 [A Miscellany on the Performing Arts of Peking Opera]. Beijing: Beijing Publishing House 北京出版社.
  • Song Danju 宋丹菊. (2008). 宋德珠舞台艺术 [Stage Art of Song Dezhu]. Beijing: Popular Culture& Arts Publishing House 大众文艺出版社.
  • Xue Xiaojin, Ma Lianliang et al. 薛晓金, 马连良等. (2009). 京剧传统剧本汇编 [A Compilation of Traditional Peking Opera Scripts]. Beijing: Beijing Publishing House北京出版社 .
  • Zhang Xiaocui 张晓翠. (2017). 浅议京剧武戏的传承与发展 [On the Inheritance and Development of Peking Opera]. 剧作家 Playwright (9) 132.
  • Zhang Yinhe 张银河. (2013). 试析武术与京剧武戏文化 [On the Martial Art and Culture of Acrobatic Fighting in Peking Opera]. 武魂 Kung Fu (12) 15.

Terms and expressions

acrobatic fighting 武戏

singing, speaking, acting and combating 唱念做打

Sheng, Dan, Jing and Chou 生旦净丑

Crossroads 《三岔口》

Hsiung-nu 匈奴

Sick Man of East Asia 东亚病夫

Journey to the West 《西游记》

Water Margin 《水浒传》

Wudan 武旦

Daomadan 刀马旦

Questions

1.What's the significance of Peking Opera in Chinese history?

2.What are the three characteristics of "Chivalry"?

3.What are the three characteristics of formal beauty of acrobatic fighting?

4.How to explore the lost repertoire？

Answers

1.Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.

2.Commitment, righteousness, and lightness of life and death.

3.1)The performer's skilled and exquisite somersault skills and kung fu;

2)The performer's shapely and beautiful bodies;

3)The beauty of composition formed by the collective cooperation on the stage.

4.1)Ask the living predecessors for relevant performance skills and stage experience;

2)Make full use of the recordings and videos left by the seniors;

3)Collect notes from experienced theater fans.

英语笔译 熊嘉玲 Xiong Jialing 202170081602

Yue Opera
Xiong Jialing

Abstract

Yue Opera, an important local opera in China, is one of the five types of Chinese opera. From the original "Chinese Folk Rap"（落地唱书）, it has developed into the second most popular opera in China and is one of the first batch of national intangible cultural heritage. Therefore, Yue Opera plays a very important role in China's art field. This article will give a general introduction to Yue Opera. The first is a brief introduction to the general situation of Yue Opera; In the first chapter, the author will introduce the historical origin and development of Yue Opera. In the second chapter, the author will focus on the introduction of the performance characteristics of Yue Opera, including its singing voice, role of business and so on; In the third chapter, the author will talk about the value of Yue Opera, such as its cultural value, social value and so on. The fourth chapter will mention the inheritance and development of Yue Opera. As one of Chinese operas, Yue Opera has a long history and rich cultural connotation. In today's cultural diversity and economic globalization, it can promote the spread of traditional Chinese culture to let the world see and hear Yue Opera.

Key words

Yue Opera;traditional Chinese culture;Chinese opera

Introduction

Yue Opera (Yueju in Pinyin) is the second largest opera genre in China, and some scholars consider it to be "the largest local opera genre". It is also one of the five major Chinese opera genres (Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera). Originated in Shengzhou, Zhejiang province, prosperity in the whole country, spread to the world, it has experienced a historical evolution from male to female Yue Opera.In the development, it absorbed the elements of kunqu opera, drama, Shaoxing opera and other operas. It is called "Chinese opera" abroad. It is also known as "the most popular local opera". Yue Opera is long in lyric, mainly singing, beautiful voice, real and moving performance, beautiful and elegant, with the spirit of jiangnan. Most of them are based on the theme of "talents and beauties", and there are various artistic schools. There are as many as 13 recognized schools. It was mainly popular in Shanghai, Zhejiang, Jiangsu, Fujian, Jiangxi, Anhui and other southern regions, as well as most northern regions such as Beijing and Tianjin. In its heyday, professional troupes existed all over the country except xizang, Guangdong, Guangxi and a few other provinces and autonomous regions. (Qian Hong, edited by the editorial board of Chinese Yue Opera Canon，2006)

