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英语笔译 卞王倩 Bian Wangqian 202170081563

Europeanized Chinese and Cultural Factors Behind it 卞王倩

Abstract

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

Key words

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

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

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

Abstract

As a realistic poem with romantic characteristics, Bai Juyi's The Everlasting Regret tells the love story between Li Lung-chi(李隆基, an emperor in Tang Dynasty) and his beloved Yang Kuifei(杨贵妃, a concubine of the emperor). In addition, it has a unique literary aesthetics in which many of the sentences record the history in realistic details, so it has a profound significance for historical research, playing the role of complementing and interpreting history. This article, inspired by Chen Yinque's“mutual interpretation between poetry and history”, will analyze The Everlasting Regret from the perspective of history, and discuss it from three aspects: women's makeup and headgear, court banquet, and imperial palace and architecture. This will give us a more comprehensive and authentic look of the cultural life of the court in the Tang Dynasty.

Introduction

Definition

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

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

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

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

Make-up and headgear in The Everlasting Regret

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

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

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

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

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

Court banquets

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

Palaces and architectures

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

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

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

Conclusion

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

Preferences

• Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究[Research on the Poem “Changhenge” from the Perspective of Tang Dynasty’s Court Culture].南京师大学报(社会科学版)Journal of Nanjing University (06),121-127.

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

Terms and Expressions

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

英语笔译 陈路瑶 Chen Luyao 202170081565

Ancient Chinese Values Handed Down Until Today Chen Luyao

Abstract

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

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 崔晓凡 Cui Xiaofan 202170081566

China Central Plain Culture Cui Xiaofan

Introduction

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

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

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

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 高智慧 Gao Zhihui 202170081568

The History of Chinese Noodles 高智慧 Gao Zhihui

Introduction

The earliest known noodles found in China can be dated back to 4 thousand years ago. They were found in archeological findings near the Yellow River in China. However, first concrete written records of noodles come from the time when Eastern Han Dynasty reigned between 25 and 200 AD. There are many stories about the origin of noodles. To a certain extent, noodles also reflect the cultural traditions and customs of China, which essentially means "human nature" and "worldly common sense". There are thousands of varieties of noodles in China, according to the classification of the shape of noodles, seasoning gravy, cooking craft, and so on. Many noodles have local characteristics. Noodles are accepted by people from all over the world. The industrial revolution and the development of the food industry have successfully transitioned the way we produce noodles, from a traditional handicraft industry to mass production using machinery. In addition, the invention of instant noodles and their mass production also greatly changed the noodle industry. In essence, noodles are a kind of cereal food, which is the main body of the traditional Chinese diet. It is the main source of energy for Chinese people and the most economical energy food. Adhering to the principle of making cereal food the main food, is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet, and promote health. The importance of the status of noodles in the dietary structure of residents China and the health impact should not be ignored.

The Origin of Noodles

Mix water and flour and knead into a dough, you now have a plethora of prospects in the palm of your hands. Noodles are the epitome of versatility and flexibility, and it's this adaptable nature that has contributed to its rise as a world renowned food. Noodles are eaten as pho in Vietnam, chow-chow in Nepal, seviyan in India and many other permutations and combinations throughout the globe. While the popularity of noodles is a widely accepted consensus, its origin is still a prominently debated subject. There are numerous contenders who have claimed to be the creators of the Noodle. Italians profess that they are the pioneers of this plant based food, whereas the Chinese argue that they invented this culinary sensation. In this paper I will endeavor to trace the geneses of this cereal food and subsequently attempt to end the age old dispute surrounding it.

We begin our historical research in the East Asian country, China. Noodles are believed to have originated here, as "Bing" or cake in English, during the early rule of the Han Dynasty. They were then diversified by experimentation and the evolution of additional shapes and cooking methods. Noodles further gained cultural prominence via folklore related to "health, religion, economy" and with the emergence of Chinese superstitions. (Zhang Na and Ma Guansheng, 2016) However, due to recent archeological discoveries it's likely that noodles were around much prior to the rise of the Han Rule. Excavation sites have revealed that wheat grains and early production apparatuses existed from the early to late Neolithic period – an astounding ten thousand years before now. More tangible evidence, which testifies to the existence of Noodles well into the past, was unearthed in 1999. "Noodles discovered among relics at the Lajia archeological site in Minhe(民和) County, Qinghai Province". After scientists analysed the noodles and bowl of noodles found at the site through radioactive dating, it was disclosed that noodles were crafted and cooked four thousand years ago during the early Xia Dynasty. These archaeological findings thus provide us with physical evidence which date back to periods long before the present day. They reveal that the noodle has been closely interwoven into the Chinese society and their culinary practices for eons.

China has the most promising data to support its claim of being the inventors of this simple wheat and water based dough. The discovery of the noodle remains and bowl occurred two thousand years prior to Horace's mentions of Lagane, which means pasta. With its physical, archeological evidence predating even the written records of Italian, Arabic and Mediterranean pasta, it truly does make China victorious in the contention. However, even though China may be the site of the first instances of noodles and they may have introduced some countries like Japan and India to them, this doesn’t necessarily mean that they were the ones who introduced the rest of the world to it. Italians were enjoying pasta long before Marco Polo brought back the secrets of the Chinese noodle trade. As there is very little documented data and only a few preserved artifacts related to Italian pasta, it’s not right to make any broad claims about its beginning. It is also plausible that pasta developed spontaneously in China and Italy at different time periods. New evidence is bound to be unearthed at some point in the future, which will give more concrete and reliable sources with information about who introduced the Italians to the noodle.

Ancient Records of Chinese Noodles

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

Stories of Noodles

Food is not only a source of human nutrition, it also plays many roles in the aspects of religion and economy, etc. People use special food to celebrate important events and festivals, for instance, we eat sweet dumplings in the Lantern Festival, we eat traditional Chinese rice-puddings in the Dragon Boat Festival, we eat moon cakes in the Mid-Autumn Festival, and we eat dumplings in Spring Festival.

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

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

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

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

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

Another famous type of Chinese noodles is the Crossing-the-Bridge noodles(过桥米线), which is a rice noodle soup from the Yunnan Province. Crossing-the-Bridge noodles also has an interesting story associated with it. The story described a boy who was ordered by his father to study for the Imperial Exams in the cottage of an island, and the boy was not allowed to leave the island until his studies were completed. Since the island was far away from his house, and the story took place in the coldest months of the year, all the meals that the family cook had cooked for the boy would become cold and unpalatable when the meals reach the boy. After being troubled by this problem for a long time, the cook finally came up with an idea and invented a new type of noodle dish, Crossing-the-Bridge noodles, by adding an extra layer of hot chicken broth and chicken fat to the noodle soup. According to the story, the noodle was invented to have the capability of keeping warm for a long time under cold winds and temperatures, so that when the cook brings the noodle soup across the bridge to the boy who was studying for the imperial examinations, the noodle soup would still be hot and warm enough to eat. “ ‘It is too hot!’ he said, and began laughing. ‘I know,’ said the cook, nodding happily. ‘It is the fat that keeps out the wind, the cold, and the bad spirits. Now that you have the nourishment you need, learning will come naturally and gracefully.’ The boy ate the delicious soup with a hunger that he did not know he had as he watched the chef skipping like a child across the bridge back to his kitchen.” Therefore, Crossing-the-Bridge noodles reflected the cleverness and mastery of the cook in cooking, as well as the love and care he had for the boy, and the passion he had for pleasing people with his food.

The Classification of Noodles

There are thousands of varieties of noodles in China, according to the classification of the composition of noodles, the shapes of noodles, and the different gravy seasoning. The main compositions of noodles are wheat and rice. Most kinds of noodles are made of flour (the powder made from wheat). There is also another special composition of noodles: rice noodles (米线). Rice noodles are frequently seen in Southern style cooking, such as Yunnan province: over-the-bridge rice noodles. In addition, noodles can be classified according to the thickness: they can be as thick as chopsticks or as thin as hair, such as the dragon beard noodles. Some can be classified according to the how they are made, such as hand-pulled noodles (拉面), shaved noodles (刀削面), and so on. They can also be classified according to the seasoning, such as Beijing fried bean sauce noodles (北京炸酱面) and Shandong noodles with gravy (山东打卤面). Others are classified according to cooking crafts, such as noodles mixed with scallion, oil, and soy sauce (葱油拌面), noodles with quick-fried eel shreds and shelled shrimps (虾爆鳝面), and so on.

