20220630 Culture 8

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

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

1 Introduction

The introduction of Natsume Soseki (1867-1916) was first introduced by Zhou Zuoren. In his article "The Development of Japan Fiction in the Past Thirty Years," he argued that Natsume Soseki advocated "low wandering taste" and "abundant literature." "The History of the Literary Revolution":"The novel of nature, where the novel must touch the life; Shu-Shih said that what is not touched is also fiction, as well as literature. And why is it so urgent? We can enjoy life slowly and calmly. " However, the translation of Natsume Soseki's novels is Lu Xun's earliest. Published in 1923,"modern Japan stories" chose two short stories of Soseki Natsume, one is "hanging picture," the second is "Mr Clay cob." The two novels have a strong tendency of prose. Although these two works are not important works of Natsume Soseki, but Lu Xun's translation, in the translation of works of Soseki, is groundbreaking. Natsume Soseki's fame, and all of his creation of the most outstanding novel, is Zhou Zuoren mentioned "we are a cat"(a translation of "I am a cat"). It is doubtful whether the work was published in an official translation in the 1920s. In 1936, Zhou Zuoren wrote an article, entitled "," are reviewed in detail "I am a cat," and explains the difficult translation. The first anthology of Natsume Soseki's works translated and published in China is Natsume Soseki Collection selected by Zhang Kebiao. The book was published in 1932 by Shanghai Kaiming Bookstore. Adduction medium-length decimal "boys," short works "the Tower of London" and "the preface to the head of a dog than the tail of a Lion. Translation before ZhangKeBiao wrote "about Soseki Natsume" translation of the preface. This translation sequence introduces Natsume Soseki's life, thoughts and creation in detail. The introduction of these situations is mainly based on Natsume Soseki's early creation. The "Edo-citizen" character of Natsume Soseki is emphasized, and the creation ideas of "light and free taste,""margin" and "low wandering taste" are advocated. Akutagawa Ryunosuke (1892 - 1927) was a representative figure of the New Intellectualism School, an important school in the history of modern Japan literature, and one of the several first-class writers in Modern Japanese Literature. In the ten years from the late 1920s to the 1930s, there were more than 20 China translations of Akutagawa Ryunosuke's novels (including a small amount of prose and essays), and seven translations were published, accounting for one fifth of Akutagawa's novels. It can be said that most of Akutagawa's good works have been translated and introduced. The earliest translation of Akutagawa Ryunosuke works is Lu Xun. In 1921, Lu Xun published the translation of "Nose," which is the first novel of Akutagawa translated in China and one of the most wonderful works of Akutagawa Ryunosuke. When LuXunYi out of his Dragon interface after two novels, until 1927, five or six years, no longer appear his Dragon interface works of translation. Akutagawa's suicide in 1927 had a great impact on the Japanese literary world, and the China literary world was also shaken, which became an opportunity for China to translate a large number of Akutagawa's works in the next few years. Kawabata Yasunari (1899-1972) is a famous Japan writer, the winner of the Nobel Prize for Literature in 1968. Kawabata published as early as 1926 for the Izu dancer, began in 1935 published masterpiece "snow country." But before the 1980 s, Kawabata translation only Fan Quan in 1942 out of the "article"(Shanghai Fudan publishing house), it is a pity that the translation has been difficult to find, the total bibliography during the period of the Republic of China and so on also not description, translation of what title is unknown. In 1968, Kawabata won the Nobel Prize for Literature, fame at home and abroad in Japan. However, it was during the so-called "Great Proletarian Cultural Revolution" in China that it was impossible to respond properly to Kawabata Yasunari's award. Until the 1980s, Kawabata Yasunari's works were ignored by the literary translation circle in China. In the early 1980s, Kawabata Yasunari's translation became a hot topic in the translation of Japan literature in China. Old translator Han Shi girder and Ye Weiqu, Yue-Mei Tang first began to translate Kawabata's works. Later, new translators appeared for six consecutive years to study and translate Yasunari Kawabata's works such as Ancient Capital and Thousand Cranes, and they all had translations. By the 1990s, the "Japan literature craze" that had been in full swing in the 1980s had generally cooled down, but the translation and publication of Kawabata Yasunari's works remained in full swing.

2 the Translation of Natsume Soseki

In the history of Japan literary translation in China, Natsume Soseki's works have always been valued. After the reform and opening up, Natsume Soseki's translation and introduction were translated and published in large quantities. Previously translated works, such as "I am a cat,""brother,""grass pillow" and so on, have appeared six new translations. Liu Zhenying's translation of I Am a Cat is an elaborate work and a representative work in his life's translation literature. In addition, Liu Zhenying wrote a preface of more than 10,000 words for the translation, which shows that his understanding of I am a Cat and Natsume Soseki has changed compared with before. He no longer treats I am a Cat from the perspective of "critical realism," but focuses on the unique features of the work, discussing and analyzing the humorous, funny and humorous aesthetic features of I am a Cat; He also stated that he did not agree with Hu Xue's view that I Am a Cat was "a self-criticism of petty bourgeois intellectuals" in his essay "Natsume Soseki's Life, Times and His Satires," and that such a view did not understand the true meaning of humor and satire through the mouth of the intellectuals in his works. 1930-1960 S Natsume Soseki's translation, focused on "I am a cat,""a""grass pillow" and other early works; In the 1980s-1990s, the focus of the topic selection began to shift to the middle and late period, and a series of important works of Natsume Soseki in the middle and late period were translated and published successively. The most important of his works are his two long trilogies. The "pre-trilogy" Sanshiro (1908), Since Then (1909) and The Door (1910); The "post-trilogy": After the Vernal Equinox (1912), Pedestrians (1912), and Heart (1914). Natsume Soseki's first trilogy, centered on love and family, describes the inner longing, loss and anguish of petty bourgeois intellectuals. The former trilogy has changed a lot in style compared with the lively and witty early works such as I Am a Cat and Brother. Brush strokes on the inner world of the characters, the story of the work and narrative also played down. The "post-trilogy" further focuses on psychological description, and in a sense they can be regarded as a kind of psychological novel. The third part of the "post-trilogy" is "Heart." When hefinds out that his friend k is also in love with her, he proposes to her first. k committed suicide soon. "Sir" and miss married life is happy, but when he learned that k because of the friendship and love of despair and suicide, he has a deep sense of guilt. He analyzed his own egoistic behavior and psychology, realize oneself and his uncle is a kind of person, others property shudder, eventually committed suicide due to unbearable pain. From the perspective of morality and conscience, the author makes a penetrating analysis and criticism of human's egoism nature in line with the moral Creed of "putting heaven to private affairs." In his later works, Heart is the highest level of art, and some scholars even regard it as the representative work of all his works. Concentrated published wash stone works in the middle and late, is the Hunan People's Publishing House and Shanghai Translation Publishing House. In 1982, 1983, Hunan People's Publishing House published de-Wen Chen translation of "three or four lang""from then on" singles; In 1984, Hunan People's Publishing House published the first and second volumes of Chen Dewen's translation of Selected Novels of Natsume Soseki, among which the first volume received the trilogy of "Sanshiro,""From then on,""Door" and so on. Shanghai Translation Publishing House in 1983, 1984 and 1985, has published the Japanese literary translator Shu-Wen Wu (born in 1943) translation of "three or four lang""later" and "door"; In 1988, the Shanghai Translation Publishing House combined the three works into a single book entitled "Love Trilogy," which was published as one of the "Japan Literature Series" of the publishing house. This is a high quality translation. Wu Shuwen's translation, language color, age, beautiful and smooth. Particularly commendable is in front of the translation, the crown has three having substance in speech of the preface. A is Wu Shuwen himself wrote the "first-generation sequence" , The second article is written by Liu Zhenying from look on coldly to rebel, the third article is written by Lv Yuanming the anguish of the pressure. The three articles analyze and expound the meaning and connotation of Soseki's works from different angles, which not only help readers understand Natsume Soseki's works, but also add a strong academic atmosphere to this translation. Natsume Soseki in his later years, there are two important works, namely the autobiographical novel "the grass." The title "The Way" contains the meaning of "waste time." "Light and shade" is the last work of wash stone, the author failed to finish the book died. The book also appeared in two versions, one is the channel of literature and art publishing house in 1985 Lin Huaiqiu, Liu Jieren translation of "bright and dark"; One is the 1987 Shanghai Translation Publishing House in ray translation of "light and shade." In this way, most of the works of Natsume Soseki's life (especially novels) have been translated into Chinese. Only the novel "corn poppy grass"(1907) and so on a few important works, no translation for various reasons. ("The Chinese language" is used in the translation of the Chinese language, which is very difficult to translate.) The general readers in China can basically understand the broad and profound "Shushi Literature" systematically by means of the translation.