Yue Opera is also the first batch of national intangible cultural heritage list. Among the modern emerging operas in China, the Yue Opera bred from the regional culture and modern art of the Yangtze River Delta is undoubtedly the most influential. Once upon a time, "Liang Shanbo and Zhu Yingtai" produced by "Shaoxing Women's Literary Opera" and "Shaoxing Women's Opera" were popular in Shanghai. The heroic deeds of the ten Sisters of Yue Opera, represented by Yuan Xuefen, against the bullying of the dark forces shocked the Chinese cultural circle; After the founding of the People's Republic of China, With the help of the movie a Dream of Red Mansions, Yue Opera became a national hit. Premier Zhou Enlai took the film liang Shanbo and Zhu Yingtai as one of new China's diplomatic means to promote the Opera overseas.(Liu,2022)

The Historical Origin of Yue Opera

Shengzhou, The Birthplace of Yue Opera

Yue Opera is one of the five major operas in China and the second largest in China at present. Yue Opera is called "the second in China" in terms of the number of performances and social popularity. In terms of its performing arts history and popular areas, it is probably far inferior to kunqu opera and Huangmei Opera. Due to language limitations, it is mainly popular in Jiangsu, Zhejiang and Shanghai. Yue Opera is generally spread in Shanghai, Zhejiang, southern Jiangsu and other places which are usually said wu language area. So Yue Opera is still a typical local opera. It originated from Shengzhou of Shaoxing in Zhejiang Province, which is the shengzhou city of Shaoxing in Zhejiang Province today. It is evolved from local folk songs and formed by absorbing the characteristics of Kunqu opera and Shaoxing opera in the development process. Shengzhou, the birthplace of Shaoxing opera, has been attracting celebrities from all sides to visit with its unique charm since ancient times. The beautiful scenery here, surrounded by beautiful mountains, with a long history, and its unique dynamic temperament, has created a unique charm and beauty in Shengzhou. The enchanting natural scenery has given here the magic charm, attracting the high sages and celebrities in succession to enjoy the scenery, leaving many immortal chapters spread through the ages for the later generations. With the growing popularity of folk poetry and lyrics, shengzhou people who are good at singing have integrated songs into their lives. Versatile shengzhou people thus became the original creator of Yue Opera art, Shengzhou has also become a fertile soil for the birth of Yue Opera art.

The Real Birth of Little Choir, the Predecessor of Yue Opera

From the year of 1906 , Yue Opera entered the stage role playing period. Therefore, it can be regarded as the origin of Yue Opera as the identity of opera. However, the little choir did not come into being suddenly, nor did it start out dressed up for the stage. From the xianfeng period in the 1850s and 1860s, it went through decades of embryonic stages. In terms of art classification, Chinese Folk Rap does not belong to opera, but to quyi. Therefore, it can not be called the "predecessor" of Yue Opera, but its original form of performance.

The origin of Chinese Folk Rap is that when farmers were resting in the fields after work, many people would compose and sing ditty that could reflect the aspirations of the common people, which always aroused the praise of farmers and gradually spread among them. The last few popular songs, everyone can sing. Researchers on the history of Yue Opera generally believe that the sign of the emergence of Chinese Folk Rap is that Jin Qibing and others began to sing Buddhist songs and folk tunes in front of rich households in the nearby countryside in order to make a living.(Pan,2009)

The early Chinese Folk Rap performers did not completely break away from agriculture while singing Chinese Folk Rap. For many performers, farm work is the main thing to support their families and is the job left to them for generations. It is unimaginable for them to completely break away from farm work. Therefore, during the spring ploughing season from January to February and March, the artists went back to their hometown in Sheng County to work on their fields. Qian Jingsong, Li Shiquan, Gao Binghuo and other artists who had been invited to the "stage" in Yuhang and Yuqian (now part of Lin 'an) talked with the villagers about their debut experience, which aroused the interest of many villagers. They urged artists to do the same at home. Guangxu period (1906) on the qingming Festival on the third day of march in the lunar calendar, on the vacant lot of dongwang village in Sheng County, the village civilian used rice barrel, the door panel set up the stage, invited many artists coarsely-dressed up to sing the Chinese Folk Raps, unexpectedly caused a stir in the countryside, attracted people from many villages to watch. The popularity of this form of singing book in the village even exceeded the artists' expectations.(Edited by Cultural and Historical Data Committee of Shengxian CPPCC,1992)