China has a vast territory and abundant resources and mainly can be divided into the following areas: East China, Southern China, Central China, North China, Northwest China, Southwest China, Northeast China, Hong Kong, Macao, and Taiwan areas. There are also some local characteristic noodles. In East China, there are Shanghai noodles in superior soup (上海阳春面), Nanjing small boiled noodles (南京小煮面), Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) (杭州片儿川面), Wenzhou vegetable raw noodles (温州素面), Zhenjiang pot noodles (镇江锅盖面), Shandong Fushan hand-pulled noodles (山东福山拉面), Suzhou Su style soup noodles (苏州苏式汤面), Fuzhou line noodles (福州线面), and Anhui flat noodles (安徽板面). In Southern China, there are Guangzhou wonton noodles (广州馄饨面). In Central China, there are Wuhan hot noodles with sesame paste (武汉热干面). In North China, there are Beijing fried bean sauce noodles, Shanxi shaved noodles (山西刀削面) and noodles with braised string bean (豆角焖面), Hebei dragon whiskers noodles (河北龙须面) (saute fine noodles with shredded chicken), fine dried noodles, sesame paste noodles (麻酱面), and Neimenggu braised noodles with string bean (内蒙古焖面). In Northwest China, there are Xinjiang pulled noodles (新疆拉条子), Shanxi oil-splashing noodles (陕西油泼面), Biángbiáng noodles (Biángbiáng 面), a type of noodle popular in the cuisine of China's Shaanxi Province, and serofluid noodles (浆水面), Henan stewed noodles (河南烩面), steamed noodles (蒸面), and Lanzhou hand-pulled noodles (兰州拉面). In Southwest China, there are Guizhou noodles with pig’s blood and internal organs (贵州肠旺面), Sichuan dandan noodles (四川担担面), bean curd pudding noodles (豆花面), zhazha noodles with chili oil hot pepper and pork-bone soup (渣渣面), burning noodles from Yibin (宜宾燃面), longevity noodles and bedding noodles (铺盖面). In Northeast China, there are Jilin cold noodles (吉林冷面). In Taiwan, Hong Kong, and Macao, there are Hong Kong strained noodles (捞面), rickshaw noodles (车仔面) and shrimp roe noodles (虾子面), southern Taiwanese-style noodles (担仔面), and clam noodles (花蛤仔面). Noodles are usually eaten as a staple food in or to the north of the Yellow River Valley, but eaten as breakfast in the southern region.

There are also some kinds of representative noodles. Beijing fried bean sauce noodles are a traditional Chinese food, popular in Beijing, Hebei, Tianjin, and other places. Beijing fried bean sauce noodles are cooked in the following way: first prepare the fresh-cut vegetables, blanch and set aside; next, put minced meat stir-fried with scallion, ginger, garlic, and soybean paste in hot oil; then boil the noodles and scoop them up, pour sauce on them; lastly, mix with the vegetables.

Lanzhou hand-pulled noodles, also known as one of the top ten Chinese noodles, are Islamic-style snacks in the Gansu Province. The noodles have special characteristics: “soup clear like mirror, the strong scent of cooked meat, thin noodles”. The noodles also have a set of standards: “clear (clear soup), white (white radish), red (red pepper oil), green (green coriander and garlic bolt), and yellow (yellow noodles)”. Locally, people named them “beef noodles”.

The Industrialization of Noodle Production

Since the advent of noodles, although the culture and heritage of the craft are different in various areas, noodles were always processed in a manual way. With the development of the industrial revolution, it realized the transition from a traditional handicraft industry to machine mass production. In the 1850s, machine-made noodles appeared in the market for the first time, and are still in use. At present, China is the world's largest consumer of noodles; the annual consumption and production value are amazing. Data showed that from 2007 to 2012, China's sales value of noodles increased from 8.6 billion yuan to 20.26 billion yuan. In recent decades, it can be said that the advent and development of instant noodles brought the greatest impact.

As early as before the invention of instant noodles, in the ancient East and West, there have been similar processing methods: noodles were boiled first, then fried with hot oil, and finally served with soup. In ancient China, there were similar noodles called Yi noodles (伊面). According to legend in the Qing Dynasty, Yi bingshou (伊秉绶) gave a banquet to celebrate his mother's birthday at home. There were so many guests that the rushed chef mistakenly put the cooked egg noodles into the boiling pan. Without an alternative solution, the chef scooped up these noodles, then fried them in hot oil, and finally served with soup. Guests unexpectedly praised the noodles, so the cooking craft has been handed down. In the early days, Yi noodles was written on the packaging of instant noodles.

In 1958, Taiwanese–Japanese Momofuku Ando (安藤百福) invented the instant noodles as fast food, and created a revolution in the world's eating habits(Zhao,2015,24). At that time one had to wait in line for a long time to eat a bowl of noodles, so he invented the convenient instant noodles. After the invention, Momofuku Ando also founded Nissin food company (日清公司) to sell chicken soup hand-pulled noodles (鸡汤拉面). The initial price was 35 yen. Imitation products immediately appeared which resulted in price competition. Ando soon realized that it was necessary to regulate the market, in order to maintain the reputation of the new products. In 1960, he won the lawsuit about the copyright of instant noodles, and registered the chicken soup hand-pulled noodles trademark in the 2nd year. In 1964, Ando founded Japan Hand-Pulled Noodle Industry Association and transferred the patent to the industry. Ando said that the purpose of this move was to expand the industry, so as to provide cheap instant noodles to the residents.

The Nissin food company started looking more actively for opportunities abroad after the invention of instant noodles. In 1963, it first cooperated with South Korea Miyaki food company (三养食品). In 1968, it once again cooperated with the international food company in Taiwan to launch the chicken soup taste instant ramen. At the beginning, the market of instant ramen with Japanese formula was not good. After adjusting the sauce and the noodles, it became the best-selling product in Taiwan. Most customers buy it as snack food.

According to official data of the World Association of instant noodles, since 2009 China's total consumption of instant noodles has been ranked first in the world. In 2013 the total consumption of instant noodles in the world reached a total of about 105.59 billion bags, while China ranked first for the total consumption of 46.22 billion bags, the per capita consumption reached 34 packets.

The Nutritional Composition and Health of Noodles

The basic raw material for making noodles is flour. Therefore, its main nutrients are basically the same as flour, including protein, carbohydrates, minerals, and low fat. Taking the ordinary fine dried noodles found in the market for example, 100 g fine dried noodles contain 10.3 g protein, 75.6 g carbohydrates, just 0.6 g fat, 129 mg potassium, 18.45 mg sodium, 11.8μg selenium, and so on.

Noodles are classified as cereal foods. Cereal food is the main body of the traditional Chinese diet, the main source of energy for the human body, and also the most economical energy food. With the development of the economy and the improvement of life, Chinese people tend to eat more animal food and oil. An authoritative survey found that in some of the more affluent families, the consumption of animal food has exceeded the consumption of cereal food. Animal food contains more energy and fat, but less dietary fiber, which is not conducive to the prevention and treatment of some chronic diseases. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily fat intake of Chinese residents was too much, providing more than 30% of the total dietary energy, while a deficiency of calcium, iron, vitamins A and D, and some other nutrients still existed(2015). Adhering to the principle of “making cereal food the main food”, the purpose is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet. Therefore, the importance of the status of noodles in the dietary structure of the residents in our country and their health impact should not be ignored.

In the process of making noodles, eggs are added. Therefore, noodles contain the nutritional content of eggs, with the amount of nutritional content depending on the amount of added eggs. Protein amino acid composition of eggs is the closest to the needs of the human body with very high nutritional value. Eggs contain between 10% and ∼15% fat with 98% of the fat found in egg yolk; egg white contains very little fat. The fat in egg yolk is easily digested and absorbed and also contains a high content and full range of vitamins, including all the B vitamins, vitamin A, vitamin D, vitamin E, vitamin K, and trace amounts of vitamin C. Therefore, adding eggs can improve the nutritional value of noodles.

Salts are added in the process of making noodles. Excessive salt intake will increase the risk of high blood pressure. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily intake of salt was 10.5 g /d in 2012; however, the daily recommended intake of salt is 6 g/d according to Dietary guidelines for Chinese Residents and 5 g according to the World Health Organization. It is worth noting that the prevalent rate of high blood pressure for adults aged ≥18 years was 25.2% in 2012. This is an increase when compared with 2002 (rate was 18.8%). Therefore, food companies should try to reduce the addition of salt as much as possible.

In addition to the health impact of the original nutritional composition of noodles, we should also pay attention to the health impact of the cooking craft and other related factors.

Gravy: in order to improve the taste, people often eat noodles with gravy. Some kinds of gravy contain fat and salt. For example, fried bean sauce noodles contain more fat and salt. In order to avoid an increase in the risk of chronic diseases, we should add less gravy when eating noodles.

