20220630 Culture 3

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

英语笔译 龙翰良 Long Hanliang 202170081589

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

Abstract

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

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

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

Key words

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

Introduction

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

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

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

Overall Design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Test Assessment

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

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

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

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

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

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

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

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

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

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

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

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

Means and methods

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Textbook Compilation

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

Classroom Teaching

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Training of TCSL Teachers

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

Conclusion

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

References

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

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

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

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

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

Terms and expressions

Classroom teaching 课堂教学

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

Questions

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

Answers

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

英语笔译 罗姚林 Luo Yaolin 202170081590

Different Local Dialects in China 罗姚林 Luo Yaolin

Introduction

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

英语笔译 马艳焕 Ma Yanhuan 202170081591

The Differences and significance of adaptation of Folktales -- A Case study of The Legend of the White Snake 马艳焕

Abstract

The Legend of White Snake is one of the four folk love legends in China, which originated from the Giant Snake incident in Luoyang in the Tang Dynasty, initially stereotyped in Feng Menglong's General words of warning in the Ming Dynasty, matured and prevailed in the Qing Dynasty, and is a model of Chinese folk collective creation. In the process of continuous inheritance of the Legend of the White Snake, great changes have taken place in the image of the White Snake, the plot, the ending of the story, the attitude towards women and the ways of transmission, which precisely reflect the ideas of different times. it also continues to cater to the entertainment needs of the public to promote its better development and dissemination.

===Key words===Differences； adaptation； folktale； The Legend of the White Snake

Introduction

Folktales, as the main part of Chinese traditional culture, contain rich national characteristics, traditional customs and ideas, which is an important part of telling Chinese stories. Among them, the White Snake Story, one of the four major folktales in China, has spread so far, and its text content changes with the changes of the times. The Legend of the White Snake describes a tortuous love story between a snake spirit and a human being, expressing the people's praise and yearning for free love between men and women and their hatred for the unreasonable bondage of feudal forces, and filmed a number of film and television dramas and animated films based on this story. The Legend of the White Snake has spread not only in China but also in Japan. The French sinologist Ru Lian also translated the Legend of the White Snake into French.[1] by studying the course of the adaptation of the White Snake story, we can get different adapted editions. By exploring the reasons for its change, we can peep into the background of the times and realize the changes in ideas. By studying changing ways, we can provide references for innovative ways of cultural communication. Promote the inheritance and development of Chinese culture in the land of China, promote excellent Chinese traditional culture abroad, and tell good Chinese stories.

I. the process of adaptation of the Legend of the White Snake.

1. The Python incident originating from Luoyang in the Tang Dynasty. According to the records of the two Tang dynasties, during the reign of Emperor Xuanzong of Tang Dynasty, a giant snake appeared in Luoyang Mountain, which was more than 3 meters high and 31.209 meters long. After seeing Tianzhu's eminent monk, he sighed, "this giant snake is ready to flood the city of Los Angeles." So he attacked it with the Tianzhu mantra, and the snake died a few days later. Some scholars believe that the Luoyang python incident is very likely to be the story prototype of the Legend of the White Snake, the "diversion of the city of Los Angeles" about the snake has become a "flooded mountain", and Fa Hai is the embodiment of the eminent monk Tianzhu. 2. The Legend of the White Snake in the Tang Dynasty. During the reign of Tang Xian Zongyuan, a rich son named Li Huang met a beautiful woman in white in the East City of Chang'an. The beauty had an aunt in Tsing Yi, and under her matchmaking, Li Huang fell in love with the woman in white and stayed in their mansion for several days. Unexpectedly, Li Huang fell ill at home, feeling dizzy and heavy, and soon the body turned into pus, leaving only the head. The family was so appalled that they went to visit the woman in white, but there was no beautiful mansion, only a barren garden infested by giant white snakes. 3. In the Song dialect, the Chronicles of the Three Pagodas of the West Lake, see the vernacular of Pingshantang in the Qing Dynasty. When telling the story of Song Xiaozong, Xi Xuanzan, a teenager from Lin'an House (now Hangzhou, Zhejiang), wandered around the West Lake on Qingming Day. The three monsters of the West Lake-- White Snake, Black Chicken, and White Otter-- became the lady in white, the maidservant and the wife, respectively, and lured him to the cave to eat his heart. With the help of maidservants and slaves, Xi Xuanzan escaped from the devil's den. Later, his uncle Xi Zhenren cast a spell to catch the three monsters and suppressed them in the West Lake with three stone pagodas.