So they began to think about organizing theater groups to put on more scripted performances, and they came up with a low-key and elegant name for the form: Little Choir". In general, such performance formula has met the basic conditions of opera, so many researchers have always regarded this performance as the origin of Yue Opera. Stage at this time, not only clothing is very simple, Musical Instruments are also very simple. Although the form of "Little Choir" is primitive, the singing is monotonous, and the costumes are simple, but this pioneering move alone is enough to leave a brilliant first in the history of Yue Opera. Since the birth of the "Little Choir" in Sheng County, it has spread quickly to the surrounding areas. As a literature and art originating in country life, it is not surprising that it first established itself in the country. At the same time, it is constantly exploring transformation, slowly infiltrating into the city, After 1907, the "Little Choir" has been all over Athens County, and gradually to the neighboring Xinchang, Shangyu, Shaoxing, Yuyao, Fenghua and other places spread, both in the village and the town theater, where are warmly welcomed. For example, in Xinchang, only three or five years after the first contact with the "Little Choir", the number of newly established local opera troupe has reached 30 or 40 classes.

Performing in the countryside, the troupe must suffer from displacement. Therefore, it is always the ideal of the troupe to perform in a city with a large population, both male and female. Large and medium-sized cities for "Little Choir", is always tempting. On the one hand, large and medium-sized cities have strong consumption capacity and can obtain higher economic benefits. On the other hand, the fact that "Little Choir" can establish itself in big cities is the recognition of "Little Choir" by higher-level audiences, which is a kind of honor.(Pan,2009)

Shaoxing Civil Opera Period

In 1922, the development of Shaoxing Opera entered a new historical stage, that is, the Period of "Shaoxing Civil Opera". Because "Little Choir" was born in Shengzhou, which is subordinate to Shaoxing Prefecture, and the content of "Little Choir" is more focused on family ethics and love, so it is called "Shaoxing Civil Opera". Shaoxing Civil Opera period is the mature stage of the development of Yue Opera. It can be divided into two periods. In the early stage, there are all male actors, so it is called Shaoxing Civil Opera Male Troupe; in the later stage, there are mixed performances of male and female actors, and the transition to female troupe is called Shaoxing Civil Opera Female Troupe.

The Period of Women's Improvement in Shaoxing Civil Opera

In the history of The development of Yue Opera, the outbreak of the Anti-Japanese War is an important dividing line. Before this, Shaoxing Civil Opera, which was dominated by male classes, was in its heyday, with famous actors concentrated in Shanghai and female classes flourishing, but the activity area was mainly in Zhejiang. Although there were female classes in Shanghai, most of them were mobile, so their status was not high and their influence was limited in the whole Cultural pattern of Shanghai.

In the late 1930s, after the outbreak of the Anti-Japanese War, a large number of female classes came to Shanghai for development and rose rapidly. At the same time, male classes declined sharply and were soon replaced by female classes, gradually forming a kind of operas featuring all-female performances. Almost all the famous actors and drama companies were concentrated in Shanghai. The social and cultural environment of Shanghai has provided rich nutrition for the progress of Yue Opera art, promoted the reform of Yue Opera in the new environment, and provided a rare historical opportunity for its rapid development.

"New Yue Opera" Period

The reform of Yue Opera, which started in October 1942, opened up a new era in the history of Yue Opera and had a profound influence on the establishment of the form and style of Yue Opera. The "new Yue Opera" rising in the wave of reform in this period is obviously different from the original women's Yue Opera in terms of repertoire, music, stage image, deconstruction and operation mechanism of troupe. During the period of "New Yue Opera", Yue Opera achieved rapid development. A group of young actors, such as Yuan Xuefen, Yin Guifang, Fan Ruijuan and Fu Quanxiang, became the representatives of the new generation of Yue Opera.

The Development of Yue Opera After Liberation

After the founding of the People's Republic of China in 1949, under the leadership of the Communist Party of China, opera art began to enter the process of planned, deployed and focused reform, and Yue Opera also began to adapt to the new era of profound reform. In the early 1950s, a drama reform movement was launched nationwide. During this period, professional drama troupes in Shanghai and Zhejiang carried out the work of "Three reforms" to different degrees successively, which brought new changes to the appearance of Yue Opera. In March 1955, Shanghai Theatre was formally established, gathering a large number of professional talents with high artistic quality in the field of yue Opera, such as editing, directing, acting, music, beauty and so on.