3 the Translation of Akutagawa Ryunosuke

The earliest translation of Akutagawa Ryunosuke is Lu Xun's Nose. "Nose" is written by an ancient monk oversize long nose. Monk for his long a deformity of long nose and times by others laugh at, the heart is very painful, when he learned from China, finally put the nose short some time, but more explicit laughed at by others. Later, long nose back to the original state before treatment, the monk has the feeling of relief, thought: This time no one laugh at me again. This novel profoundly reveals the people designed to other people's misfortune for happy dark selfish psychology, reflects the people in the dilemma of the society. The full text is only more than four thousand words, written refined implicative, impeccable. Lu Xun at the same time in front of the translation attached titled "<nose> translator note" essay, I'm afraid that is China's first article introduces his Dragon interface. It is said that "The Japan are a very popular writer. Most of the themes used in his works are uneasiness after hope has been achieved, or feelings when uneasiness is being felt. " He added,"I am not satisfied with him about these two things. One is the multi-purpose old material, sometimes close to the translation of the story; Second, the atmosphere of the veteran is too strong, easy to make readers unhappy. " In the same year, Lu Xun and the "Rashomon" translation. Rashomon is a story about a servant who is fired by his master and has no other way to go, taking shelter under the gloomy and decadent Rashomon while considering whether to "starve to death or become a robber." She saw an old woman on the rostrum of Rashomon, in order to make a wig sold dead hair is pulled out. Servant think it is too ugly, come forward to stop. The old woman said,"If you don't do it, you will starve to death," which made him determined to become a robber. He kicked down the old woman, stripped the old woman's clothes, and roared off. This novel profoundly reveals the survival of the selfish instinct, people in the delicate decomposition between justice and crime. Although Lu Xun's attitude towards Akutagawa's "historical novels" is still appreciative, his "dissatisfaction" and criticism still exist. He believes that Akutagawa's novels are "too experienced," meaning that Akutagawa's novels are too philosophical and philosophical, giving people a profound and experienced sense of being a philosopher or transcending mortals. Lu Xun's novels is the purpose of enlightenment, is to transform China's backward national character, and not like his creation as a means to explore the true meaning of life, the pursuit of artistic life. For his type of abstract philosophy to explore, Lu Xun is clearly able to shrug off. After LuXunYi out of his two novels, until 1927, five or six years didn't appear again his Dragon interface works of translation. After Akutagawa committed suicide, it is wonderful that from 1927 to the early 1940s, when he committed suicide, it was the climax period of China translation and introduction of Akutagawa Ryunosuke's works. In July 1928, Shang Yihe edited the translation of "his Dragon interface stories" published by Beijing Mandarin society. This is the first collection of Akutagawa Ryunosuke's works published in China in the 1920s and 1930s. Translator Shang Yihe had studied in Japan, after returning to China in 1925 constantly translated Japanese literature. "Akutagawa Ryunosuke Collection of Stories" is also Tang Yihe's first translation. The translation of the selected works and "novel monthly" in the "Akutagawa Ryunosuke album" selected items are not repeated, some novels-such as "spider silk"--is quite distinctive masterpieces. "Spider silk"(and "spider silk") in full only two thousand words, based on Buddhist stories. The novel still shows people's absolute self-interest instinct, but also a strong fatalism. The translation of Akutagawa Ryunosuke continued to be valued after the reform and opening up. The first published is the old translator LouShiYi translation of the Akutagawa Dragon interface novel eleven, published by Hunan People's Publishing House in 1980. The book received translation of the title has "rashiomon""hell change""in the death of the people""old plain light sound honour" Akiyama figure "" the Mang Bush "gratitude""Fu's chastity "" sixth Princess "" play Samadhi,"a total of 11 short works. These novels were translated by Lou Shiyi during the special historical period from April to June 1976. Lou Shiyi translated Akutagawa Ryunosuke's works in a special period when the political environment was very dangerous. He was surprised that also can be published. Lou Shiyi's translation of Akutagawa's works under this circumstance became the first translation of Akutagawa Ryunosuke published after the reform and opening up. Most of the works, except Rashomon and Akiyama, were not translated during the climax of Akutagawa's translation in the 1930s, and were first translated by Lou Shiyi. Among them,"the jungle" and "hell" belong to all the works of Akutagawa Ryunosuke the most representative works. LouShiYi hundreds of novels in his, choose such works, is a aesthetic vision. Akutagawa Ryunosuke is one of the Japan writers who have the most readers in China. Due to his strong philosophical works, writing techniques, superb novel skills, it is not easy for ordinary readers to deeply understand. But in the literary accomplishment higher readers, his works are very popular. In the 1980s-1990s, many articles about Akutagawa Ryunosuke were published in academic journals. Some textbooks and monographs on Japan literature history and Oriental literature history included monographs or special sections to describe Akutagawa. However, compared with the studies of Natsume Soseki, Kawabata Yasunari and Mishima Yukio, the study of Akutagawa Ryunosuke in China is a little cold and cheerless, and there is no special biography or research works.

4 the Translation of Kawabata

The translation of Kawabata Yasunari quickly became a hot spot in the translation of Japan literature in China in the early 1980s. 1985 was a bumper year for Kawabata Yasunari's translation. This year, a total of seven or eight Kawabata works translation, including Han Shi girder, Jin Fuyi, Shanghai Wenyi publishing house "ancient capital," Guo to shun, Shaanxi People's Publishing House "Thousand Cranes," Tang Yuemei translation, foreign literature Publishing house "dancer," Ye Weiqu translation, People's Literature Publishing House "Kawabata novels," etc. As an active translator of Japan literature after the 1980s, Ye Weiqu made a positive contribution to the translation and dissemination of Kawabata Yasunari's literature in China. In the 1990s, he edited four series of Kawabata Yasunari's works. Kawabata's works were translated and published continuously on a large scale and in a large density, which is unprecedented in the history of Japan literary translation in China in the 20th century. Kawabata life most of the works, have the Chinese translation. These translations promote the spread of Kawabata Yasunari among China readers and contribute to the prosperity of translated literature in China. At the same time, they also clearly show that the translation of Japan literature in China has entered the era of commercialization and marketization after the reform and opening up, especially after the 1990s. This in the translation of Kawabata works mainly as follows: Some books of the subject design of cross repetition, the same work many people translation, a variety of translation, the same kind of (article) translation is packaging, repeated published many times there are a lot of. Kawabata Yasunari's persistent high fever in China is a cultural phenomenon worth studying. There are about three reasons: First, the Nobel Prize for Literature and its winner's reverence and worship psychology, is quite popular in the readers and the literary world. The notion that a "Nobel Prize winner" is equal to a "world-class writer" is not fully substantiated in logic and fact, but is widespread in feeling and impression. As the second winner of the Nobel Prize in Literature in Asia, Kawabata Yasunari is more rare and valuable than many winners in Europe and America, which can arouse the recognition, attention and resonance of China readers at the level of "Oriental Literature." Second, Kawabata Yasunari in contemporary Japan, is one of the biggest hot spots of literary studies, although different critics and researchers controversial, but on the whole is very high. There are a lot of articles, books and materials to study Kawabata Yasunari. This kind of situation cannot but affect the translation and introduction of Kawabata Yasunari in China. Third, Kawabata's works, with strong Japanese national style, in the literature type, writing, meaning and so on various aspects has the specificity, is a great literary writing, literary research and literary criticism, rare text. Due to the works of Sichuan side from the fine point of the pen, no Western literature classical literature and profound, so readers will not produce down to read the sublime feeling; And because of his work only write feeling and feeling, no absurd conception of Western modernism literature and philosophical speculation, and therefore does not feel deep to read. After reading it, only a little bit of "feeling" and emotional appeal are left. However, if you want to use logical, theoretical language to summarize and promote the "feeling" and emotional appeal, will feel very difficult. At this moment will realize that he did not read Kawabata. Kawabata Yasunari's works have a deep relationship with the traditional Japan literature and traditional aesthetic culture. His works are mostly through the description of love and sex between men and women, to show his Japan "human feelings," Japanese "feeling" and Japanese "beauty consciousness." In order to understand the Japanese "beauty" in Kawabata Yasunari from the perspective of Japan traditional culture and aesthetics, the China General readers must study and explain it by scholars and critics. And kawabata works mostly involved prostitute (e.g.,"snow country"), incest and incest consciousness (e.g.,"thousand cranes""mountain sound"), sexual perversion and sexual delusion (e.g.,"sleeping beauty""one arm"), such as the content of the hong DE, decadent, in sexual morality is strict in China to understand these things, is a culture of the diaphragm. How to look at these works, also insist on critics and researchers to guide the reader. Kawabata Yasunari's translation and introduction also had a certain impact on the creation of Chinese writers. In contemporary Japan writers, Kawabata is probably only one of the most China writers attaches great importance to the people. Although Kawabata as an authentic Japan writer and difficult to imitate, but after all, he can give writers provide a possible reference. Even some writers because reading Kawabata and took to the road of writing.

Conclusion

No matter which Japan writer is studied, translated and introduced, the final achievement belongs to translated literature. "Translation" is different from "foreign literature," then, further said,"foreign literature history" is different from the "translation of literature history." All kinds of books and textbooks published in China, such as the history of foreign literature (such as the history of United Kingdom literature and the history of Japan literature), the history of regional literature (such as the history of oriental literature and the history of European literature), or the history of literature in general (such as the history of world literature and the history of foreign literature), are all based on the historical facts of foreign literature and the works of writers and writers. They use China to tell, but it is about the original, rather than translation. When we use Chinese to describe "other culture" and "other literature," this is itself a generalized "translation" phenomenon. And we use Chinese writing of foreign literature but ignored the translator and translation of this link, in an attempt to go beyond the translation and directly face the original. And the vast majority of readers of literary history and foreign literature, they can't also don't have to read the original, what they read, is the translation of literature. This is our various "foreign literature" encountered contradictions and embarrassment. In addition, over the past century, China's translation works, has accumulated tens of thousands of kinds. Translations account for more than a third of all published literary books. For such a large amount of cultural and literary wealth, now the general "foreign literature" works but not also can not put them into the scope of research and discussion. However, it is difficult for ordinary works on the history of China Literature to fully and comprehensively display the rich contents of translated literature. This means that translated literature is an independent branch of literary studies, and the history of translated literature should be one of the three major fields of literary history studies, which are juxtaposed with the history of foreign literature and the history of China Literature. The history of foreign literature, the history of China Literature and the history of translation literature constitute a complete knowledge system of literary history. The study of translated literature and its history in China is still weak. There are many reasons for this situation. There are political, cultural, and literary ideas. It is a common practice to regard "translated literature" as "foreign literature," which is the primary reason for restricting the study of translated literature and the history of translated literature. Secondly, an important issue in translating literature is the choice of translation. Generally speaking, the history of translation literature should first be the history of famous works. As for non-famous works and non-famous translations, they can be regarded as a general "phenomenon" in the history of translation literature. Generally speaking, the historical status of the translation is determined by three conditions. First, the original is famous masterpieces, this is a prerequisite to determine the status of translation. Second, the translator is famous. A translator is regarded as a famous translator, first of all, because of his accurate and reliable grasp of the topic of translation, and secondly, the reliability of the quality of translation. Third, among the famous translation, the first translation and particularly important. First translation, means to fill the blank, and fill the blank itself has its historical significance. Of course, this is not to say that the translation is not important. However, in the sense of filling in the blank, the second translation cannot replace the first translation. To study the phenomenon of "translation" of Japanese literature in China, i.e. the so-called translation activities of Japanese literature, is to understand the history of communication between the Chinese and Japanese nationalities with complicated relations since ancient times, and the differences between nationalities can also be revealed from different literary works and ideologies. To grasp the ways of understanding and accepting different cultures by predecessors, to promote communication between nationalities, and to provide a new vision for the future development of China and Japan.--Zhang Bailu (talk) 13:08, 22 June 2022 (UTC)

References

[1] 王向远.日本文学汉译史[M].北京:九州出版社,2021 [2] 陈德华. 《我是猫》两个中译本的翻译策略研究[D].广东外语外贸大学,2019. [3] 闵嘉文. 语境视角下的川端康成作品的汉译研究[D].沈阳师范大学,2016. [4] 李西平. 芥川龙之介作品在中国的翻译和名家翻译版本的整理与比较[D].西安外国语大学,2013. [5] 南屏秀. 中国川端康成研究史—以比较文学角度为中心[D].西安外国语大学,2013. [6] 张静. 二十世纪初期中国的日本文学翻译研究[D].沈阳师范大学,2013. [7] 刘春英. 中国的芥川龙之介翻译史[J].日本学论坛,2003,(02):2-5. [8] 高艺菲. 夏目漱石名篇《草枕》在中国的传播[J]. 北方传媒研究,2017,(02):71-75. [9] 张卿. 夏目漱石小说在近代中国的译介研究[J]. 芒种,2017,(02):13-15. [10] 李国磊. 论日本文学翻译中的文体性别——以《罗生门》三译本为例[J]. 山东农业工程学院学报,2016,33(11):128-132.