Ingredients: when cooking noodles, we can add eggs, vegetables, and other ingredients, so as to make noodles achieve the principle of “food diversification”, and promote health for people.

Instant noodles: the seasoning packet in instant noodles contains more salt, so we should add half a packet of seasoning when eating instant noodles, in order to reduce salt intake.

Terms and Expressions

soup cake 汤饼

Wei, Jin, and Northern and Southern Dynasties 魏晋南北朝

Qi Min Yao Shu or Essential Techniques for the Welfare of the People 《齐民要术》

fine dried noodles 挂面

pig and sheep raw noodles 猪羊庵生面

vegetable raw noodles 素面

five spicy noodles 五香面

eight treasures noodles 八珍面

longevity noodles 长寿面

noodles with gravy 打卤面

dragon whiskers noodles 龙须面

dutiful son’s noodle 孝子面

dandan noodles 担担面

minced noodles/ ashamed son noodles 臊子面

sister-in-law noodles 嫂子面

vinegar-pepper old friend noodles 老友面

Crossing-the-Bridge noodles 过桥米线

rice noodles 米线

hand-pulled noodles 拉面

shaved noodles 刀削面

Beijing fried bean sauce noodles 北京炸酱面

noodles mixed with scallion, oil, and soy sauce 葱油拌面

noodles with quick-fried eel shreds and shelled shrimps 虾爆鳝面

Shanghai noodles in superior soup 上海阳春面

Nanjing small boiled noodles 南京小煮面

Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) 杭州片儿川面

Wenzhou vegetable raw noodles 温州素面

Zhenjiang pot noodles 镇江锅盖面

Shandong Fushan hand-pulled noodles 山东福山拉面

Suzhou Su style soup noodles 苏州苏式汤面

Fuzhou line noodles 福州线面

Anhui flat noodles 安徽板面

Guangzhou wonton noodles 广州馄饨面

Wuhan hot noodles with sesame paste 武汉热干面

Shanxi shaved noodles 山西刀削面

noodles with braised string bean 豆角焖面

Hebei dragon whiskers noodles (saute fine noodles with shredded chicken) 河北龙须面

sesame paste noodles 麻酱面

Neimenggu braised noodles with string bean 内蒙古焖面

Xinjiang pulled noodles 新疆拉条子

Shanxi oil-splashing noodles 陕西油泼面

serofluid noodles 浆水面

Henan stewed noodles 河南烩面

Guizhou noodles with pig’s blood and internal organs 贵州肠旺面

Sichuan dandan noodles 四川担担面

bean curd pudding noodles 豆花面

zhazha noodles with chili oil hot pepper and pork-bone soup 渣渣面

bedding noodles 铺盖面

Jilin cold noodles 吉林冷面

Hong Kong strained noodles 捞面

rickshaw noodles 车仔面

shrimp roe noodles 虾子面

southern Taiwanese-style noodles 担仔面

clam noodles 花蛤仔面

References

• Zhang Na,Ma Guansheng 张娜，马冠生.(2016).Journal of Ethnic Foods.

• Zhao Guanghui 赵光辉(2015).“被饥饿催生”的方便面的故事 [The story of instant noodles created by hunger].中国农资J China Agric,(28),24.

• National Health and Family Planning Commission Disease Prevention and Control Bureau 国家卫生健康委员会.(2015).《中国居民营养与慢性病状况报告(2015年)》Report on the Status of Nutrition and Chronic Diseases of Chinese Residents.

Questions

1.Which country is considered to be the inventor of noodles?

2.The first concrete written records of noodles can be dated back to which dynasty?

3.What are the representative noodles in the Gansu Province?

4.What is the basic raw material for making noodles?

Answers

1.China.

2.Eastern Han Dynasty.

3.Lanzhou hand-pulled noodles.

4.Flour.

英语笔译 何丽娜 He Lina 202170081569

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

Introduction

The Archaeological Ruins of Liangzhu City(良渚古城遗址)(ca. 3300-2300 BC),is located in the middle and lower reaches of the Yangtze River in China, and belongs to the late Neolithic archaeological culture. According to archaeological findings, the Liangzhu site is characterized by its exquisite jade, stone and black pottery craftsmanship which embody its social etiquette system, early urban planning and large-scale engineering construction as well as its social organization system, and the world's earliest large-scale plowed rice farming and early specialization of handicraft industry. (Zhou Yin,Wu Jin,2004:2) In addition, as a representative site of large prehistoric settlements in East Asia in the history of human civilization, the Liangzhu Site in China was approved for inclusion in the World Heritage List on July 6, 2019. This article will make a brief introduction and the summary in some aspects from geography, archaeological discovery, heritage elements of the Liangzhu ancient city ruins, the value of the heritage and the protection and inheritance of Liangzhu cultural sites, to further explore the extensive and profound influence of Liangzhu culture on Chinese civilization.

Geographical Position

Liangzhu Culture is located in the middle and lower reaches of the Yangtze River around Taihu Lake （太湖）which are in the southeast of China, and its distribution area is very broad. Its central settlements are clustered in Liangzhu Site, Liangzhu town（良渚镇） and Pingyao Town（瓶窑镇）, Yuhang District（余杭区）, Hangzhou city（杭州市）, Zhejiang Province（浙江省）. Its geographical coordinates are 119°56 '40 "~120°03' 228" EAST longitude, 30°22 '36 "~30°26' 17" north latitude, with a subtropical monsoon climate.(Liangzhu Archaaeological Site)

In terms of topography, Hangzhou is located in the junction zone between low hills which are stretching branches of Tianmu Mountain(天目山) and Hangzhou-Jiaxing-Huzhou Plain(杭嘉湖平原), the biggest accumulation plain in Zhejiang Province. And the whole plain is covered with river channels ,which is very suitable for rice cultivation and has convenient water conservancy and transportation.

The site distribution area is just situated in the northwest of Hangzhou, enjoying the advantages of its natural geographical location. It is located in the alluvial plain in the transition zone between hills and plains, surrounded by mountains in the west, north and south, with some isolated hills scattered inside.

Archaeological Findings

In 1935, He Tianxing(何天行), a native of Hangzhou, made an investigation in the area where Liangzhu Site is seated and discovered a black pottery plate inscribed with ceramic inscriptions. Later, more than 100 cultural relics were discovered successively, and he wrote one of the earliest archaeological reports in China: Stone Tools and Black Pottery in Liangzhu Town, Hangzhou County. His discovery was the prelude to the archaeological culture of Liangzhu Culture. On this basis, after a year of arduous investigation, Shi Xingeng（施昕更） from The West Lake Museum in Zhejiang Province carried out several archaeological excavations near Liangzhu Town in 1936, and collected a number of prehistoric remains characterized by black pottery. In 1938, he published the book: Liangzhu: Preliminary Report on the Site of Black Pottery in the Second District of Hangzhou County. Their discovery caused a stir in Chinese academic circles, which greatly promoted the study of Yangtze Civilization and the development of fledgling Chinese archaeology. In 1959, Xia Nai(夏鼐), a researcher of the Institute of Archaeology, Chinese Academy of Social Sciences, officially named these findings Liangzhu Culture. (Zhou Yin,Wu Jin,2004:11-14)

After that, until the 1980s, a large number of sites were successively discovered in the Taihu Basin（太湖流域） around the middle and lower reaches of the Yangtze River. However, these sites were very scattered, and archaeologists' understanding of these sites was still in the initial stage on which the archaeologists only focused on single sites and failed to form an overall understanding.

From 1986 to 2006, with the excavations of Fanshan Royal Tomb (反山王陵)(1986) and Yaoshan Tomb（瑶山墓葬） (1987), many exquisite jade articles representing high status were unearthed, which made a major breakthrough in archaeology of Liangzhu site and gradually formed the concept of "Liangzhu Site Group". In 2007, the ruins of the ancient city were discovered. Later, the outer city of Liangzhu ancient City was preliminarily confirmed in 2010. After 5 years, Zhejiang Provincial Institute of Cultural Relics and Archaeology discovered and confirmed a large water conservancy system outside the ancient city. (Wang Ningyuan 2016:106)

With the efforts of the archaeological staff over the years, the ancient city of Liangzhu has been clearly shown to the world bit by bit, and the value of Liangzhu culture in the academic world has also been rising, exerting a world-class influence.

