20220630 Culture

英语笔译 卞王倩 Bian Wangqian 202170081563

Europeanized Chinese and Cultural Factors Behind it 卞王倩

Subtitle 1

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

References

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

英语笔译 曹姣 Cao Jiao 202170081564

A brief talk on court culture in the Tang Dynasty from the perspective of poem -- take Changhenge for example 曹姣CaoJiao

Introduction

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

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

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

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

Make-up and headgear in The Everlasting Regret

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

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

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

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

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

Court banquets

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

Palaces and architectures

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

“She bathed in glassy water of Huaqing Pool”, “ in lotus-flower curtain she spent the night blessed”, “her beauty served the night when dressed in Golden Bower ”, “drunk with wine and spring at banquet in Jade Tower” etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet described the content of their love life, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing, and the exclusive love to Yang; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan, and also render their love story.

In the sentences of " Knocking at the western gate of palace hall, he bade", " days and months appeared long in the fairyland halls", "Jin Que" or “ Palace Hall”, and "Penglai Palace" both are palaces existing in mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace" and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" refers to the palace where they lived together during those years, while "Golden House" and "Jade Tower" are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.

Conclusion

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

Preferences

[1]Liu Zunming刘尊明.中国古代的宫廷及其文化特征. 湖北大学中文系(文史知识),61-65. [2]Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究. 南京师大学报(社会科学版)(06),121-127. [3] Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究(博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh [4]Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨. 北京社会科学(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201. [5]Tian Miao田苗.(2003).唐代妇女眉妆演变考论. 西北大学学报(哲学社会科学版)(02),108-112.

Terms and Expressions

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

Questions

1. What is "Chai thighs"? 2. What does “Fendai” mean? 3. What is “Buyao”? 4. Does “Jinque” and “Penglai Palace” exist in the real world?

Answers

1.The foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". 2."Fendai" refers to beauties in the imperial palace except for Yang Yuhuan. 3.“Buyao” is a kind of traditional Chinese women's headgear, with drooping beads over it, and will shake the beads as a wearer is walking. Therefore, it also known as “Shaking as Stepping”. 4."Jin Que" or “ Palace Hall”, and "Penglai Palace" both are palaces existing in mythology, which are set off as the background for the appearance of this imperial concubine.

英语笔译 邓阳林 Deng Yanglin 202170081567

A type of verse popular in the Yuan Dynasty Deng Yanglin

Abstract

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

Subtitle 1

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

References

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

英语笔译 何丽娜 He Lina 202170081569: Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City

Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City 何丽娜

英语笔译 黄琼 Huang Qiong 202170081571

Bamboo Weaving in Yiyang Hunan Huang Qiong

Abstract

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

Key words

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

The Introduction to Bamboo weaving

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

References

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

英语笔译 刘唱 Liu Chang 202170081583

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

Abstract

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

Key words

Skopos Theory; Game Translation; League of Legends

英语笔译 聂薇 Nie Wei 202170081592

Cultural Factors Behind the Spring Festival Travel Rush in China 聂薇

Introduction

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

The evolution of the Spring Festival travel rush

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

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

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

Cultural factors behind the Spring Festival travel rush in China

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

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

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

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

Way of relieving pressure from the rush

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

Conclusion

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

Terms and expressions

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

References

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

Questions

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

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

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

Answers

1.40days 2.Tourists 3.Confucian culture

英语笔译 张国浩 Zhang Guohao 202170081606

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

Abstract

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

Key words

New media; Electronic language; Language culture

Introduction

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

Subtitle 1

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

References

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

英语笔译 赵宇翔 Zhao Yuxiang 202170081609

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

The evolution of the function of jade in China

Ritual Jade Stage：Zhou Dynasty

Burial Jade Stage：Han Dynasty

Entertained Jade Stage：From Tang to the end of the Qing Dynasty

The origin of Chinese jade culture

The origin of Chinese jade civilization

Some common cultural implications of jade in China

Symbol of power and wealth

Symbol of Noble Morality

英语口译 兰绮 Lan Qi 202170081619

Chinese Panda Diplomacy Lan Qi

Introduction

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

Origin and History of Chinese Panda Diplomacy

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

References

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