朝鲜语笔译 刘安莉 Liu Anli 202170081635

China's Network literature IPLiu 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."

Internet literature IP popularity

By the end of December 2021, the total number of online literature users in China has reached 502 million, an increase of 41.45 million compared with the same period last year, accounting for 48.6% of the total number of Internet users, and the number of readers has reached the highest level in history. According to the Assessment Report on the Adaptation Potential of Network Literature IP Film and Television Drama in 2019-2020（《2019—2020年度网络文学IP影视剧改编潜力评估报告》） released in February 2021, the total output value of downstream cultural industry driven by online literature IP in the first two years accumulatively exceeds CNY 1 trillion. As an important way of industrialization of network literature, film and television drama is the most intuitive form of shaping China image and telling Chinese stories. "In 2021, network literature provides more high-quality and rich content and innovative and diversified forms for film and television drama creation, and gives birth to several head dramas and phenomenon-level hits, becoming the protagonist of film and television drama adaptation. "According to Douban's（豆瓣） Baidu（百度） index ranking of 2021 series, the TOP 20 list includes 12 works adapted from online novels, such as "My Heroic Husband （赘婿）,""SWORD SNOW STRIDE （雪中悍刀行）,""Shangyang Fu（上阳赋）,""You Are My Glory（你是我的荣耀）" and "RATTAN （司藤）," covering comedy, fantasy, history, metropolis and other subject areas. In the maoyan（猫眼） research institute to this year's drama market observation data, Net article IP change screenwriter in the hot list TOP 10 occupies 8 seats, Big production drama as high as 80% of the proportion reflects the net article in the content development potential. Adapted from the novel of the same name network drama "My Heroic Husband "（赘婿） Feature film effective broadcast up to 4.849 billion; Adapted from the novel of the same name, "Soul land"（斗罗大陆）has been broadcast more than 4.3 billion times by the end of the game, ranking No.1 in the bone flower popularity list for 27 consecutive days. Network literature has not only made remarkable achievements in film and television adaptation, but also provided users with an "amplification effect" of IP content through all-round and all-link operations such as animation, audio, short drama, offline travel and derivatives. The linkage of different art forms has contributed to the breaking of the circle of multi-form output of network literature. Among the 114 new animation dramas for teenagers launched throughout the year, There are 72 IP adaptation works. According to the " 2020- 2021 China Online Audio Industry Research Report" of Ai Media Consulting（艾媒咨询的《2020—2021年中国在线音频行业研究报告》）, 86.2% of users prefer to listen to IP audio content when the audio column types are close to each other. Take the IP adaptation audio works of Yuewen Group（阅文集团） in 2021 as an example, not only the themes of the works are diversified, covering fantasy, suspense, romance, science fiction, immortal chivalrous, games, cities, history, light novels and other categories, but also the number of clicks in the whole year reached 12 billions.

The Background of IP Adaptation of Network Literature

There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests. First of all, the emergence and prosperity of the Internet, so that people's way of life has undergone tremendous changes, but also greatly promoted the development of network literature. The development of network technology has enriched the channels and ways for people to obtain information and entertainment. More and more literary creators choose to share their works and create by using the network platform. People pay more and more attention to network literature, and the creation of network literature is more and more open, free and vigorous. At the same time, the film, TV series and other industries keep up with the pace of the times, reform the production mode, for the network literature IP adaptation provides a good opportunity. Secondly, the network literature works spread fast, spread wide range, convenient and interesting, deeply loved by the majority of network users. According to the popularity of network literature and network literature IP discussed above, we can feel the great demand for network literature works and IP adaptation works of network literature. In addition, compared with the original script, the adaptation cost of network literature works is lower, with fans, in the selection of works, adaptation, topic effect and a series of processes, each link will bring huge attention, can bring considerable economic benefits to the works and film and television industry. The advantages of these interests also drive the development of network literature and network literature IP adaptation.

Characteristics of IP Adaptation of Network Literature

rich in subject matter types The network literature develops rapidly, the creator base is big, the work type is rich, contains the ancient and modern, Chinese and foreign. The film and television works adapted from network literature include costume dramas, such as Empresses in the Palace（甄嬛传）, Ruyi's Royal Love in the Palace （如懿传）, Shangyang Fu（上阳赋）, etc., modern dramas such as You Are My Glory（你是我的荣耀）, The King's Avatar （全职高手）, RESET （开端）, etc., non-realistic themes such as Love and Redemption （琉璃）, Fights Break Sphere （斗破苍穹）, RATTAN（司藤）, etc. These works include various styles, which can meet the needs of audiences of all ages and different hobbies. In the development of film and television industry, the traditional original script and old-fashioned plot have been difficult to attract the audience's attention, while the bizarre and novel network learning provides a variety of choices, so a large number of different types of network literature works have been adapted into film and television works, or good response. Stable audience Now people's living standards generally improve, in the pursuit of material life, the spiritual world also has a certain pursuit. A good literary work is loved by readers because of its ups and downs of plot and distinct personality of characters, which meets people's spiritual needs. With the rapid development of Internet technology and the increasing popularity of mobile devices, more and more people are reading through mobile phones. Network novel because of small, convenient, cheap, can be anywhere at any time in the mobile phone to watch and other characteristics and widely liked by netizens. For example, novels such as Empresses in the Palace（甄嬛传）, The King's Avatar （全职高手）, The Journey of Flower（花千骨）, and Treading On Thin Ice（步步惊心） are all works of great concern on the Internet. The development of online literature has gradually flourished, and the reading volume of online novels has become higher and higher, resulting in a fixed fan base. To adapt to film and television, it is inevitable to find actors to play. These star actors also have a fixed fan base, which provides guarantee for the audience rating. Some well-known stars often have 70 - 80 million fans. A random Weibo post had hundreds of thousands of reposts, and the fan effect they generated was very large. The higher the attention, the higher the value.

Problems in IP Adaptation of Network Literature

Copyright disputes and plagiarism disputes

The IP film and television adaptation of network literature is the use of literary works by film and television producers, which may lead to disputes. Copyright involves the authorization, adaptation, sale and consumption of literary works. The consideration of copyright is an important reason for many film and television adaptations. In 2019,"Better Days "(少年的你）once appeared at the forefront of public opinion because of plagiarism, and in December 2020, Jing M.Guo's "The Yin-Yang Master: Dream Of Eternity "（郭敬明的《晴雅集》）plagiarism incident was boisterous, even caused more than 100 film and television people's boycott. Network literature review threshold is low, and the IP adaptation fever has made some people more profit-seeking psychology, in the process of creation or adaptation only ratings theory, only flow theory, thus falling into copyright disputes or plagiarism disputes. The copyright transaction is chaotic and the definition of copyright is vague, which will affect the word-of-mouth and dissemination of works, thus bringing resistance to the adaptation of network literature IP film and television.

Severe cuts, poor plot coherence

The profit channel of online literature is mainly its serial presentation and fan reward. In order to obtain greater economic benefits, the number of words in a work often reaches millions or even tens of millions. In terms of film and television drama policy, in 2019, the State Administration of Radio and Television stipulated: The shooting and production of TV dramas and online dramas shall not exceed 40 episodes, and the creation of short dramas within 30 episodes shall be encouraged. Under this policy, "NOVOLAND:EAGLE FLAG （九州缥缈录）,""They Are Flying（飞行少年）" and other TV series urgently changed the number of episodes, the film and television industry ushered in a big change. It is not advisable to delay the plot and inject water into the content, but the IP screenwriter of network literature will be separated from the original work, and serious deletion will also lead to problems such as incoherent plot and plot loopholes. How to balance the quality and integrity of the network literature IP film and television adaptation is a big problem. At present, the common practice of film and television investment institutions to choose network literature is click rate and ranking list, and the top 10 network literature in click rate is almost a novel, narrative rhythm is slow, involving many characters. To select the essence of the original work within the limited number of episodes is a big test for the ability of the screenwriter and director, which is also the main reason why it is difficult to realize the film and television adaptation of the network novel "Stellar Transformations（星辰变）."

blindly follow the trend, the emergence of mechanical reproduction of the era of works of art

Under the background of pan-entertainment era, the charm of literature withers, and the artistry appears vulnerable to the commercial challenge. Literature and film and television belong to the same category of art and should have literary and aesthetic value. The paid reading of network literature leads to excessive commercialization of the subject matter and content of online literature, blindly catering to the market, and light weight. The absence of literariness has laid hidden dangers for the sustainable development of IP film and television adaptation of network literature. Although network literature is an important way for mass entertainment, However, if the market still blindly follow the wind, excessive entertainment as the direction of literary creation and film and television adaptation, the IP film and television adaptation of network literature will stagnate after a short prosperity, and finally perish.