References

Zhou Yin,Wu Jin周膺、吴晶(2004).中国5000年文明第一证：良渚文化与良渚古国[The First Evidence of The 5000-Year Civilization of China: Liangzhu Culture and Early State of Liangzhu].Hangzhou: Zhejiang University Press浙江大学出版社. 良渚遗址官网[Liangzhu Archaeologial site].https://www.lzsite.cn/classinfo.aspx?classid=1

英语笔译 胡良明 Hu Liangming 202170081570

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

Abstract

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

Key words

Chu Ci, Xu Yuanchong, Three Beauties Principle

References

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

英语笔译 黄琼 Huang Qiong 202170081571

Bamboo Weaving in Yiyang Hunan Huang Qiong

Abstract

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

Key words

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

The History of Bamboo weaving

Bamboo is always an important part of Chinese culture, and literati have often used it as imagery to express their high-minded sentiments. Bai Juyi said in the Annals of Bamboo Cultivation: “The root of bamboo is firm, which is to establish the nature of bamboo. When a gentleman sees this nature of bamboo, he thinks of being upright and selfless, and not to be attached to the influential. When a gentleman sees the heart of bamboo, he thinks of accepting all useful things with an open mind. When a gentleman sees its knot, he thinks of refining his character and being consistent, no matter when things are going well or when he encounters danger.”(竹性直，直以立身；君子见其性，则思中立不倚者。竹心空，空以体道；君子见其心，则思应虚受者。竹节贞，贞以立志；君子见其节，则思砥砺名行，夷险一致者。) In China, bamboo is both upright and steadfast in character, and also has a verdant and attractive posture, and has been loved by the literati since ancient times, along with plum blossoms and pine trees are known as the “Three Friends of Winter”(岁寒三友) In addition to bamboo as cultural imagery, bamboo itself has great value, among which the art of bamboo weaving in China is also popular, and Hunan Yiyang is also a city with the cultural heritage of bamboo art.

Bamboo weaving art reflects the wisdom and value of the working people. With the development over hundreds of years, the craft is more and more advanced, not only embodies the essence of Chinese traditional handicraft but is also an important carrier of Hunan culture. In ancient times, restricted by economic conditions and transportation, ancient people could only use local materials to make tools needed for daily life. The origin of bamboo weaving can be traced back to the Neolithic Age. During the Gaomiao culture of Hunan province, which dates back to more than 7,000 years ago, a bamboo mat was placed under the skeleton of a female body. There is no visual difference between this bamboo mat and today's bamboo mat products, but it has been charred (Jiang Xiangdong2019,146) More than 6,000 years ago, traces of bamboo weaving were found on cultural relics unearthed from the Tujiatai site in Nanxian county （a county in Yiyang）during the Daxi Culture period. The Daxi culture dates from about 4400 to 3300 BC. The discovery of Daxi culture reveals a regional cultural heritage in the middle reaches of the Yangtze River, which is dominated by red pottery and contains colored pottery. Bamboo handles for spears were unearthed from the tomb sites of the Warring States Period. Yiyang bamboo weaving became a trade in the Ming Dynasty and was exported in the Qing Dynasty. The Yiyang Museum also displays bamboo products from the Qing Dynasty, including bird cages, baskets, and so on. In the old days, farmers used to make baskets of bamboo to carry things, make hats to hide from the sun and wind and rain, make backpacks to carry farming things, and bamboo fans made of bamboo became a tool for farmers to avoid the summer heat and keep cool. In summer, after a hard day’s work, farmers lie on top of the deck chair made of bamboo, shaking the fan, chasing away mosquitoes, listening to the cicadas, looking at the moon overhead, and chatting with neighbors. These show that Yiyang bamboo weaving has a long history.

References

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

英语笔译 邝雨琪 Kuang Yuqi 202170081572

Chinese Mooncake Culture Kuang Yuqi

Introduction

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

I

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 李思源 Li Siyuan 202170081575

Chinese Lantern Culture Li Siyuan

Introduction

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

The origin of Chinese Lantern civilization and typical kinds

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

Some common cultural implications of Chinese lantern

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

The symbolic significance of lanterns in film and television works

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

References

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

Terms and expressions

Calligraphy lanterns书法灯笼 Paper-cut lanterns 剪纸灯笼 Lantern Festival 元宵节 Spring Festival 春节 carrier 载体 auspiciousness 吉祥 reunion 团圆 bumper harvest 五谷丰登 Zhao Jun Out of the Frontier 昭君出塞 the fifteenth day of the first month of lunar year 正月十五 The Legend of Zhen Huan 甄嬛传

Questions

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

Answers

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

英语笔译 李婷 Li Ting 202170081576

Language Culture in Chinese Cuisine Names 李婷 Li Ting

Introduction

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

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

英语笔译 李梓婕 Li Zijie 202170081580

Confucius Institutes Li Zijie

Introduction

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

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 刘双英 Liu Shuangying 202170081585

The Transmission of Chinese Folk Art

Introduction

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

英语笔译 刘婷 Liu Ting 202170081586

Translation and Dissemination of Chinese Contemporary Science Fiction Liu Ting

Abstract

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

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)

英语笔译 刘瑶 Liu Yao 202170081587

Dissemination of Chinese Contemporary Literature 刘瑶 Liu Yao

Key words

Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

Dissemination of Contemporary Chinese Literature in English-speaking Countries

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

Dissemination of Representative Chinese Contemporary Literary Works

Spreading Chinese culture in teaching Chinese as a second language

英语笔译 刘珍 Liu Zhen 202170081588

Chinese Guqin Liu Zhen

Introduction

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

Origin

According to legend, the qin, the most revered of all Chinese musical instruments, has a history of about 5,000 years. The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation. Nearly almost all qin books and tablature collections published prior to the twentieth century give this story as the factual origin of the qin. The qin is mentioned in Chinese writings dating back nearly 3,000 years, and related instruments have been found in tombs from about 2,500 years ago. The exact origin of the qin is still a subject of historical debate.

Development History

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

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

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

Construction and Strings

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

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

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

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

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

Subtitle 1

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

References

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

英语笔译 龙翰良 Long Hanliang 202170081589

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

Abstract

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

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

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

Key words

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

Introduction

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

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

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

Overall Design

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

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

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

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

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

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

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

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

Some students use Chinese as a condition for applying for a career, while others use the target language as a career tool.(Le Shouhong 2019, 33)

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

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

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

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

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

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

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

Test Assessment

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

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

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

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

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

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

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

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

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

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

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

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

Means and methods

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Textbook Compilation

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

Classroom Teaching

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Training of TCSL Teachers

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

Conclusion

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

References

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

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

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

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

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

Terms and expressions

Classroom teaching 课堂教学

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

Questions

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

Answers

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

英语笔译 罗姚林 Luo Yaolin 202170081590

Different Local Dialects in China 罗姚林 Luo Yaolin

Introduction

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

英语笔译 马艳焕 Ma Yanhuan 202170081591

An overview on the study of Chinese folk stories 马艳焕

Abstract

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

Subtitle 1

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

References

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

英语笔译 聂薇 Nie Wei 202170081592

Cultural Factors Behind the Spring Festival Travel Rush in China 聂薇

Introduction

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

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

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

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

The evolution of the Spring Festival travel rush

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

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

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

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

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

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

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

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

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

Cultural factors behind the Spring Festival travel rush in China

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

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

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

Way of relieving pressure from the rush

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

The prevalence of the Anti-Spring Festival travel rush

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

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

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

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

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

Conclusion

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

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

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

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

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

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

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

Terms and expressions

Spring Festival travel rush：春运 epic population migration：史诗般的人口迁徙 Confucian culture：儒家文化 ceremonial culture：仪式文化 institutional culture：制度文化 farming culture：农耕文化 patriarchal clan system：宗法制度 clan gathering：家族聚居 displaced people：流民 the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想 affectionate elders and dutiful juniors：父慈子孝 agriculture is valued while commerce is restrained：重农抑商 fishing, woodcutting, farming and learning：渔樵耕读 The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌） The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂” worshiping ancestors：祭祖 paying a New Year call：拜年 putting up spring scrolls：贴春联 the system of urban-rural regional segregation：城乡区域隔离制度 the household registration system：户籍制度 the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化” the concept of family-and-nation：家国观念 Spring and Autumn Period：《春秋繁露》 the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲 Earthbound China：《乡土中国》 the Double Ninth Festival：重阳节 statutory long holidays：法定节日长假 elderly drifters：老年漂族 thinking of one's relatives every time the festival comes around：每逢佳节倍思亲

References

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

Questions

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

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

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

Answers

1.40days

2.Tourists

3.Confucian culture

英语笔译 孙丽君 Sun Lijun 202170081593

Chuanjing Work Songs Sun Lijun

Introduction

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

The History of Chuanjiang Work Songs

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

References

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

英语笔译 仝雨梦 Tong Yumeng 202170081594

The Influence of Chinese Traditional Philosophy in Contemporary Times 仝雨梦

Introduction

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

英语笔译 童略雅 Tong Lueya 202170081595

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

Abstract

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

Key words

Artificial intelligence; translator; influence; machine translation

Subtitle 1

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

References

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

英语笔译 庹树梅 Tuo Shumei 202170081596

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

Abstract

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

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 王亚娟 Wang Yajuan 202170081598

Filial Piety in China Wang Yajuan

Introduction

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

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.