The Revival of Yue Opera in the New Period

The "Cultural Revolution" that began in 1966 severely destroyed Yue Opera. After the end of the "Cultural Revolution", especially after the third Plenary Session of the eleventh Central Committee of the Communist Party of China in 1978, Yue Opera began a comprehensive revival in a new period, ushering in a new spring in the development history of Yue Opera

Under the influence of historical conditions, the revival of Yue Opera started from the modern opera performed by men and women. In 1977, the Shanghai Yue Opera reenacted the drama with a co-performance of male and female and was a great success, setting off the wave of the revival of Yue Opera. Soon after that, Shanghai Film Studio made "Xiang Lin's wife" into the first color widescreen style art film of Yue Opera and screened it in the whole country, re-expanding the influence of Yue Opera in the whole country. Traditional and historical operas have also been resumed, and women's Yue Opera has gained recognition and new vitality. In 2006, on the 100th anniversary of the birth of Yue Opera, it was listed in the first batch of national intangible cultural Heritage list with the approval of The State Council. The future of Yue Opera will be more brilliant.

The Performance Characteristics of Yue Opera

First, the selection of materials for the Yue Opera plays is mainly based on the love and marriage stories of ancient talents and beauties. Such as Liang Shanbo and Zhu Yingtai, Jia Baoyu and Lin Daiyu, Fan Li and Xi Shi, Lu You and Tang Wan and so on. These stories have long been written and interpreted into various literary and artistic works and passed down from generation to generation among the people. After these stories were compiled into The Yue Opera, the artistic atmosphere of the story and the tragic color of the characters were enhanced, giving people a more vivid and profound impression.

Second, the music of Yue Opera is good at showing the feelings of young men and women. The singing style is based on the "Chinese Folk Rap" of Wuyue water town in the south of Yangtze River, absorbing the folk music of Sheng County. After Yuan Xuefen and lute zhou Baocai cooperation, so that the opera singing form a gentle lingering lyric style.

Third, the performances of Yue Opera are vivid, natural, elegant and moving. They are full of beauty and talent in the south of the Yangtze River, especially the performances of young girl's role, which combine the scholarliness of scholars with the beauty of young girls. The principle of "virtuality" and "stylization" and the aesthetic pursuit of "symbolism" and "freehand style" formed in the long-term artistic practice of Chinese opera performance have provided a theoretical basis for the formation of the performing art of young women in Yue Opera, so that female actors can play male roles without being restricted by their own gender. Under the guidance of virtual drama and freehand brushwork principle, the female students can not completely imitate the performance of men and force the unity of actors and roles, actors can use stylized performance to look at the male roles in the drama from the perspective of women. What she interprets is not the man in real life, but the man in the woman's mind, that is, the man that the woman idealizes, the man that the woman plays to the audience. This is just like the plum blossom and bamboo painted by Chinese painters in traditional Chinese paintings. They are not plum blossom and bamboo in nature, but plum blossom and bamboo in the artist's mind. Of course, the course of this success is not follow one's inclinations, is not subject to any condition, also need actors themselves have a certain external conditions and mental qualities, such as the tall figure, elegant temperament, generous demeanor, etc., so as to better shape the character image, conveys the verve of male role. Various schools of Yue Opera have blossomed.

Fourth, the stage presentation of the Yue Opera is fresh and elegant, which is often refreshing. The makeup of Yue Opera has absorbed the methods of drama and film, and is characterized by being close to nature, fresh and elegant, rather than exaggerated and colorful. Based on the paintings of ancient ladies in costume, the costumes are changed from complex to simple and gorgeous to clear and beautiful with the characteristics of simplicity and clarity. The scenery is simple and lively, the combination of virtual and real, with the performance of the actors, making full use of modern sound and light technology, giving people an immersive artistic feeling.(Liu,2022)