IP adaptation strategy of network literature

enhance copyright awareness

Since 2016, the state has promulgated a series of copyright protection schemes to prohibit infringement and plagiarism, and the quality of the people has also increased accordingly. Payment schemes have also reduced the occurrence of plagiarism and piracy. For some relatively mature network literature works, can carry on the appropriate adaptation, should be reasonable, accord with the fact logic, rather than blindly pursue the topic, the explosion point, create some completely illogical plot, lead to the film and television drama quality is low, the quantity is reduced, the type homogeneity. It is a win-win process to adapt network literature into film and television works, which can not only promote the development of network literature, but also make the film and television industry flourish. While pursuing their own interests, the producers of film and television dramas should respect the law and the intellectual property rights of the original works, and realize mutual benefit and win-win results within the legal scope. We should not only resolutely crack down on infringement, but also enhance people's awareness of safeguarding their rights. Individuals should also strengthen their legal awareness in their lives, fight bravely in the face of infringement and learn to safeguard their rights. With the joint efforts of the state, society and individuals, the network literature industry will certainly have a more healthy and green development, and the film and television industry will also receive more attention.

for high-quality production

Although literature and film and television belong to two different artistic categories, exquisite content is the common magic weapon for both to win. Only by understanding the characteristics of content creation and narrative structure of both, and developing a set of interactive production mode through integration and reconstruction, can we lay a solid foundation for the successful combination of the two. One is the conversion of IP content from text to image. First of all, the film and television adaptation should be logical, and the adaptors should choose and reconstruct the literary works properly. Secondly, the plot of the picture should be reasonably exaggerated. Especially in the film and television adaptation of fantasy and ghost themes, we should appropriately enlarge the characteristics of characters, so as to make the original characters more plump and fit their identities. Thirdly, we should improve the professionalism of production, expand the audience scope on the basis of stabilizing the original fans, and meet the double expectations of literature and film and television audiences. The second is the reconstruction of space-time narrative in film and television adaptation. In time, film and television can be through the lens, elements, the picture mosaic so that people have emotional resonance. In space, the network novel to text symbols as the main carrier of construction environment background, and television writers can use sound and picture language so that the audience intuitive perception, but also can be a novel space for replacement, displacement.

Focus on value delivery

The Internet is a free creation, highly virtual space, so inevitably there will be some vulgar and violent content. TV producers adapted network literature is the most critical step in the choice of the content of the work and the theme of sublimation. Adapting network literature works into mainstream values of the film and television works, not only can successfully pass the review, more important is to rectify the excessive pursuit of online readers 'preferences, modular writing caused by commercial drawbacks, For example, in the process of adapting THE Longest Day In Chang An（长安十二时辰） into a film and television play, on the one hand, it recognizes the spirit of women's inspiration, focusing on the description of Tan Qi（檀棋）'s independence and rational love; On the other hand is the respect for traditional culture, the play's clothing, props, architecture, etiquette, customs and so on are the screenwriter read a large number of books, rigorous and sophisticated results. The play's strong sense of national responsibility and the spirit of family and country is also advocated by today's society to carry forward the mainstream values, greatly enhanced people's cultural consciousness and confidence. Network literature film adaptation in the dissemination process should also make full use of the dissemination platform. Network novel dissemination platform is the novel website, The communication platform of film and television drama is television and cinema. Under the background of media convergence, the adaptation of network literature IP can try new paths, such as inserting film and television pictures and videos into literary works; In the process of film and television play broadcast to provide original novel links; In the chatter, fast hand and other new media broadcast wonderful clips, call on the audience to participate in the creation of film and television drama, decide the trend of the plot by themselves, etc. In a word, the network literature IP film and television adaptation has become the new trend of the times, in order to make this new phenomenon have sustainable vitality, we must grasp the profound connotation of the theme, give play to the value guiding role of the film and television drama.

Conclusion

The popularity of film and television adaptation of network literature IP shows that the IP industry chain on the market is becoming more and more mature. With strong content advantage and huge market capacity, network literature has become an important engine of cultural industry. Network literature and film and television, animation, games, audio books, derivatives development and other fields of extensive linkage, the formation of the whole cultural industry chain, creating considerable economic benefits. In addition, the network literature plays an increasingly important role in the overseas dissemination of China culture. In recent years, there have been numerous overseas "fans" of China online literature, and the "sea fever" of Chinese online literature has become a global cultural phenomenon. In just a few years, the overseas dissemination mode of China online literature has been continuously upgraded, completing the evolution from content to mode, from region to world, from output to linkage, and taking solid and powerful steps in disseminating Chinese culture, displaying China's image and promoting mutual learning among civilizations. The film's main feature is "strong storytelling, strong character creation, and strong camera sense." "The hardcore of online fiction is telling a good story. Network literature stories should not only have waves, ups and downs, soul-stirring conflicts and open-minded bridges, but also have certain scarcity and strong identification. In addition, the shell of the story plot must be able to connect with the current social reality and the public psychology, and generate empathy with more audiences before it can become the head IP. " With a good story and a good text, we still need to go through the two barriers of adaptation and production. To adapt the network literary works into film and television, we should fully respect the original works, and can't be quite different from the original works in terms of story plot and characterization. At the same time, we should conform to the development and changes of the times, add new popular elements to make the stories and characters more full. Network literature, film and television production should have a sense of quality and the spirit of the craftsman, presenting excellent script, well-made, excellent interpretation, the value of positive excellent works. In the shooting process, to the actor selection and clothing, makeup, props on the heart, but also pay attention to the network literature behind the values and reality fit. Network literature film and television production to coordinate the interests of all parties. In the network literature IP film and television drama adaptation tide, the emergence of a lot of market and public praise double recognition of high-quality works, but there are also plagiarism imitation, shoddy, follow the wind pile up and other phenomena. To this, on the one hand for piracy and infringement of the crackdown can not relax, to pass legislation and other measures, in the identification of infringement, punishment and compensation and other aspects of efforts; On the other hand, it is necessary for all parties in the IP industry chain to "cherish their own feathers," take the creation of high-quality content as the initial intention, coordinate the interests of creators, platforms, investors, producers and other parties, gradually improve the operation and supervision system, and create a healthy environment for the sustainable development of the industry chain.

References

Zhu Kaige朱凯歌,Xu Lu吕璐.论网络文学IP改编的现状与发展[On the Current Situation and Development of IP Adaptation of Network Literature][J].2020（10）:167-168.

Mao Tengfei毛腾飞.解读网络文学IP改编的成功之道[Analysis the Successful Way of IP Adaptation of Network Literature][J].新闻研究导刊，2016（10）:295.

Mu Xiangxiang母翔翔.IP改编电影发展现状及反思[The Development Status and Reflection of IP Adapted Films][J].电视指南，2018（13）:52.

Li Zijia李子佳.热播网络文学改编剧改编策略研究[Research on the Strategy of Adapting Popular Network Literature to Screenplay][J].四川戏剧，2020（6）:130-133

Jiang He江河.网络文学影视改编的发展及应对[The Development and Countermeasures of the Adaptation of Network Literature and Film][J].新闻传播，2020（20）:90-91

Terms and expressions

network literature网络文学

IP adaptation IP改编

copyright protection 版权保护

mainstream values 主流价值观

My Heroic Husband 赘婿

SWORD SNOW STRIDE 雪中悍刀行

Shangyang Fu 上阳赋

You Are My Glory 你是我的荣耀

RATTAN 司藤

Soul land 斗罗大陆

Yuewen Group 阅文集团

Empresses in the Palace 甄嬛传

Ruyi's Royal Love in the Palace 如懿传

The King's Avatar 全职高手

RESET 开端

Love and Redemption 琉璃

Fights Break Sphere 斗破苍穹

The Journey of Flower 花千骨

Treading On Thin Ice 步步惊心

Better Days 少年的你 The Yin-Yang Master: Dream Of Eternity 晴雅集

NOVOLAND:EAGLE FLAG 九州缥缈录

They Are Flying 飞行少年

Stellar Transformations 星辰变

THE Longest Day In Chang An 长安十二时辰

Questions

1.What is network literature?

2.Please summarize the background of the IP change in network literature.

3.What are the characteristics of IP adaptation of network literature？

Answers

1. Network literature refers to the newly produced literary works, quasi-literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.

2. There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.

3. Rich in subject matter types ;Stable audience.

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.

References

[1]Wu Changyun 吴长云.(2001).南岳与寿文化[Nanyue and longevity culture ].湖南文史Hunan literature and history (02):72-73. [2]Cao Yiyun 曹译匀.(2011)对南岳文化景观的解读[Interpretation of the cultural landscape of Nanyue].旅游纵览Travel Overview (12):96-97. [3]Zhou Wei 周巍.(2002).寿岳说寿[Shouyue Shuo Yue].新闻天地News World (06):35-37. [4]Li Chengxiu 李程秀.(2020)南岳寿文化的现代养生价值研究[Study on Modern Health Preservation Value of Jugaku Culture in Nanyue] .文化创新比较研究A Comparative Study of Cultural Innovation (07):43-44. [5]Han Xia 韩霞.2017.中国寿文化与道教思想略论[China Judaku Culture and Taoist Thought].人文天下Humanistic world (05):38-41.

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.

朝朝鲜语笔译 徐盖 Xu Gai 202170081638

Jiangxi NuoXu Gai

Introduction

Nuo culture, in which Nuo dance, also known as ghost play, is the oldest dance of entertaining gods in Han nationality, which worships gods, dances ghosts, drives away plagues and avoids diseases. "Nuo" is a social and cultural phenomenon with strong religious and artistic color, which has a long history and is widely popular in the Han nationality. It originated from the natural worship, totem worship and witchcraft consciousness of the ancestors of the Han nationality. The ancient ancestors lived and multiplied in conquering nature. Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.Jiangxi Nuo, is an important part of Chinese Nuo. Nuo is a cultural phenomenon that spirits chase ghosts and pray for disaster. Jiangxi Nuo is a part of Chinese Nuo, which has the characteristics shared by Chinese Nuo. However, Jiangxi Nuo is a regional Nuo culture, and it has experienced thousands of years of accumulation and inheritance, forming a distinctive feature of unique search.

The origin of Jiangxi Nuo

Jiangxi Nuo, also known as Gan Nuo, is an important part of Chinese Nuo. It is well-known at home and abroad for its long history, primitive form, rich varieties and its own cultural system. It is called the "living fossil" for studying the development of Chinese and even human civilization. Jiangxi Nuo, rich and thick, began in the early Han Dynasty, and for more than 2,000 years, Nuo has never stopped. Nuo dance, which entertains people, was born out of the ancient Nuo ceremony, and it is more common in many rural areas, especially in Nanfeng and Shangli counties, which can be called the living fossil of Chinese Nuo culture. According to statistics, since the end of the Qing Dynasty, there are more than 150 Nuo classes in Nanfeng County, which not only retain the Nuo temples in the Ming Dynasty and the ancient Nuo ceremonies, but also spread more than 80 traditional programs and more than 2000 kinds of Nuo masks, with more than 2000 existing Nuo artists. Lixian County has been known as "a general in five miles, a god in ten miles" since ancient times. Now there are more than 20 ancient Nuo temples in Ming and Qing Dynasties, which inherit more than 50 percent of the classical Nuo dance. There are more than 400 kinds of ancient Nuo masks and more than 20 mask carvers.