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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

Abstract

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

References

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

英语笔译 谢晓莹 Xie Xiaoying 202170081601

The Acrobatic Fighting in Peking Opera Xie Xiaoying

英语笔译 杨紫微 Yang Ziwei 202170081605

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

Abstract

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

Key words

Xu Yuanchong; “San Hua” ; Tang poetry

Introduction

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

Literature Review

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

Methods and Theories

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

Subtitle 1

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

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry. The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

Subtitle 2

Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

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

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

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

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。 But white snow dislikes the late coming vernal breeze, It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。 Though fragrant spring may pass away, Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life. In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。 It’s difficult for us to meet and hard to part； The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization. Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation. In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

Subtitle 3

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

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

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

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

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

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

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

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

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

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

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

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua” 清明 （唐）杜牧 清明时节雨纷纷， 路上行人欲断魂。 借问酒家何处有， 牧童遥指杏花村。

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

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc. Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

Subtitle 4

The Influence of Xu's Translation Theories As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc. Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

Conclusion

Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations. Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

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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.

The Electronic Language in the New Media Era

1.1. The Emergence of Electronic Language in the New Media Era

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

1.2. The Definition of the Electronic Language

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

1.3. The Characteristics of Electronic Language in the New Media Era

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

References

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

英语笔译 张瑞 Zhang Rui 202170081608

An analysis of honorifics between Chinese and English 张瑞 Zhang Rui

Abstract

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

Key words

Honorific; personal pronouns; Comparison

英语笔译 赵宇翔 Zhao Yuxiang 202170081609

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

Introduction

Introduction On Mogao Grottoes Introduction On Dunhuang Frescoes

The origin of Dunhuang civilization

The Origin of Mogao Grottoes The Origin of Dunhuang Frescoes

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

Yu Jian Fei Tian (Meet A Flying Apsaras)

Yu Jian Shen Lu (Meet A Fairy Deer)

Yu Jian Hu Xuan (Meet A Huxuan Dancer)

英语笔译 郑冬琴 Zheng Dongqin 202170081610

A Study on the Influence of Sino-German Cultural Differences on International Business Negotiation and Its Countermeasures Zheng Dongqin

Abstract

In 1972, China and Germany formally established diplomatic relations. Since then, trade exchanges between the two countries have become more frequent and the diplomatic relation has become closer. With the continuous improvement of China's opening up to the outside world, a large number of economic and trade exchanges have been carried out between China and Germany. In recent years, through the efforts of both governments, Germany has gradually become one of China's most important trading partners. However, "ten miles of different wind, a hundred miles of different customs". First of all, international business negotiation belongs to the field of economic activity, and also, it is a cross-cultural communication activity involving various cultural factors. Cultural differences between countries are often one of the most prominent obstacles in international business negotiations. In this thesis, the author studies and analyzes the impact of cultural differences on Sino-German international business negotiations from the following aspects: values, communication style, verbal and non-verbal behavior, dietary habits, corporate culture and fulfillment of contract. In view of the objective facts of the cultural diversity of the world, this thesis mainly discusses the cultural differences between China and Germany by means of illustration and comparative analysis, and then puts forward some useful countermeasures in order to provide some reference for negotiators to overcome some unnecessary barriers to negotiation.

Key Words

China; Germany; cultural differences; international business negotiation; influence; countermeasures

Introduction

In the era of highly developed economic globalization, the economic policies, political attitudes and cultural factors are playing an increasingly important role in international affairs and daily exchanges between different countries and regions. And among these main factors, culture is often a factor that cannot be underestimated. Because the success or failure of intercultural communication is determined by culture to a large extent. Fortunately, nowadays, we have a more open and inclusive world. Although there are some obvious or subtle distinction among different cultures, we are still able to carry out some effective international communication activities. In October 1972, Germany and China formally established diplomatic relations. Since then, the exchanges between the two countries have been generally smooth in all aspects. For example, the leaders of China and Germany met at the UN General Assembly. In addition, the two countries frequently conducted high-level state visits and carried out various economic consultations. Especially since China's accession to the World Trade Organization, the trade exchanges between Germany and China has developed rapidly. Furthermore, in 2013, the Chinese government proposed "the Belt and Road" Initiative. With the development and promotion of this initiative, extensive cooperation and exchanges have been carried out between China and many other countries. In this case, China's foreign trade has reached a new level. Moreover, the China-Europe Railway Express has also greatly promoted the economic exchanges between Germany and China. Besides, in the last few years, the United States has launched a trade war against China, which has dramatically reduced the volume of trade transactions between China and the United States. To a certain extent, it has also created more opportunities for Sino-German trade transactions. As an important trading partner of China, Germany often needs to conduct business negotiations with China. However, it is not easy to successfully reach the negotiation goal due to the complexity of international negotiations. They involves foreign policies, economic strategies and cultural differences. As we all know, the special negotiations with different modes of thinking and behaviors are more challenging than general negotiations. Whether we can correctly understand and deal with the cultural differences between China and Germany is crucial to the success of the negotiations. So negotiators need to master some useful business negotiation skills. They also should try to cultivate their keen awareness of cross-cultural communication. Only when they pay attention to the commonalities and differences between different cultures can they understand others better and communicate more effectively in cross-cultural activities, so as to promote the success of international business negotiations.

Definition of Culture and Intercultural Communication

1.1 The Definition of Culture

Regarding the definition of culture, different scholars hold different views. If we consider it in a narrow sense, culture refers to the behaviors, habits, traditions or beliefs peculiar to a particular region or organization. However, if we regard it as a broad concept, culture is considered to be the way of life of a country or a nation. It includes customs, religious belief, political system, science and technology, language and other elements. Culture is usually considered to be a broad concept in international business negotiations. Generally speaking, it refers to the modes of thinking and behaviors and the values of a country or a nation, which affects people’s social style to a great extent. It also embodies the characteristics of a particular social group. Due to the specific history and tradition, different countries or regions have developed their own cultural characteristics and cultural models. Due to the differences in traditional habits, value system and social styles, we can find that there are some trade frictions in Sino-German business negotiations.

1.2 The Definition of Intercultural Communication

"Communication between native speakers and non-native speakers, or between any people who are different in terms of language and cultural background, is called cross-cultural communication."(Zhuang Enping, 2004:8)In essence, it refers to the direct verbal communication between two parties. What it studies includes the differences in value orientation, way of thinking, language norms, customs and habits and so on, and it involves not only in-depth theoretical analysis, but also practical application. And only in this way can it better serve the intercultural communication activities.

Concept and Characteristics of International Business Negotiation

2.1 Concept of International Business Negotiation

"International business negotiation is a process of consultation. It involves two or more negotiators who are from different countries and represent different interests. They are meant to conclude a transaction with each other."(Salacuse.J.W, 1991:40) As we all know, there are inevitable conflicts of economic interests in negotiation. If negotiators are unable to reduce trade frictions and settle disputes, it will be very difficult for them to conclude a transaction in the end. In essence, international business negotiation belongs to a kind of cross-cultural communication activity. Therefore, culture plays an important role in international business negotiations. In a word, in foreign trade activities, we need to recognize the close relationship between culture and international business negotiation.

2.2 Characteristics of International Business Negotiation

2.2.1 Being Closely Related to National Policies

Essentially, international business negotiation is an international communication activity, which is closely related to national policies. Generally speaking, international business negotiation involves at least two countries or nations. Different countries or nations have different national policies. For example, a product is allowed to be sold in one country, but it may be explicitly prohibited in another country. From this we can see that national policies vary among many countries and affect economic activities to a large extent. Therefore, in international business negotiations, negotiators are supported to be very familiar with their own country's national policies. At the same time, they also need to have a basic understanding of the national policies of other countries and abide by a series of laws and rules governing foreign trade and economic relations, which can greatly help reduce unnecessary trade frictions.