The Value of Yue Opera

Cultural Value

Cultural creation is based on traditional culture and under the influence of modern culture, absorbing new tunes, new choreography, new themes, new talents and new music of modern culture to generate a new round of cultural wave and a "new culture" that is different from the past and more adaptable. Yue Opera is "rich in expressive force, plain and smooth melody, fresh and beautiful with local flavor". It has beautiful melody, graceful and touching pronunciation, beautiful appearance but not coqueness. Both civic and military opera have their own strengths, and it is different from the softness and beauty of Peking Opera. It has a very high viewing value, which is why in recent years, Yue Opera has gained more and more audience's love, causing more and more attention. This is the cultural creation value of Yue Opera.(Jin,2012)

From the point of view of Marx's theory of literature and art, all arts (including literature, calligraphy, architecture, painting, opera, etc.) are the reflection of people's lifestyle and cultural psychology in a particular era and region. In the field investigation, we found that most of the people who adhere to Yue Opera are the older generation, because it used to be a part of their life, carrying their joys and sorrows, and relying on their understanding of life. Yue Opera touches the softest part of the heart of a generation in a casual way at some point. These cultural memories, no matter joyful, sad, beautiful or ugly, will become a kind of cultural nutrition and melt into the bones and blood of the whole regional culture and even the national culture, giving us reasons and directions to move forward. This is the cultural creation value of Yue Opera.This is the cultural inheritance value of Yue Opera.(Yang,2021)

Social value

Yue Opera originated in Shengzhou, Zhejiang province, China, so it is easy to explain why all the people in Shaoxing and Shengzhou can hum it and find pleasure in it. Obviously, in the region where It originated and developed, It has become a topic of conversation among the masses after dinner. In the folk, people are also used to organizing various performances and singing competitions of It to enrich their amateur cultural life. Therefore, in the traditional cultural matrix of Yue Opera, there is a kind of aesthetic value called social value, which has laid a solid foundation for extensive social communication among the masses. Therefore, Yue Opera gradually became a social means, which was of great significance in promoting social harmony and stability. Of course, with the continuous expansion of the overseas market of Yue Opera, it is also playing an important role in developing sino-foreign relations, consolidating sino-foreign friendship and realizing the combination of Chinese and foreign culture and art.(Jin,2012)

The Entertainment Value of Yue Opera.

As a unique type of traditional culture, History and culture have endowed it with a unique development environment, unique artistic charm, which make It a popular art form among the public. From the emergence and development of Yue Opera to its prosperity and growth, its entertainment value has been accompanied by it. Yue Opera can not only give people visual and auditory satisfaction, but also give the audience great psychological satisfaction, so as to relieve the pressure for the masses and delight the masses physically and mentally. A large number of excellent Plays of Chinese traditional Yue Opera, such as Butterfly Lovers and Peony Pavilion, brought people spiritual sustenance and was one of the important ways for people to interest their heart and soul at that time. For example, the twists and turns of the Story, the beautiful love story and the artistic stage design of the Yue Opera Peony Pavilion not only relieved people's living pressure, but also promoted people's self-cultivation.(Ye,2016)

The above research on the value of Yue Opera shows that this local opera has strong charm and development potential. Thus, we can see the reasons behind the "centennial brilliance" and strong influence of Yue Opera. Yue Opera has rich cultural value, including cultural creation value and cultural inheritance value. Shaoxing Opera also has certain social communication value, which can be called a social means. Yue Opera not only promotes social harmony, but even plays a great role in promoting the spread of Chinese culture and cultural exchanges. In addition, Yue Opera has its entertainment value. In daily life, it has enriched the lives of ordinary people and provided them with certain spiritual sustenance, which is of great significance.

The Inheritance and Development of Yue Opera

Yue Opera is one of the most important local operas in China. It has developed into the second most popular opera in China from the original Chinese Folk Rap. However, with the popularization of TV, the establishment of cinemas and the continuous expansion of the Internet, the influx of pop songs, European and American blockbusters and the change of modern people's value orientation, the traditional Yue Opera has been plunged into unprecedented crises. In today's era of vigorously protecting intangible cultural heritage and building a new socialist countryside, how to protect, inherit and develop folk Yue Opera is not only related to the survival of the opera itself, but also an important topic of "intangible cultural heritage" protection, as well as an important content to be studied in mass cultural work.(Zhang,2010)