The distinctive features of Jiangxi Nuo

Jiangxi Nuo preserved the primitive ancient Nuo ritual completely. The "Nuo Dance" in Shiyou Village, Nanfeng County is the remains of the extremely rare ancient Nuo ritual in China. In addition to its scale, it is eye-catching similar to the basic aspects of the palace Nuo in the Han Dynasty in Hanshu Yiwenzhi. Pengze county Laowuwan's "beating wild cats" is full of the meaning of ancient villagers' exorcism, and it is a kind of epidemic-fighting ceremony with religious significance, which is rare in today's Chinese exorcism culture.

Jiangxi Nuo has a traditional character and rich categories. After thousands of years of secularization and entertainment, a considerable part of Nuo in China has died out, and some of it has been transformed into a cultural form with Nuo culture. Jiangxi Nuo has always maintained the tradition of taking masks as the core of all activities. In Nuo activities, Nuo masks are not only the image code or artistic makeup, but also the soul of these activities. They still enjoy people's awe and admiration, even though they are engaged in Nuo dances and operas. The variety of Jiangxi Nuo is also rare in Chinese Nuo culture. In terms of its nature, it can be divided into Nuo sacrifice and Nuo art; From the aspect of expression, there are three types: open Nuo, closed Nuo, literary Nuo and martial Nuo. In terms of artistic mining, there are "Nuo Opera" and "Nuo Dance" which complement each other. It is because of this richness that Jiangxi Nuo can keep its life and vitality in the long course of social development. Jiangxi Nuo has formed its own cultural system and occupies a place in folk culture. In the course of its development lasting for thousands of years, Jiangxi Nuo has constantly adapted itself to the development of the times, absorbed nutrition from Buddhism, Confucianism and Taoism, and gradually formed a Jiangxi Nuo culture system which includes beliefs, specific sacrificial ceremonies, sacrificial sites, and Han folk customs and cultural activities influenced by Nuo. For example, Jiangxi Nuo has no divine spectrum, but it has a sacred Nuo temple. Nuo sacrifice is just a primitive religious ceremony without any precepts, but there are still laws and regulations that believers must abide by; Nuo Sacrifice has no philosophical thought necessary for any religion, but it draws ideas such as cause and effect, loyalty and righteousness from Buddhism and Taoism. Jiangxi Nuo is not a mature religion, and there are no scriptures, but there are still Liao prayers that have been formed and handed down from generation to generation. It is particularly noteworthy that after a long period of secularization and entertainment, Jiangxi Nuo has formed its own unique art, that is, Nuo dance, Nuo opera, and the carving and making of Nuo masks. Among them, mask making has surpassed the significance of religious sacrifice and become a striking Han folk handicraft, just as the European church choir has become a folk chorus art. Jiangxi Nuo has spread all over Jiangxi in history, and it is relatively concentrated in the half-moon zone from Wuyuan in the east to Pingxiang in the west, among which Nanfeng, Le 'an and Guangchang in Fuhe Valley are the most concentrated areas in Jiangxi Nuo. In addition, Xiushui, Wanzai and Pengze also have Jiangxi Nuo activities. The Nuo temples in Pingxiang and Nanfeng are dedicated in time, and they are not lonely.

Nuo mask

Chinese Nuo culture includes Nuo temples, Nuo masks, Nuo dances, Nuo operas, Nuo symbols, Nuo costumes, Nuo weapons and other complex whole, including anthropology, ethnology, folklore, religion, drama and many other aspects. Nuo mask is an important part of Nuo culture. It is used in Nuo ceremony, Nuo dance and Nuo opera. There are many kinds of Nuo masks in Jiangxi with different shapes, all of which are carved by willow and camphor wood, and then painted and painted, showing rough simplicity and magnificent Zhuang Dian. Pingxiang Xiang Dong Nuo Mask is an excellent folk traditional sculpture with a long history. East Hunan is under the jurisdiction of Pingxiang, the coal capital of the south of the Yangtze River, and is the west gate of Jiangxi. The surviving Nuo mask carving in xiangdong district originated from the Qing Dynasty, was passed down from Taizhang, Hunan Province, and has been handed down for three generations. It inherited the techniques of Nuo mask carving in the Song Dynasty, with mature technology, simple and delicate carved masks and complex craftsmanship, which is a rare cultural heritage in China's carving field.In 2006, Pingxiang Xiangdong Nuo Mask was listed as the first batch of national intangible cultural heritage list with the approval of the State Council.

Nuo dance

Nuo dance is a traditional dance in Jiangxi Province. Nuo dance is a kind of folk dance widely spread around the world, which has the functions of exorcising ghosts, fighting epidemics and offering sacrifices. It is the dance part of Nuo ceremony, and it is usually performed from the New Year's Day to the 16th day of the first month. Pingxiang Nuo dance footwork has the cultural style of Chu witch, the dancers' movements are bold and unrestrained, and their posture is full of shock; Enjoying Nuo dance is divided into three genres: "having fun", "playing the ancient drama" and "rolling Nuo God". It performs for nothing and is good at martial arts. Wuyuan Nuo dance is simple and vivid, and its performance forms can be divided into solo dance, duet dance, trio dance and group dance. Jiangxi Nuo dance integrates totem culture, Taoist culture, folk culture and other connotations.

Conclusions

There are still many introductions about Jiangxi Nuo. Jiangxi Nuo is like this. It comes from the people and returns to the people. In this process, firewood and fire were handed down from generation to generation, blooming in Ganpo and spreading all over the world. It is ancient, carrying the continuation and expectation of thousands of years of culture; It is also sacred and awesome.

References

[1]Xu Qun徐群 .论赣傩的文化特征及赣傩舞的表达 [On the Cultural Characteristics of Jiangxi Nuo and the Expression of Jiangxi Nuo Dance ] [[J ] .时代文学 （下半月），2009 (2 ) :207 - 208. [2]Liu Juan刘卷 .赣傩艺术视觉审美特征研究[Research on the Visual Aesthetic Characteristics of Jiangxi Nuo Art] [J ].湖南医科大学学报 :社会科学版，2009(5) :186 -187. [3]Fu Hongling 付红玲 ，Wang Qi王琦 . 江西萍乡傩舞艺术特征初探[On the Artistic Features of Jiangxi Nuo Dance][J ].艺 海 ， 2011(4) :90-91.

Terms and expressions

Nuo culture 傩文化 Gan Nuo 赣傩 Nuo Mask 傩面具 Nuo temples 傩庙

Questions

1.When did Jiangxi Nuo begin? How many years ago? 2.Why did ancestors create Nuo culture?What was their purpose? 3.When was Pingxiang Xiang Dong Nuo Mask listed in the first batch of national intangible cultural heritage list?

Answer

1.Jiangxi Nuo began more than 2,000 years ago in the early Han Dynasty. 2.Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture. 3.In 2006

朝鲜语笔译 徐文慧 Xu Wenhui 202170081639

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

The tools and materials of Chinese calligraphy are basically evolved from pen, ink, paper and inkstone. They are often referred to as the "four treasures of the study", roughly speaking, they are the four treasures necessary in a scholar's study.Because the ancient Chinese literati are basically able to write, or draw, or both can write and draw, is inseparable from brush, ink, paper and inkstone these four treasures. The name "wenfang(文房)" originated in the Southern and Northern Dynasties (420-589) in Chinese history. It specifically refers to the study of literati, and is known as the "four treasures of the study", with pen, ink, paper and inkstone used in the study. In addition to the four treasures, there are also pen holder, pen holder, ink bed, ink box, arm holder(臂搁), pen wash(笔洗), book town, water cheng(水丞), water spoon, inkstone box, inkstone box, printing mud, printing box, cutting knife, seal, roll and so on, which are also necessary in the study.（Chen Yunqin,2014,98）

Brush

Because the brush is the main tool for writing. It has been more than 3,000 years since the birth of Chinese characters. We all know that the oldest Chinese characters come from archaeological finds -- shards of oracle bones from the Shang and Zhou dynasties. At that time, there were two ways to engraved words on hard oracle bones: one was to use a knife directly connected with the deed; The other is to write the words in advance on the oracle-bone slice, and then cut it with a knife. The inscribed oracle-bone slices were written with a brush but the uninscribed oracle-bone slices but in fact the brush came into being much earlier than writing. Although the Xia dynasty before The Shang and Zhou dynasties is still a blank in terms of literature, we can find a large number of painted patterns on the painted pottery decorations of the Neolithic Age 10,000 to 4,000 years ago. The lines are smooth, clear and full, obviously drawn by soft brushes. From the painted pottery culture further back to 10,000 years ago or even more distant paleolithic rock paintings. Rock paintings all over the world are the oldest universal language of the Paleolithic age and the mark of human symbiosis thousands of years ago.The production of rock painting is divided into engraving and drawing two categories. Among them, the drawing class is divided into two kinds of lithographic painting and tool drawing. Researchers have yet to find any rock paintings that are clearly made with brush, but I imagine that particularly delicate areas must be done with bamboo or wood 'soft brushes(软笔)' wrapped in plant fibers or smashed into tiny shapes with the tips of sticks. This method is still used by some contemporary painters in pursuit of special effects in painting, which should be the earliest pen. Therefore, Cui Bao(崔豹), a member of the Jin Dynasty, said in his notes on "Ancient and Modern times(《古今注》)", "The ancient pen, whether made of bamboo or wood, can be dyed into characters, which is a pen." So we can be sure that the writing brush should have appeared in the Xia, Shang and Zhou dynasties, the word "yu(聿)" in the oracle bone script is the word "writing brush". In the Spring and Autumn period and the Warring States period, different countries called pens differently. "Shuo Wen Jie Zi(《说文解字》)" said: "Chu called it lut, Wu people not law, Yan people called fu, Qin called pen. In the Spring and Autumn period and the Warring States Period, the carrier of writing was mainly on bamboo slips except for a small amount of cloth. For writing on hard materials, the best invention was a pen bound with animal hair.(Fan Zunrong,2021,87) The two earliest writing brushes were unearthed from the Chu Tomb at Changtai Pass in Xinyang(信阳), Henan Province and the Chu tomb at Zuogong Mountain in Changsha(长沙), Hunan Province. The writing brush is different from the modern general writing brush. The hair is wrapped in one end of the pen holder with silk thread. The tip length is 2.5 cm. The writing brush unearthed from the Tomb of The Warring States and Qin Dynasties in Sleephudi, Yunmeng County, Hubei Province in 1975 has two shapes. One is to bind the brush on the outside of a bamboo pole and add lacquer to it. The other is to chisel a cavity at the end of the bamboo pole to hide the tip of the pen, which is similar to today's brush-making method. In 223 BC, The Qin Dynasty dispatched Meng Tian(蒙恬) to the Region of Zhongshan, now known as Pingshan and Lingshou in Hebei Province, and found that the local rabbit was very healthy, so meng Tian made a pen. CAI Yong(蔡邕) mentioned the "rabbit in Zhongshan(中山兔毫)" as a good pen in his "Pen Discussion(《笔论》)". However, according to the Biography of MAO Ying written by Tang Han Yu, when Meng Tian expedition from Chu to Xuancheng, Anhui province, he found that the local rabbit was very strong, so he made a writing brush, and improved the making method of writing brush by "quilt column method", thus greatly improving the performance of writing brush. Therefore, there is a beautiful reputation of "xuanbi(宣笔)" after the world. Here, we can confirm that the hereditary "Meng Tian Zhu bi", in fact, should be called "improved brush", its method has been inherited for more than 2300 years, as for the specific location can be ignored.