2.2.2 Being Much More Complex

Negotiators who come from different countries and regions have different cultural backgrounds, values, ways of thinking, ways of behavior, languages and personal habits. Therefore, in the face of an unfamiliar cultural environment, it is inevitable that there will be some communication barriers and different opinions between negotiators, which will easily produce conflicts of interest and unpleasant phenomena in the negotiation process. At last, it will make the negotiation environment more complex. So it will be more difficult for both parties to come to an agreement.

2.2.3 Being both Conflicting and Cooperative

International business negotiation is a process of conflict and cooperation. If the interests of both sides are exactly the same, there is no need to negotiate. So it is normal that there are conflicts of opinions and interests between the two parties. International business negotiation, in fact, is a process of reducing differences through consultation so that the interests and objectives of both parties tend to converge and finally reach an agreement. If disputes escalate and differences widen, it is easy to lead to the breakdown of the negotiations. Therefore, it is very important for both parties to seek common ground while reserving differences in order to gain mutual benefits.

The Embodiment and Causes of the Cultural Differences between China and Germany

3.1 Difference in Values

"In the process of international business activities, time is an important concept worthy of our attention. However, people's view of time varies greatly since there are cultural differences between different nations."(Wang Tianwen,Wang Shimin, 2008:39) Germans are strictly punctual, doing only one thing at a time. The plans they made were highly binding. Even if things do not end within a specified period of time, they must stop without affecting the next arrangement or keeping the next person waiting. What's more, they think being punctual is a kind of basic courtesy as well as a sense of responsibility. If someone don't be punctual, it not only wastes the time of both parties, but also is a lack of honesty of someone. On the contrary, Chinese people tend to do many things at the same time or many people do the same thing together. They emphasize multiple participation and better completion of tasks. In most cases, people get along very well. Generally speaking, Chinese people have a more flexible schedule or plan, which does not emphasize that everything should be in accordance with a fixed schedule or a strict plan. Chinese people don't like to make appointments because they think plans can be changed depending on specific circumstances. Instead, they prefer to visit at any time. In most cases, even if an appointment is made in advance, the visitor may not come.

Due to the totally different modes of thinking between Chinese and Germans, people tend to have opposing or misunderstanding views on things. “The individualism＆collectivism dimension describes the extent to which the society is organized around individuals or the group.”(Xue Qi, 2006:6)The ideological core of Chinese culture is collectivism. The Chinese believe that everyone is not a separate individual, but an individual living in a social group. No matter what they do, they should follow the principle of collectivism, stick to the collective wisdom and give full consideration to the collective common interests. Otherwise, people will not be able to live in society and community, and may even be abandoned by society and group. In conclusion, it is obvious that Chinese people are more talkative and are fond of participating in various social activities. They often get together with relatives and friends, and attach great importance to the harmony of the group. In German culture, the basic unit of society is not the collective but the individual, and people attach great importance to the existence and achievement of the individual. German culture also does not emphasize the maintenance of collective harmony and consensus of opinion. They tend to pay more attention to the expression of their personal opinions when considering problems, and will not easily make concessions even when they disagree with others. Moreover, Germans, who are deeply influenced by individualism, prefer to be quiet and alone, enjoying a good time by themselves. They think that frequent socializing is a waste of time.

3.2 Difference in Communication Style

"In order to better explain and show the diversity of world culture, the American anthropologist Edward T. Hall proposed the concept of high and low context culture."(Fan Lei,Fan Weiwei, 2001:148) As we all know, China and Germany are classified as two totally different contextual cultures. China is known as a high-context country. Chinese people attach great importance to the role of context in interpersonal communication. They often express their thoughts and feelings in a very implicit and euphemistic way. This makes it difficult for others to quickly understand what the speaker is really trying to express. While Germany is a typical low-context country, people usually express their views and true feelings directly and clearly. And they seldom say some nonsense or crack a joke that is irrelevant to the topic. This inevitably gives the impression that Germans are serious and difficult to approach. Therefore, different contextual cultures influence communication styles to a great extent.

In addition, the Chinese and Germans have completely different attitudes to the concept of face, which largely affects their communication styles. As is known to all, Chinese people prefer to attach great importance to their so-called honor and reputation. In interpersonal communication, they will feel very embarrassed and disgusted if others directly say something negative or rejecting. Because in their opinion, it is a kind of inconsiderate and damaging behavior of others' reputation. In Germany, people don't care much about so-called face. They do not express their thoughts and opinions in a roundabout way. Hence, sometimes it is easy to offend others unintentionally.

3.3 Difference in Verbal and Non-verbal Behavior

German, as a typical Germanic language, of course belongs to the Indo-European language family. Each language has its own characteristics. And accuracy is one of the labels of German. German has many prescribed sentence structures and grammatical rules, which are naturally reflected in its expression patterns. Germans often use words such as "have to" and "must", which tends to give people the impression of being rigid and arrogant. In fact, it is a manifestation of German conscientiousness and preciseness. There are also many words in German that require foreigners to understand their usage environment and idioms in detail so as to accurately understand the real intention of the other party. However, Chinese belongs to the Sino-Tibetan language family, which has rich and profound connotations and flexible and diverse sentence patterns. “Chinese people tend to speak in a euphemistic way, which usually gives people the impression of humility.”(Tong Fang, 2006:58) When expressing opinions, Chinese people are fond of adopting the mode of induction, explaining the reasons first and then drawing a conclusion. The Germans, on the other hand, prefer the deductive method, which states the conclusion first and then puts forward the reasons.

We also need to pay attention to nonverbal behavior because it is a critical part in intercultural communication. It consists of various gestures, body movements, eye contact and so on. The meanings of these behaviors may be quite different in different cultures. Therefore, negotiators should have a good command of different non-verbal signals of their own nations and other nations. Otherwise, it would be easy for them to misunderstand these signals, and then they may not be aware of the mistakes. In Germany, for example, silence signifies approval. While in China, the embodiment of politeness and respect to others is given priority. Therefore, people do not express their disagreement or dissatisfaction directly. If someone remains silent for a long time, he may disagree with something. In addition, Chinese people also like to use eyes and expressions to show their attitudes. So it is also important to learn to observe the changes of Chinese people’s expression.

3.4 Difference in Dietary Habit

Speaking of the dietary habit, we know that people from different countries and regions have different dietary habits. To be specific, Chinese people prefer to eat rice and drink tea while Germans prefer bread, noodles and coffee. In addition, Chinese people adopt the dinner party system.They believe that eating is not just to replenish the body's energy needs. What is more important is to meet people's spiritual and emotional needs through dinner. Eating in groups and chatting together can strengthen relationships with friends and family. In Germany, people prefer separate meals. Even though many people sit at the same table, everyone eats their own food and there is little interaction. In addition, by the way, the wine culture of China and Germany are distinctly different. Chinese people have the habit of toasting and encouraging people to drink in order to show the host's hospitality. If the guests enjoy drinking the wine provided by the host, the host will be wonderfully happy. In Germany, there is no such habit. Germans are used to drinking beer, usually alone, in a do-it-yourself way.

3.5 Difference in Corporate Culture

The outstanding characteristic of German enterprise culture is to pay attention to the cultivation of ability and solve the actual problems. Each employee is given sufficient space to think freely. It can greatly improve the quality and problem-solving ability of the participants. Another very important task of German corporate training is to let employees identify with the values of the company. As is known to all, German enterprises always put product quality in the first place. They believe that there are no both good and cheap products, only good or bad ones. Most German products are famous for their quality and become world-famous brands. However, Compared with the German enterprise culture, China's enterprise culture pays much more attention to the form of corporate culture. In this way, it naturally ignore the true connotation of corporate culture. Influenced by traditional culture, Chinese enterprises attach great importance to the paramount power of leaders and the harmonious relationship between teams.

3.6 Difference in Fulfillment of Contract

"In 1980, Hofstede put forward a four-dimensional model of national culture in The Effect of Culture. After the four dimensions, he put forward the fifth dimension, which is called the long-term orientation and short-term orientation."(Geert Hofstede, 1984:82)Specifically, long-term orientation is a type of behavior that fosters and encourages the pursuit of future returns. China is a long-term oriented country. Managers of Chinese enterprises pay attention to the development prospects and future profitability of the enterprise. And they are willing to make great efforts for achieving long-term goals. However Germany is a short-term oriented country. Germans are more concerned with the current profits of companies. When the adverse factors in economic activities increase, they will hold the attitude of uncertainty avoidance. In a word, as for international business negotiation, Chinese and German negotiators have very different views on the fulfillment of contract.