Review the Inheritance Status of Yue Opera

Through visits to local cultural departments and literature review, we know that the performance of Yue Opera is faced with fewer and fewer audiences, and the troupe cannot survive. The number of professional Yue Opera troupes has decreased from more than 260 in the 1950s and 1960s to less than 35 now. Most folk yue troupes mainly cover the rural market, but because the market is small, they can not get a greater development. However, under the influence of various cultural and entertainment activities, the audience is mainly around 40 years old, and the younger generation is less interested in it. It can be seen that the audience of Yue Opera rarely come from the youth group, and the audience of Yue Opera is increasingly aging. Although Shengzhou is the birthplace of Yue Opera, its inheritance and development are not good. In terms of relic buildings, the original buildings about Yue Opera are very rare, and the original birthplace of Yue Opera for women can only be found in the only small village. The exhibition stand protecting the original Yue Opera props is also in disrepair and covered with dust. In terms of museums, most of the objects in the museum are restored by later generations. Props, costumes, Musical Instruments and singing stage are re-made by later generations.(Yang,2021)

Problems Faced by the Development of Yue Opera

From the early 1980s to the present, the significant reduction in the number of Yue Opera troupe is the primary problem facing the development of Yue Opera. In the early 1980s, there were seven professional Yue troupes and two professional folk Yue troupes in Jiaxing, while in the mid-1980s, there were only two professional yue troupes. Secondly, from the city to the countryside, the audience of Yue Opera is getting smaller and smaller, and the performance market is getting smaller and smaller. In the past, a company could put on a new play for two or three months. Now it can only put on two or three performances. The audience's enthusiasm for watching Yue Opera has also declined significantly. The third problem facing the development of folk Yue Opera is talent. The performance of Yue Opera has high requirements for talents. It not only requires actors to have beautiful looks and a loud voice, but also to be able to perform. Generally speaking, a good actor can play a role on the stage, no ten or five years is not out, that is to say, one minute on the stage, ten years of work off the stage. Now there is a shortage of talent in the field of Yue Opera. Fourth, repertoire creation is increasingly contracted. In the mass culture system, Yue Opera also received unprecedented cold. At present, cultural centers and art centers around the country mainly focus on the creation of music, dance and fine arts, and there is little interest in the Yue Opera of traditional Chinese opera. There are also few full-time cadres of Yue Opera of drama. In some cultural centers at the county level, full-time cadres of Yue Opera no longer exist.

The Reason Why Yue Opera Faces Confusion

Confusing in today's Yue Opera face of reason is various, but the main reason is that with the change of society and the continuous improvement of living standards. The broad masses of TV and home theater has been gradually into the people, families, people's interest constantly updated, more diverse cultural needs, and a variety of popular songs have taken young people's life. Culture is diverse, Yue Opera was gradually forgotten; Secondly, the propaganda of Yue Opera is not enough. Although the traditional Yue Opera has been quite popular with the masses, the propaganda is far less than that of Peking Opera in the whole country, which causes the dilution of Yue Opera in people's mind. The third is the lack of new strength of Yue Opera. Since the 1990s, fewer and fewer young people like Yue Opera, even fewer professional Yue Opera actors, and now the children basically do not even know what Yue Opera is; Fourth, the operating mechanism of the troupe is not working. It is far from enough for the professional troupe to rely on the financial allocation from the government alone. They have to perform outside to increase their income. (Zhang,2010)

Thoughts on Inheritance and Innovation of Yue Opera

1. Intensify Efforts to Cultivate Professional Yue Opera Actors

In the early 1950s, the period when Yue Opera flourished and developed was also the period when a large number of Art masters of Yue Opera came out. They internalized the art of Yue Opera into their lives, and their personalities and drama forms reached a harmonious unity, which became the highest condensation mode of Yue Opera art. Even when people at that time recalled the development of Yue Opera, the names of a large number of Yue Opera actors first appeared in their mind. Therefore, training a number of young actors to carry forward the Yue Opera with independent artistic life will be the first condition for Yue Opera to obtain its new development.

2. Intensify the Creation of Scripts for Yue Opera

In particular, the audience should choose the most concerned good subject matter, in the spread of "Butterfly Lovers", "Xianglin Sister-in-law" and other classic bridge based on the new culture and people's appeal, innovation. If shaoxing opera wants to get enough attention and attention in the contemporary era, it must have scripts that can reflect the values of The Times and express the demands of the people as a guarantee. This should give enough care and attention to the playwright, establish a long-term mechanism to stimulate and protect their creative enthusiasm.