Ink

Ink also has a long history. Archaeological discoveries have found ink-drawn patterns of fish, deer and plants on pottery from the Neolithic Period. Inks and stone grinding sticks dating back more than 6,700 years have been found at the Jiangzhai site in Lintong, Shaanxi province. There are also calligraphic ink marks on the oracle bones of Yin shang. Ink was used for bamboo slips and wooden tablets used for recipes from the Spring and Autumn and Warring States periods, but natural graphite was used. In the Han Dynasty, artificial ink began to appear. Raw materials from pine tobacco plus glue, hand shape, or to mold pressing. "Han official discussion(《汉官议》)" contained: "Shang Shu to the servant cheng Lang, month to yu Mi big ink, small ink each." In the Song Dynasty, "Ink pills began to appear in the Wei and Jin dynasties. Since then, luozi ink pills have been left behind." Wei Dan(韦诞), a calligrapher who wrote the Book of Brush in The Three Kingdoms period, was also good at making ink. He used lacquer smoke and pine smoke to make ink, which was known as "The ink of Zhong General is like lacquer". Zhong started moo as a culture and entered history. During the Tang and Five Dynasties, there were famous ink workers Xi Chao and his son Tingxian, who made ink well and won the favor of the royal family of the Southern Tang Dynasty. They were given the surname Li, and it was said that "gold is easy to get, but ink is hard to get". Li ink was made in xi Prefecture during the Song Dynasty, so Hui ink became a famous title and became the center of ink making in China. In the Qing Dynasty, the ink-making technology reached its peak, and there were more and more famous ink-makers, among whom were hu Kaiwen, Cao Sugong, Wang Jinsheng and Wang Jiean. Their ingot has been entered into major museums as cultural relics. During the Reign of Emperor Guangxu, the brothers Xie Songdai and Xie Songliang created a kind of ink called "Yuntou Yan(云头艳)", which paved the way for the manufacture of modern ink. In 1915, China's hui ink won the gold medal at the Panama World's Fair.(Fan Zunrong,2021,88)

Paper

The invention of paper is China's great contribution to the development of world civilization. In 1933, a piece of plant fiber paper of the Western Han Dynasty was unearthed in Robnuer, Xinjiang. In May 1957, a kind of plant fiber paper was discovered in a Western Han Dynasty tomb in Baqiao, an eastern suburb of Xi 'an, and was named Baqiao paper(灞桥纸). In the early 1990s, nearly 1,000 pieces of ancient paper from the Western Han Dynasty were unearthed at dunhuang ancient Site in Gansu Province, mainly made of hemp fiber. Later, CAI Lun of the Eastern Han Dynasty improved the technology of papermaking, using cheaper and more readily available bark, rags, waste fishing nets as raw materials, to produce high-quality and inexpensive paper, and the rapid promotion of papermaking technology in Our country, CAI Lun's achievements will be recorded in history. After The death of CAI Lun, it is said that one of his apprentices, Kong Dan, came to southern Anhui to make paper with the green sandalwood bark, which was abundant in the local area, and finally achieved great success. This paper fiber is close and delicate, strong ink absorption, toughness and wear resistance, is the predecessor of rice paper. In the Tang dynasty, culture and art flourished before empty space. The huge demand for paper has led to higher and higher quality. According to the records of "New Book of Tang(《新唐书》)", "Six Books of Tang(《唐六典》)" and "Old Book of Tang(《旧唐书》)", in the second year of Tianbao (743 years), there were Anhui, Sichuan, Jiangxi and other places to pay tribute paper, among which the tribute paper of Xuancheng County in southern Anhui was the most exquisite. In fact, the main origin of rice paper is in Jing County, because in the Tang Dynasty, Jing County, Taiping, Ningguo, Guangde, Xuancheng and so on belong to Xuanzhou, so rice paper is still used today. The famous paper recorded in the history books before the Song Dynasty also includes Xue Taojian and water grain paper (also known as flower shade paper) in the Middle Tang Dynasty, Chengxintang paper made by Li Yu in the Southern Tang Dynasty, Xie Gong paper(谢公纸) and Jin Su Jian(金粟笺) in the Song Dynasty, all of which are processed alum paper.

Inkstone

Inkstone, also known as inkstone pool, inkstone sea, inkstone production since when, is still difficult to determine. In ancient times, it used to be clam shell. In the 1950s, grinding tools were found in the Yangshao Culture site in Banpo, Xi 'an. The concept of inkstone before the Tang Dynasty is different from that of today. At that time, the ink ingot was not directly ground on the inkstone, but another stone was needed to grind the ink on the inkstone until it was fine. Just as now you grind paint with a pestle and mortar. There are many kinds of inkstone materials since ancient times, including jade, copper, porcelain, pottery, tile, stone and other materials. Ink-stone was widely used since the Tang Dynasty. In the Five Dynasties, an ink-stone bureau was set up in the Southern Tang Dynasty to manage the ink-stone making. The technology of ink-stone making was developed and the status of ink-stone was greatly enhanced. From the Song Dynasty, the decorative pattern of inkstone is also gradually exquisite and fine, until the modern, with advanced stone carved into the inkstone, is not a simple party grinding ink tools, but to do the best carving handicraft, luxury goods. Inkstone was widely produced in song Dynasty, and the inkstone making industry was flourishing. Mi Fu(米芾)'s "Inkstone History(《砚史》)" recorded that inkstone was produced in Tangzhou, Wenzhou, Guizhou, Suzhou, Kuizhou, Qingzhou, Duanzhou, Xi, Tanzhou, Zizhou, Xinzhou, Guo, Jianxi, Lushan, Taohe and other places. Inkstone, as one of the four treasures of the study, has been among the elegant life circle of shilin. Since the Tang Dynasty, among numerous inkstones, "four famous inkstones" gradually came into being: Duan-inkstone(端砚), she inkstone(歙砚), Tao inkstone(洮砚) and Cheng-ni inkstone(澄泥砚). Or: Duan-inkstone, she inkstone, tao inkstone, red silk inkstone(红丝砚).(Shen Xipeng,2012,90)

Features

Brush

First of all, in terms of the size of the brush: the smallest brush should be used for bottle painting, the big one is less than ten hairs, the small one is only a few. And then a little bigger is the gui bi(圭笔), The bigger ones are as thick as a man's arm. Various kinds of pens are divided into a number of numbers for users to choose. Secondly, according to the hardness of the pen hair, it can be divided into three types: hard, soft and both. The characteristics of the hard hao pen are hard and tough, elastic, refreshing, so that the ink is fast, suitable for fast writing, work in one go. There are common bristle pens made of bristle, weasel tail hair made of Wolf pen, "zihao(紫毫)" is a small patch of purple black elastic hair on the back of the hare made purple hao pen, purple hao pen is the most expensive. There is also a mouse beard pen made with the whiskers of a mouse (or squirrel), which is also recorded in the "Dictionary Source"(《辞源》) and "Compendium of Materia Medica(《本草纲目》)" by Li Zizhen of the Ming Dynasty. It was written in the Han Dynasty and was popular in The Three Kingdoms, Jin and Southern and Northern Dynasties. Zhang Zhi, Zhong you and Wang Xi-zhi used it. According to legend, "Orchid Pavilion Preface" is written with a pen. Other hard pen and deer hair, leopard hair, etc. Recently, the great painter Zhang Daqian sent his staff to a farm in Brazil in the 1960s to buy the hair in the ear of a cow with a large sum of money and make dozens of cattle brushes and give them to his friends. Then, there are bamboo pens in Japan, which use hard objects to pound semi-tender bamboo into extremely tough bamboo pens.(Fan Zunrong,2021,87) Song Dynasty Mi Fu "brush history" also cloud: "Jin generals will check internal history Wang Xizhi" Running book post "authentic... It was written with a bamboo dry pen." It can be seen that the bamboo pen originated in China and was used in the Southern and Northern Dynasties.The raw materials of soft pen are sheep and chicken. Features are: soft edge, poor elasticity, the advantage of ink storage, ink slowly, writing strokes mellow and thick change. Both the sheep's and chicken's brush originated in the Southern Song Dynasty and prevailed in the Qing Dynasty. It is not easy for Ho Shao-kee in the Qing Dynasty to write with a chicken brush and Lin San-chee in the contemporary grass sage to write with a sheep's hand.