The Impact of Cultural Differences between China and Germany on Negotiation

4.1 Impact on Communication

First of all, in terms of verbal communication, due to the existing different cultural traditions of different countries, Chinese people are very roundabout. But Germans are straightforward. In the eyes of Germans, however, euphemism is not sincerity but pretence. “Chinese people always need to think again and again when they make decisions. To the Germans, this is a sign of indecision. Germans often bristle at such behaviour.”(Lin Zhengqi, 2016:40)Sometimes, the two sides of a negotiation have very different understandings of the same thing. For example, "dragon" is a mascot in all ages in China. It mainly stands for happiness and good luck. In Germany, however, it is an evil monster and is generally believed to bring misfortune to people.

When it comes to non-verbal communication, what i want to mention is body language. Different body languages deliver different messages. Sometimes, in different situations, even the same body language can convey completely different meanings. For example, Chinese people are used to nodding their heads repeatedly in conversation. People nodding their heads in different situations conveys different messages, such as encouragement, hesitation and agreement. Germans, on the other hand, often regard a nod as simply agreement. Therefore, in the process of international business negotiations, negotiators are easy to misunderstand the body language, which reduces the possibility of successful negotiations to a large extent.

4.2 Impact on Negotiation Mode

The mode of thinking of Chinese is totally different from that of Germans. The way of thinking of Chinese is subjective. They often attach great importance to the humanities and interpersonal relationship, which makes Chinese people be in the hope of making friends with foreigners before negotiations. They think that many problems are easier to solve if they have a close relationship with others. While Germans are objective in their thinking. They attach more importance to issues rather than relationship. Besides, they devote themselves to dealing with problems in a rational and efficient way. As a result, they don't want to take the time to build relationships before doing business. In the business negotiation, there will be some misunderstanding between the two countries. For example, Germans may make a bad impression on Chinese. In this way, Chinese would think that the Germans are so indifferent and serious that it is difficult to contact with them. While on the other hand, Germans may hold the idea that Chinese people are fond of cottoning up with others. As a result, both sides will think the other is insincere. Thus, there is little possibility of continuing negotiations.

4.3 Impact on Decision-making

Chinese and Germans have different values orientation, which will certainly affect the negotiators' behavior. Generally speaking, Chinese attach great importance to building an excellent negotiating group. And they have a strong sense of hierarchy and collectivism. Each person in the group is responsible for specific task, and there must be irreplaceable chief leader. In contrast, Germans emphasize individuality. Members of the group respect each other's views. In short, they are more inclined to show the independent personality of each individual. In international business negotiations, if cultural difference is not realized, it may well be impossible to carry on the negotiation successfully at the very beginning.

4.4 Impact on the Signing of the Contract

Influenced by the traditional Chinese culture, Chinese people are more inclined to pay much more attention to the feelings of others. And in their opinion, it is very important to build harmonious interpersonal relationships. Even in the process of international business negotiations, in order to maintain the good economic partnership that has been established, the Chinese sometimes take the initiative to make compromises and concessions to the terms of the contract. In the choice between emotion and law, they often choose the heartwarming emotion rather than the severe law. For them, rigid laws tend to damage the relationship between people, so it is worth doing a little harm to their own interests to maintain a harmonious relationship. However, for the Germans, the choice of emotion and law is just the opposite of the Chinese. They believe that rules and laws are the basis for settling the matter, so they often write almost all the details into the contract explicitly. “In case of breach of contract, compensation or return of goods must be made in strict accordance with the contract. ”(Chen Zhaoyang,Chen Jingliang, 2007:2)It is precisely because of the two different attitudes that there is a potential risk that the negotiation will break down during the signing of the contract.

Countermeasures to Reduce the Impact of Sino-German Cultural Differences on Negotiation

5.1 Recognizing the Existence of Cultural Differences

As we all know, the existence of cultural differences cannot be changed. So it is very important to overcome the cultural differences and reduce the conflicts in negotiations. There is no doubt that the recognition of the cultural diversity of the world is the premise of a correct understanding of cultural differences. "First of all, we should have a sense of identity with our own national culture. At the same time, it is necessary to respect the culture of other nations."(Dou Weilin, 2014:24) In international business negotiations, the excellent negotiators are supported to recognize and respect cultural differences in the first place. And then, they should try their best to adapt to it. Furthermore, it is essential that negotiators have a tolerant attitude towards cultural differences. Of course, striving for "common ground while reserving differences" is not the same as fully absorbing other cultures. One should hold a moderate view of foreign culture rather than totally tolerate or ignore it. Therefore, it is very important to respect the etiquette, customs and taboos of various countries and nationalities for a successful negotiation.

5.2 Making Adequate Preparations before the Negotiation

As the saying goes, "Opportunity favors the minds that are prepared". If the negotiators want to be in the active position in the negotiation, they must make full preparations in advance. Only in this way, the negotiators can deal with the various adverse situations that may appear in the negotiation process, and finally achieve the success of the negotiation.To be brief, the preparation for the negotiation includes the background of the negotiation, the purpose of the negotiation, the differences that may be encountered during the negotiation, the agenda, alternative plans and concession strategies and so on. The negotiation background includes negotiation place, negotiation time, negotiation expectation, scene layout, the number of participants and so on. Compared with the monoculture, the preparation of international business negotiation is more complicated because of the intercultural factor. As a result, different countries have different views on these issues. Before the negotiation, the negotiators should have a comprehensive understanding of the partners' expectations, customs, negotiation means and so on. For example, the Chinese and the Germans have very different notions of time. For the Germans, time is money, and they are very efficient when negotiating. In China, by contrast, the Chinese like to cement a partnership through brief chats before the negotiations begin.In a word, sufficient preparations before a negotiation can greatly improve the possibility of a successful negotiation.

5.3 Respecting Each Other's Customs

Custom is a very important concept. It is passed down over a long period of time. It has the characteristics of relative stability, variability and spontaneity. And custom is also the external embodiment of the lifestyle and values of a particular group of people. It includes modes of production, ways of life, manners and beliefs. Compared with the external elements of culture, such as language, body language and behavior, customs are more subtle and complex. If we are not careful enough, we may offend others unintentionally.Therefore, before international business negotiations, negotiators should have a full understanding of the customs of each other in order to avoid accidentally offending others. In the process of negotiation, it is especially important to respect the customs of each other. It can create a more harmonious atmosphere for negotiators to achieve the success of negotiations.

5.4 Eliminating Conflict through Effective Communication

In the cross-cultural negotiations, the two sides from different cultural modes often have communication barriers due to cultural differences. Negotiators must master the necessary cross-cultural negotiation skills to overcome the communication barriers in cross-cultural negotiation.Generally speaking, in international business negotiations, the following communication barriers are the most common. The first obstacle may be caused by the misunderstanding of speech expression, translation error, and even the meaning of a word or phrase. For example, Chinese people think red represents good luck, happiness and enthusiasm. In Germany, red is associated with evil, radicalism and brutality. The second obstacle is caused by different ways of expression. It is affected by negotiators' professional habits, professional knowledge and understanding ability. For example, most Chinese people speak tactfully, and they usually don't express their true intentions. In this case, negotiators need to communicate effectively to avoid some unnecessary conflicts. The third obstacle is caused by the psychological factors of the negotiators. It includes attitudes, biases, and negotiation experience.In short, in the negotiation, especially in the cross-cultural negotiation, negotiators should try to overcome the above three communication barriers. Therefore, negotiators can manage to avoid some unnecessary problems and troubles. If they are confronted with obstacles and difficulties, they need to break the deadlock through effective communication.

Conclusion

Due to the impact of a variety of uncertain factors, there is a more complex and changeable negotiation environment in international business negotiations. So it is very important to enhance sensibility of cultural differences, which can help to create more favourable conditions for effective communication and cooperation. In view of the cultural differences between Germany and China, this thesis mainly compares Chinese culture with German culture, and then analyzes and explains the reasons for the differences. In addition, this paper adopts lots of cases to study and discuss the impact of cultural differences on business negotiations.Finally, it puts forward some specific coping strategies. Looking at the existing research results on this topic, it is not difficult to find that most of the previous scholars paid more attention to the study of business negotiation principles and skills, while ignoring the role of culture. However, this paper find that culture has great significance for the success of business negotiations.But I know there are some shortcomings in this thesis. For example, because cultural difference is a comprehensive concept, it's impossible for me to give examples one by one and conduct comprehensive research and analysis in this thesis. Therefore, I think that future scholars can make further analysis and research on this topic from other aspects so as to promote the improvement of this issue.