3. Innovate the Promotion Method of Yue Opera

In the past, the art of Yue Opera was born as a kind of market culture of residents, but now, as a cultural heritage, Yue Opera is gradually transforming from popular culture to elegant art. Therefore, when it comes to effectively dealing with the cultural watch and spiritual breakout of Yue Opera, the first thing we need is to adjust our mentality towards the cultural phenomenon of Yue Opera. We do not advocate the Yue Opera itself directly to change to become a new culture, but should be advocated through the way of improvement and innovation make Yue Opera culture gradually in the masses of the people has the characteristics of a new era of traditional culture, such as development "Yue Opera" series of gen, create IP with Yue Opera character animation image, using new media communication way, Through a number of new channels, such as "live streaming of Internet celebrities", "school-enterprise cooperation" and "star endorsing", the new culture serves the traditional culture of Shaoxing opera and spreads the melody of Yue Opera among a wider social group. (Yang,2021)

Conclusion

As a traditional Chinese culture, Yue Opera has its own unique appreciation value. In today's multicultural world, we cannot abandon our traditional culture. We should try our best to inherit and carry forward our traditional culture, so that they can adapt to the changes of The Times and keep pace with The Times. But at the same time retain the traditional culture, let the world hear the voice of China.

References

  • Jin Yingzi金英子(2012). 越剧传统文化基质和审美价值研究[Study on Traditional Culture Matrix and Aesthetic Value of Yue Opera]. 音乐探索Explorations in Music(02): 39-41.
  • Liu Wenfeng刘文峰(2022). 扬长补短，再创辉煌——关于越剧传承发展的思考[Develop Strengths and Complement Weaknesses to create Brilliance -- Reflections on the Inheritance and Development of Yue Opera]. 中国非物质文化遗产China's Intangible Cultural Heritage(01): 35-39.
  • Pan Yuqi潘玉琪(2009). 越剧的诞生、发展及其人文背景研究（1906-1949）[Study on the Birth, Development and Cultural Background of Yue Opera (1906-1949)].复旦大学Fudan University.
  • Qian Hong, edited by the editorial board of Chinese Yue Opera Canon钱宏主编，《中国越剧大典》编委会编著(2006)．《中国越剧大典》[The Grand Ceremony of Chinese Yue Opera]．杭州市：浙江文艺出版社、浙江文艺音像出版社Hangzhou: Zhejiang Literature and Art Publishing House, Zhejiang Literature and Art Audio and Video Publishing house.
  • Yang Ruyuan杨汝远(2021). 论非遗文化在现代化进程中的守望与传承——以越剧为例[On the Watch and Inheritance of Intangible Cultural Heritage in the Modernization Process -- Taking Yue Opera as An Example]. 汉字文化Sinogram Culture(06): 175-177.
  • Ye Haixiong叶海雄(2016). 越剧传统文化基质和审美价值探讨[Discussion on Traditional Culture Matrix and Aesthetic Value of Shaoxing Opera]. 戏剧之家,Home Drama(06): 52.
  • Zhang Peiying张配英(2010). 浅论民间越剧的传承与创新[On the Inheritance and Innovation of Folk Yue Opera]. 大舞台Great Stage(10): 79.
  • Edited by Cultural and Historical Data Committee of Shengxian CPPCC嵊县政协文史资料委员会编(1992)﹐《越剧溯源》[The Origin of Yue Opera]. 浙江人民出版社Zhejiang People's Publishing House(5): 23

Terms and expressions

Yue Opera 越剧

Chinese Folk Rap 落地唱书

Pingju opera 评剧

Little Choir 小歌班

Shaoxing Civil Opera 绍兴文戏

Peony Pavilion 牡丹亭

Questions

1.What are the five major Chinese opera genres?

2.Where is the birthplace of Yue Opera?

3.How to inherit and innovate Yue Opera?

Answers

1.Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera.

2.Shengzhou

3.Firstly, intensify efforts to cultivate professional Yue Opera actors.Secondly,intensify the creation of scripts for Yue Opera. Thirdly, innovate the promotion method of Yue Opera.

Retrieved from "https://bou.de/u/index.php?title=20220630_Culture_8&oldid=146448"