Ink

The varieties of ink are generally divided into three categories: lampblack, pine smoke and selected smoke. Lampblack ink includes lacquer lampblack ink, which is baked with tung oil, sesame oil, lard, rapeseed oil and lacquer, etc., and added with leather glue, musk, borneol and other spices. Soot ink is the best ink, fine texture, hard wear-resisting, black and purple light for the most by, called "purple jade light(紫玉光)". Followed by pure black, green black. It can be divided into four grades successively, namely, jade lacquer smoke, chaogong smoke(超贡烟), gong smoke and top smoke(顶烟), with jade lacquer smoke as the highest quality. Ready-made ink brands also have a lot of, Yi De Ge(一得阁), Cao Su Gong(曹素功) are time-honored. However, although some finished ink is convenient to use, it contains the iron Zhai Weng(铁斋翁) series painting and calligraphy sooty ink (belonging to hui ink) customized by Shanghai Ink Factory for Japan. The glue quantity is large, the viscosity is high, and the pen cannot be pulled. When using, it is necessary to add an appropriate amount of water to remix. Many painters and calligraphers prefer to grind their own ink because it is superior to the finished ink. Use clean water to grind ink. The ink solution grinded by oneself is rich in layers and the shade changes naturally, which is the first choice for painting and calligraphy creation. After grinding, the ink should be dried, put into the box, dry naturally, avoid exposure to the sun and cracking, degumming. Fresh ink is refreshing. If it is used after a day or two, it often presents the old ink separated by ink and wash.(Yan Min,2006,70) When used, it needs to add an appropriate amount of water to mix it.However, the grain is thick and cloudy, but the rice paper will show a special ink rhyme, there is a good.

Paper

According to the raw materials, the raw materials of modern rice paper are mainly sandalwood and straw. Such as "cotton" sandalwood content is 40%; "Clean skin" of sandalwood content is 60%; The content of sandalwood is 80%. The higher of leather the content of the paper tension, toughness, density, soft cotton is stronger, the more can reflect the rich ink level and ink effect. There are many varieties of rice paper, but in terms of use, there are three kinds: raw, cooked and semi-cooked.Health xuan water absorption, ink absorption is strong, ink rhyme changes, ink immediately Yin open; Cooked paper is not. Cooked paper is processed by alum on the basis of raw xuan, or it does not absorb water at all. It is generally used as gongbi painting, of course painting and calligraphy can also be used. Semi-cooked propaganda is between the two, so the dyeing degree is also different, the author feels that some semi-cooked publicity is very suitable for calligraphy creation. The "Daqian paper" made in Jiajiang County, Sichuan province is mainly made of bamboo. During the War of Resistance against Japanese aggression, Zhang Daqian and his cousin once jointly developed the paper. The quality and performance are similar to that of rice paper. Vellum is also a big category, there are many kinds of coarse, fine. Mulberry bark and hemp are the main raw materials, wenzhou paper is the most important in the market, and other provinces such as Yunnan and Guizhou also produce. The characteristics of vellum are: not as white as rice paper, long and thick fiber, strong tension, loose texture, but toughness is better than rice paper. It is worth mentioning that the vellum can especially withstand the brush repeatedly rub and not broken, repeated dot dye and no pen mark.(Zhao Yue,2019,29) Especially handmade yuanshu paper(元书纸), just like cotton cloth, is the first choice of those who learn calligraphy and painting, has the characteristics of vellum. By the way, the earliest authentic calligraphic work preserved in China today is Lu Ji's "Pingfu" of the Western Jin Dynasty in the Palace Museum in Beijing The paper was coarse and yellow, very similar to today's Yuanshu paper, 60 years earlier than Wang Xizhi's Orchid Pavilion Preface. So, regardless of the edge paper, yuan shu paper, as long as you have a good grasp, still can be a fine art, and the effect is clumsy, do not have interest. Xuan paper(宣纸) can be preserved all the year round because of its excellent quality, which has established its position in Chinese cultural history. Therefore, it has the reputation of "silk longevity is 800 years, paper longevity is 1,000 years". Ancient rice paper still exists today. If it is properly preserved, it often has no dryness, moderate ink spreading and dyeing, natural color, and suitable for calligraphy and painting. It is very refreshing, of course, expensive. Even before 1992, ordinary people could not afford to use it.

Inkstone

Pick inkstone, such as the end of the inkstone, knocking stuffy, is the top grade, tile sound second, metal sound again. She inkstone is on the contrary, the sound crisp is the best, the sound turbid is second. Inkstone for use, hair ink for the shape of the second. Especially beginners do not need to buy expensive inkstone. I have a few friends gave the name of the inkstone, because of delicate carving, but reluctant to use. After a good inkstone to wash, inkstone pool into water to keep it. The author likes to use a common inkstone all the year round, with a cover, the ink pool raised about 0.8 cm in the middle, around the water can be stored, good sealing, ink liquid storage ten days dry, new grinding ink liquid can get two or three days fresh.(Ma Doucheng,2002,16)

The charm of The “scholar's four jewels”

For writers, the pen plays an important role in creating a good picture. CAI Yong once said, "If only the writing is soft, it is strange to be born." Because the pen is soft and flexible, the characters can be light or heavy, large or small, and the motions can change endlessly. The development of writing brush is also a process of gradual improvement. It was first invented by Meng Tian, a minister of the Qin Dynasty. He holloped a bamboo tube into a hair cavity, stuffed the rabbit into the cavity, and made a pen after reinforcement. To the Han Dynasty, inherited the Qin dynasty pen-making technology, and then improved. In the Tang Dynasty, Xuancheng, Anhui province, was famous for making hard stylus. At that time, people could only write by hanging their elbows on a low table, so most of the stylus was hard and short, which was convenient for writing. In the Song Dynasty, writing did not need to sit on the floor, there appeared a high table, elbow can be placed on the table, the pen tended to be soft. It was not until the Yuan Dynasty that the yanghao pen, which was abundant in Wuxing, Zhejiang Province, appeared and became popular. In addition to looking at the soft and hard of the brush, we should also consider the length of the brush edge. The long front pen is conducive to the rotation of the lines, and the short front pen is easy to use. Besides, pointiness, roundness, evenness and health are the four virtues of the pen. Writers can choose according to their writing style.The ancients mainly used ink blocks, and the grinding ink is not easy to stick, while modern people mostly use ink to save time and effort. Good ink needs to have black color, light, fine quality, light adhesive quality, anhui shexian hui ink is especially famous. Although black is simple, it can also be divided into different colors: dry, wet, thick, light and dry. In addition to choosing ink, we should also be good at using ink to create layered works and produce better artistic effects in the contrast between black and white.In the "four treasures of the Study", the status of paper can not be underestimated. Before the advent of paper, ancient people usually recorded their texts on animal bones, tortoise shells, bamboo and wood slices. After CAI Lun improved paper making, paper was widely used in life. Refined paper, namely xuan paper, anhui Xuancheng output is the most famous, white color, fine texture. Rice paper and raw, ripe points. Sheng Xuan ink absorption is strong, easy to penetrate, not easy to control. Cooked with alum will not absorb ink, but too cooked paper often does not eat ink. Therefore, most of the Chinese characters used are half-cooked paper.(Zhao Yue,2019,29) In today's order of "four treasures of the study", the inkstone is not in the leading position, but in the eyes of the ancients, the inkstone as a research of ink tools are very important. Nowadays, the inkstone seems to be less important for writing and more for collection. For daily writing, choose inkstone is not very exquisite, do not have to be valuable, but have to be practical.

Conclusions

The culture of the Four treasures of the Study has a long history. People create the four treasures of the study in the process of labor, and in turn serve people's life. In the aspect of cultural inheritance, the four Treasures of the study have made great contributions. In the aspect of writing, the four treasures of the study are like people's friends. Therefore, the literati also praised it in their literary works. The culture of the four treasures of the Study before tang Dynasty is the source of the culture of the four treasures of the study after tang Dynasty. The literature of the four treasures of the study before Tang Dynasty has laid a foundation for praising the literature of the four treasures of the study after tang Dynasty both in terms of ideological content and artistic techniques. In the poetry of tang and Song dynasties, the four treasures of Chinese room appeared more frequently. No matter the expression of literati's morality and talent or emotion, they could not be separated from such carriers as ink, paper and inkstone. In terms of ideological content, it was more extensive and in-depth than that of the tang Dynasty. There are also flexibility and diversity in the use of artistic techniques, such as the production materials and techniques of the Four treasures of the Study, the four treasures of the Study and the life and emotion of the literati, the four treasures of the Study and the political people's livelihood, the four treasures of the Study and the cultural inheritance and exchange, etc., and there are differences in the expression of styles due to different times and styles. The images of the four treasures of the study in tang and Song poetry, such as "calligraphy(翰墨)" and "jian(笺)", also placed the author's unique thoughts and feelings. In addition, the combination of the four treasures of the study and other images, not only assisted the creation of characters in the poetry, but also provided convenient conditions for the creation of aesthetic conception in the poetry. The four treasures of the Study appeared in a large number of poems during the Tang and Song dynasties, which was not only related to the unique cultural implication of the four treasures of the study, such as family training, morality, talent, practicality, obsession, embellishing, and kindness, but also closely related to the social features of the time, such as the implementation of cultural and educational policies, the enrichment of study culture, and the development of handicrafts.(Dong Xiuxiu,2018,60) With the popularity of Han culture, the "four treasures of the Study" has been introduced to more countries, which not only strengthens the cultural exchanges between China and other countries, but also helps calligraphy to go abroad and spread to all over the world, making calligraphy art more brilliant. Nowadays, we pay more attention to calligraphy, attach importance to cultural confidence, and constantly create a cultural world belonging to China. Writing good Chinese characters is a skill that each of us should master, and spreading calligraphy culture is also the responsibility of each person.

References

赵悦.在文房四宝中感受书法的魅力,2021.09, 28

Terms and expressions

Questions

Answer

外国语言文学 Akira Jantarat 202121080009

The emergence of new linguistic forms in Chinese (neologisms)Akira Jantarat

Abstract

Key words

Chinese, New linguistic, Neologisms

Introduction

Language is important to humans because in addition to being a tool for communication It is also a tool for learning and developing human thinking. It is also a tool for transmitting culture and occupation as well as enhancing the unity of people who speak the same language. Language is a symbolic system that functions as a tool of social communication, consisting of sound, vocabulary, and grammar. "Vocabulary is the most important component of language" (Chenyuan, 2000, p.209)

"Neologisms" are new words or phrases. It's a popular word that was created. or adapted for use in daily life but has not yet been officially recognized. Nevertheless, The more modern the vocabulary, the more people are interested. And "Neologisms" include not just new words, it also new constructional patterns, newly innovated in parts of speech (David Crystal, 1996, 73) Nowadays, technology plays a huge role in the daily life of people of all genders and ages. As a result, words or sentences are spoken in Simplified Chinese become a dynamic vocabulary. and are constantly evolving into new words. No matter what language, when old words are not enough to satisfy the need for expression After something new is born, society or person will have an impulse to make words quickly, to be used in the memorization process, or the process of summarizing the main characteristics of things. And when a new word is accepted and widely used in society, that word will become an old word.