References

• Hofstede,Geert.(1984).Cultural Dimensions in Management and Planning. Asia Pacific Journal of Management(2)81-83.
• Salacuse,J,W.(1991).Making Global Deals: Negotiating in the International Marketplace. Boston: Houghton Mifflin Harcourt.
• Tong,Fang.(2006).Negotiation:the Chinese Style. Journal of Business & Industrial Marketing(1)58-60.
• Chen Zhaoyang,Chen Jingliang 陈朝阳,陈京亮.(2007).浅谈中德商务谈判差异[The Differences between Chinese and German Business Negotiations].商场现代化Mall Modernization(12)1-2.
• Dou Weilin 窦卫霖.(2014).跨文化商务交流案例分析[Case Studies on Cross-cultural Business Communication].Beijing:University of International Business and Economics Press对外经济贸易大学出版社.
• Fan Lei,Fan Weiwei 范蕾,樊葳葳.(2001). 跨文化交际失败实例分析及启示[Analysis of the Failure of Intercultural Communication and Its Implications].外语教育Foreign Language Education(1)148.
• Lin Zhengqi 林正奇.(2016).中德商务谈判文化差异案例的跨文化视角分析[A Cross-cultural Perspective Analysis of the Case of Cultural Differences in Sino-German Business Negotiations].华东理工大学硕士学位论文Master's Thesis of East China University of Science and Technology.
• Wang Tianwen,Wang Shimin 汪天文,王仕民.(2008).文化差异与时间观念的冲突[Cultural Differences and the Conflict of Time Concepts]. 学术研究Academic Research(7)37-39
• Xue Qi 薛琦.(2006).文化差异对中德商务谈判者谈判风格的影响[The Influence of Cultural Differences on the Negotiation Style of Chinese and German Business Negotiators].对外经济贸易大学硕士学位论文Master's Thesis of University of International Business and Economics.
• Zhuang Enping 庄恩平.(2004).跨文化商务沟通案例教程[Case Study of Intercultural Business Communication].Shanghai:Shanghai Foreign Language Education Press上海外语教育出版社.

Terms and Expressions

• high-level state visits 高层国事访问
• high context culture 高语境文化
• low context culture 低语境文化
• ten miles of different wind, a hundred miles of different customs 十里不同风，百里不同俗
• the Belt and Road Initiative “一带一路”倡议
• the China-European Railway Express 中欧班列
• Theory of Face 面子理论
• individualism＆collectivism 个体主义&集体主义
• Indo-European language family 印欧语系
• Sino-Tibetan language family 汉藏语系
• the dinner party system 聚餐制
• the individual dining system 分餐制
• four-dimensional model of national culture 民族文化的四维模式
• long-term orientation and short-term orientation 长期导向和短期导向

Questions

• 1.Which of the following countries belongs to typical high-context culture?

A.China B.Canada C.German D.America

• 2.Which of the following countries belongs to typical low-context culture?

A.China B.Japan C.North Korea D.German

• 3.Which of the following countries are long-term oriented and short-term oriented countries respectively?

A.China and German B.Canada and China C.German and Canada D.America and German

• 4.Which of the following countries takes the theory of face very seriously?

A.German B.UK C.China D.America

• 5.When did Hofstede propose the four-dimensional model of national culture?

A.In 1979 B.In 1980 C.In 1981 D.In 1982

Answers

• 1.A
• 2.D
• 3.A
• 4.C
• 5.B

英语笔译 钟青 Zhong Qing 202170081611

论文标题 Zhong Qing

Abstract

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

Key words

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

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References

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

英语笔译 周哲 Zhou Zhe 202170081613

Confucian Teaching Thoughts 周哲

Abstract

The Analysis Of "Chi+O" Xu Wu

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References

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

Introduction

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

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

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References

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

英语口译 段小蝶 Duan Xiaodie 202170081615

Chinese Movies Going Global Duan Xiaodie

Abstract

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

Key words

Chinese Movies; Culture Going Global; Countermeasures and Suggestions

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英语口译 方楚晗 Fang Chuhan 202170081616

Bullet Screen in Chinese Online Video Sites Fang Chuhan

Introduction

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

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英语口译 胡雯雯 Hu Wenwen 202170081617

Chinese Baijiu Culture Hu Wenwen

Abstract

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

Introduction

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

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References

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

英语口译 黄天琪 Huang Tianqi 202170081618

Marriage Culture in China Huang Tianqi

Introduction

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

Marriage System

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

References

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

英语口译 兰绮 Lan Qi 202170081619

Chinese Panda Diplomacy Lan Qi

Introduction

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

Origin and History of Chinese Panda Diplomacy

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英语口译 李丹 Li Dan 202170081620

Differences of Tea Culture between China and the UK Li Dan

Abstract

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

Key words

tea culture; traditional Chinese culture; differences

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References

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

英语口译 李立飞 Li Lifei 202170081621

Memes in China 李立飞

Abstract

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

Key words

memes; digital culture; netizen

Introduction

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

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References

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

英语口译 莫雨婷 Mo Yuting 202170081622

Chinese Animal Symbolism Mo Yuting

Introduction

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

英语口译 彭慧璇 Peng Huixuan 202170081623

Foot Binding in China Peng Huixuan

Introduction

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

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

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

Origin and History of Foot Binding

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References

[1]高洪兴. 缠足史[M]. 上海文艺出版社, 1995.

Terms and expressions

iron lotus铁莲 silver lotus银莲 gold lotus金莲

英语口译 时友洁 Shi Youjie 202170081624

Makeup Revolution in Ancient China Shi Youjie

Introduction

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

英语口译 伍佳惠 Wu Jiahui 202170081625

Chinese Dragon Culture Wu Jiahui

Introduction

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

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

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

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

英语口译 夏晶 Xia Jing 202170081626

On Differences of Table Manners between China and West Xiajing

Introduction

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

References

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

英语口译 向师琦 Xiang Shiqi 202170081627

The Collision between Confucian Culture and Chinese Modernist Literature Xiang Shiqi

Introduction

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

References

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

英语口译 向望 Xiang Wang 202170081628

Fandom Culture in China Xiang Wang

Introduction

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

英语口译 徐舞 Xu Wu 202170081629

The Analysis Of "Chi+O" Xu Wu

Abstract

The structure of "Chi + object" widely exists in Chinese, and studies on this kind of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top 8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of typical significance to choose the verb "Chi" with object as the research object. Based on the research results, this paper attempts to make a comprehensive and multi angle investigation and research on the phenomenon of "eat" with object through corpus data statistics. This paper mainly discusses the phonetic distribution, semantic types and deep semantic structure of the object after "Chi". Finally, it comes to the conclusion: from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From the perspective of word meaning, food objects are the first; From the perspective of deep semantic structure, patient object is still the most typical type of object. Secondly, by summarizing the diachronic changes of "Chi" with object, we find that the types of object increase after "Chi". The reasons include the change of word meanings, cultural influence, network development and so on.

Key words

Chi; Object

Introduction

"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

Literature Review

Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

Research Significance and Corpus Sources

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction. This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

The syllable distribution of "Chi" with object in modern Chinese

1.Syllables Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage Monosyllable 7128 54.43% Two-syllable 4736 36.16% Three-syllable 1006 7.68% Four-syllable 144 1.24% Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

The word meaning distribution of "Chi" with object in modern Chinese

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage Tool 440 3.37% Food 10736 81.99% Place 24 0.19% Abstract noun 1680 12.84% Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

The semantic structure of "Chi" with object in modern Chinese

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage Recipient object 10792 82.41% Object of place 212 1.62% Result object 1472 11.24% Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

Reasons

Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

Conclusion

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low. By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

References

[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

Terms ans Expressions

Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语   metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

Questions

Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

Answers

It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

日语笔译 胡梦琪 Hu Mengqi 202170081633

Huangmei opera Hu Mengqi

Introduction

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

Development

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

Features

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

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

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

Current situation of the development

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

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

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

Solutions and Summary

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

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

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

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

References

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

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

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

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

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

Terms and expressions

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

Questions

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

Answers

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

日语笔译 张白鹭 Zhang Bailu 202170081634

An Analysis of Chinese Translation of Modern Japanese Literature Zhang Bailu

Abstract

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

Key words

Translation Activities;Japan;Ideology

朝鲜语笔译 刘安莉 Liu Anli 202170081635

China's Network literature IP Liu Anli

Introduction

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

朝鲜语笔译 王思佳 Wang Sijia 202170081636

Introduction

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

The origin of Jugaku

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

The Mystery of Longevity of Nanyue People

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

Nanyue Longevity Folklore

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

Conclusion

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

Terms and expressions

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

Questions

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

Answers

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

朝鲜语笔译 徐文慧 Xu Wenhui 202170081639

The “scholar's four jewels” Xu Wenhui

Introduction

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

Origin and history

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

References

赵悦.在文房四宝中感受书法的魅力,2021.09, 28

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Introduction

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