Therefore, the objective of this study is to study the factors for the emergence of a new linguistic form in Chinese or “Neologisms in Chinese”.The study of phenomena created by human society It is very important to Chinese linguistic researchers and social researchers. And also a matter that should not be ignored, because we are about to enter a decade that has changed from the original.

Literature Review

Nowadays, the number of words that we use in our daily life is increasing. The research of new words is becoming more comprehensive and systematic as well. Researching new vocabulary by researchers has resulted in many new words being enriched and increasing awareness of the importance of language. At the same time, many linguistic researchers have taken into account and researched the factors and emergence of new words. This reflects the importance of research on the factors of lexical formation intensified. Here's a summary and an introduction to previous research.

Definition of a new word

Wang (1992) explains that although the current definition of the new term captures the characteristics of the new word from different angles, The nature of creating new words will consist of "Reconstruction, new borrowing, new meaning and new use" of new words.

Lu (1984) pointed out that Some new words and new meanings might be new. But some words are not very new. But it's just an omission from the general dictionary.

The birth of a new word in Chinese

Hongyin Tao's research titled Chinese language in a global context provided information that Language as a symbolic system is often determined by internal and external factors. Factors outside language such as social identity, culture, tradition, progress, creativity, technology, and conservation. and also said In the context of globalization, English is often seen as a hegemony language. English is growing in popularity to communicate over the Internet. This is one of the results that has enabled China to create a more modern economy, society, and culture and keep up with the evolution of the world.

Methods and Theories

Background

Definitions of Neologisms

A neologism is a relatively recent or isolated term, word, or phrase that may be in the process of entering common use, but that has not been fully accepted into mainstream language. (James M. 2006) Neologisms are often driven by changes in culture and technology. (McDonald, 2005) Neologisms are mostly spread through mass media exposure (Sayadi, 2011), such as Facebook, Twitter, WeChat, Television, etc. Generic brand name designations such as "可乐" for Coca-Cola or "五G" for 5G are spread through popular uses, which have been updated by the media.These terms also express the concept or a concept, that is used instead of explaining certain events or situations that are difficult to explain, to make it easier to understand, and show the culture, concepts, and values of present people.

Impact

Language and social structure are in a co-change state, which is a major change in society since the reform and opening of the country. Which makes new words grow, even more, no matter, that society and culture are constantly changing. Because human needs are endless, the change will be fast or slow depending on the factors involved. Whether it is the level of education of people in social communication and changes over time Language and society belong together. must always go together If society changes language, it changes. it is related This is due to the factors that cause change, such as discovery, conflict, competition, and social and cultural change. Can be summarized as follows.

language and society

The language change is not abrupt, but gradually, the change is caused by the presence in many aspects, one of which is the society in which the language Existing profound changes in social life are manifested in aspects such as politics, economy, culture, education, health care. Science and technology, new things are constantly emerging, new ideas and new ideas. It continues to encourage new vocabulary. (Han Xiaoyu, 2011)

Liu Xiaohong (1998) and Liu Lanmin (2005) mention the motivation for word formation and factors affecting word formation which will be divided into 2 aspects. First, the "internal factors" of language, namely pronunciation, grammar, meaning, and word formation. And the second side is external factors of a language, such as the social and geographical environment including the purpose and motivation of word-formation.

Language is the most important human tool. The language used is one of the human conditions for building society. Comparing modern and ancient China, we can see that the vocabulary is richer and the forms of words and sentences are more diverse as well, the development of society will play a role as a historical witness of the language. Communication between different societies will promote language development as well. (Yan Dongmei, 2014)

cultural surge

society and culture It is inseparable. It is like a coin with two sides. Each society has a different culture and language. The cultural exchange of society occurs only when communication and transmission are communicated through the use of mediums, it is the language, and at the same time, both culture and language support and develop each other. Language reflects the nature of the nation, not only contains the history country's culture but also the way of life and the way people think. The influx of foreign cultures into China whether western culture or cultures from neighboring countries all affect the existing traditional culture. Of course, that affects the language as well. and giving rise to new languages ​​in China Which will be divided into the following points:

-western culture-

China's great openness to the outside world began during the Yuan Dynasty. Openness brought the winds of Western science into China, and the westward journey of Genghis Khan and Kublai Khan has opened the door of western culture to China and has an effect on the present day. (Zhao Binning, 2007)

And we cannot deny that Western culture is now a very popular culture in China or Asia, whether in sports, food, or even music. Therefore, the arrival of the West that used English for communication has resulted in some words in Chinese being developed in the form and writing style. However, when everyone realized and understood the meaning thus resulting in a common understanding, for example, New Chinese characters with homophones such as “克隆” pronounced kelong (Clone) 、 “台风” pronounced taifeng (typhoon) 、"榴莲" pronounced liulian (durian) 、"跑酷" pronounced paoku ( Parkour). (Shao Wenting, Guan Lihong, 2016) And the words that take from abbreviations and Pinyin characters written in characters and not Chinese characters, such as "五G手机"、"ATM"、"HSK" (Simplified of Hanyu shuiping kaoshi, which means Chinese language standard test), etc., and include to the words that are used in everyday life such as "哈哈" (haha) 、"AA制" (Algebraic Average)、 "巧克力"（Chocolate）、"比特币"（Bitcoin）, etc.

English mania in Chinese educational institutions, combined with the rapid development of technology, is the driving force of the modernization of the world. This has resulted in an increase in English rates in China. Can we decide what country this word comes from? Yes, it is challenging, Because the cultures have been mixed until it becomes common for us to use English or words that are adapted from English in everyday life.

-Eastern culture-(Korea)

The Korean wave emerged from a globalized world with borderless communication. Through K-pop cultural products such as music, TV series, movies, novels, cartoons, and animation. The South Korean government has supported the policy of promoting the industry in the entertainment sector. As a result, the Korean trend quickly gained popularity. Due to the freshness that is the choice of the world market It also makes people around the world more interested in the story of the Korean nationality. The success of this K-pop Contributed to the popularity of Korean, especially among young people. As a result, the Korean language is accepted and taught widely and rapidly in many countries.

In China, more young people watch Korean dramas. And use more of the Korean language in daily life such as（“오빠” read oppa, Chinese “欧巴”）mean brother 、（“습니다“ read seubnida, Chinese“思密达” ）mean I did, etc.()

The Development and communication through technology

Since China's reform and opening up, the technology world has also developed. Currently, the forms of computer communication are more diverse. For example, Email SMS or 微信 Wechat、qq、微博 Weibo, which is the media most used by Chinese teenagers to communicate through a typed format on a computer or mobile phone.

According to Beijing Zhiyan Kexin Consulting's analysis of the size and usage rate of instant messaging users in China in 2021. Indicate that at present instant messaging has impacted people's lives and jobs. And that message's influence will be extended in the future. Now, instant messaging has become the most popular. Internet applications among Chinese netizens，on June 2021, the instant messaging usage rate in China was 97.3%.()

This means access to technology is a high proportion of the Chinese population. And the advancement of technology has spread to all people with mobile phones. This is not only now but also in the future and technology or social media affects the spread of new words that are added to everyday life. Several researchers have commented on this happening.“Media publishing and distribution play an important role in the cross-regional popularity of languages and words. And the advent of the Internet age has accelerated the spread of the new Internet term.”（Han Xiaoyun, 2011）

“The essence of the rapid growth of new words is the development of society and the advancement of time. Thousands of households are familiar with new words that are rapidly gaining popularity. and the modern media technology represented by the network is indispensable.”()

For example, the most common Chinese words "木有" muyou for "没有" meiyou means 'have not'， "神马" shenma for "什么" shenme means 'what', or "给力" geili. , the original meaning was 'give power', now usually ‘cool, awesome, exciting’. It also uses numbers or letters to communicate instead of words, such as "886" for "拜拜了" which mean ‘bye-bye‘， or even in mobile games that are popular trends in 2021 such as "YYDS" is the most popular word in 2021. The original meaning is "eternal god", which originated from the mouth of "Shan Niruo", the LOL anchor of League of Legends. one buzzword of the year. "()

There is also "Barbie Q" is “BBQ” Babecue, means ‘barbecue’. The top gaming master on Douyin was beaten to death by his opponent, after he spoke the “Barbie Q” word in the live broadcast, “Barbie Q” now has another unique meaning “apocalyptic”. Or even “GG” that is not the meaning of brother (“哥哥” gege) but is “Good Game”. When the losing side is over, "GG" congratulates the opponent using "GG", which means “Good Game”. However, as the word GG becomes more and more used in China, the winner has shifted from congratulation. There was a bit of mockery, so today's GG has another meaning like 'You are done', etc. This is an example of how the Internet affects the spread or evolution of new words. Live broadcast Affects the occurrence of increasing vocabulary in daily life. And this might be creative or it could be a language disaster.

National Language

Language development is greatly affected by economic development. And areas with economic development in addition to financial growth New things and new ideas are also increasing. Sometimes, there dont have enough languages ​​that can meet the needs of users. Therefore it is necessary to borrow some existing words. in different regions as a shortcut to the formation of new words. For instance, Beijing, Guangdong, Shanghai, Hong Kong, and Taiwan, are considered political and cultural centers. including the economic city of the country, It's not surprising that new neologisms have emerged in these regions and have influenced other regions of China.()

Conclusion

References

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骆牛牛. (2015). 新时期汉语新词的造词研究 (Doctoral dissertation, 山东大学).

闫冬梅. (2014). 浅谈语言的变化与社会的发展. 新闻世界, (3), 176-177.

赵滨宁. (2007). 浅谈西方文化对汉语言的影响. 哈尔滨商业大学学报: 社会科学版, (1), 127-128.

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比较文学与跨文化研究 Mahzad 202021080004

Chinese Mythology and its Impact on Chinese Cinema

Chinese mythology incorporates a wide range of folklore, history, and religious belief across numerous time periods and people, including the present day. Many of these myths are intricately bound to philosophy, religion, tradition, and society. Also, it has been one of the richest sources for Chinese artists and writers to draw upon over the centuries.

Journey to the West is considered to be one of the most important books in Chinese history, and traditional artwork commonly features legendary figures, such as the Five Emperors or the Eight Immortals.

英语语言文学 Mimi 2020GBJ002301

         Chinese modern literature