4. Ming Dynasty： Feng Menglong's "General words of warning to the World" and "Bai Niangzi Yongzhen Leifeng Pagoda" It is said that during the Shaoxing period of the Southern Song Dynasty, a thousand-year-old snake demon turned into a beautiful woman named Bai Suzhen, and his maid Qingqing (also known as Xiaoqing, herring, green snake) met Xu Xuan (or Xu Xian), the king of the drugstore in Hangzhou West Lake. They took shelter from the rain in the same boat and fell in love with the white snake at first sight. He wanted to fall in love with the scholar and married him. So he became husband and wife. After marriage, experienced a lot of right and wrong, the White Lady repeatedly appeared strange, may not be able to bear. Fa Hai, an eminent monk of Jinshan Temple in Zhenjiang, gave a bowl to cover his wife. After the cover of the white and green quilt, the original shape is revealed, which is a thousand-year-old white snake and herring. Fa Hai then took the bowl pan and put Lei Si Feng in front of it, making people build a seven-level pagoda on it, named Yue Leifeng, Yongzhen White and Green in the Pagoda.

5. Qing Dynasty During the reign of Emperor Qianlong of the Qing Dynasty, Fang Chengpei adapted the Legend of Leifeng Pagoda (Shuizhu Ben) in 34, which is divided into four volumes. The first volume is from "Chushan", "Shouqing" to "Zhouyu" and "alliance". The second volume is "Duanyang" and "seeking grass". The third volume has "Zen" and "Watergate", and the fourth volume ends from "broken Bridge" to "sacrificial Pagoda". The main framework of the story of the White Snake has been largely completed since then. The book of this play was presented during Qianlong's tour to the south, so there was a sign of Emperor Qianlong's royal visit, so that people from all walks of life knew the story of the Legend of the White Snake. Later, in the eleventh year of Jiajing, the owner of Yushan published the novella Legend of Leifeng Pagoda. In the fourteenth year of Jiajing, the play word "Biography of the Devil" appeared again. At this point, the story of the snake spirit has completely changed from a simple deceiving monster to a sentimental and righteous woman. Since the middle of the Qing Dynasty, the Legend of the White Snake has become a frequent drama. according to the Chrysanthemum Qunying in the Tongzhi period, the performance of the Legend of the White Snake was a mixture of Beijing Opera and Kunqu Opera, but it was mainly Kunqu Opera. At the same time, it can be seen that the plot of offering sacrifices to the pagoda in the Legend of White Snake came into being relatively late.

6. Modern adapted version. Since entering modern times, more and more film and television works based on the story of the White Snake have entered the public's horizon. according to incomplete statistics, there are nearly 40 (some of the plays are shown in the chart). The earliest film versions are the silent film Legend of the White Snake starring Hu Die in 1926 and the audio film the Legend of the White Snake starring Chen Yanyan in 1939. The most deeply rooted in the hearts of the people is the 1992 musical drama the Legend of the New White Lady. Their plots are relatively complete and basically the same, basically describing a tortuous love story between a snake spirit trained into a human shape and a man. The stories include borrowing umbrellas from a covered boat, stealing Ganoderma lucidum from the White Lady, flooding Jinshan Mountain, broken Bridge, Leifeng Pagoda, Shilin Pagoda, son of Xu Xian, and so on.

II.The Differences and Reasons of the Adapted Version.

1. White snake image. The evolution of the image of White Snake is mainly divided into three stages, namely demon-human-immortal. The image of the snake demon is mainly in the original period of the story, the more representative works "Bo Yi Zhi Li Huang" (also known as "the Story of the White Snake") and the Song dialect version "the Story of the three Pagodas of the West Lake". Among them, the white snake is an illusory adult, with a hideous image of attractive beauty and maiming men. The animalistic side of her transcends the human side. The White Snake in "Bai Niangzi Yongzhen Leifeng Pagoda" gradually highlights the human side, not only assuming the responsibility of the wife, but also running for her husband's career, and has become a virtuous and shrewd businesswoman in the market. During the Ming Dynasty, the image of White Snake gradually changed from the traditional viciousness and cruelty to the gentle image in the Legend of White Snake, resulting in a qualitative change. The storyline in the legend of the White Snake has also become more tortuous, and in the later TV series the Legend of the New White Lady, the popularity of the White Lady played by Zhao Yazhi is that she has created a perfectly idealistic female image, which is not only beautiful and considerate, but also a gentle and virtuous wife and mother. Moreover, with high power and hanging pots to save the world, it is like the incarnation of Quan Yin Bodhisattva, completing the transformation from demon to immortal, which not only beautifies women, but also conforms to the vision of men's expectations.

2. Attitude towards women. The change in the image of White Snake shows a change in attitude towards women. Women have a low status in feudal society, so all kinds of evil and harmful goblins are female roles. Later, from a white snake that highlights human nature to an immortal who makes people worship, this image transformation reflects the awakening of women's self-consciousness and the rise of their status. Bai Suzhen's active request for marriage expressed when Xu Xian took an umbrella in the Legend of the White Snake had an impact on the idea of "the orders of parents and the words of matchmakers" in Chinese traditional marriage, and expressed the idea of equality between men and women to a certain extent. Although this view is based on Bai Suzhen's powerful and unworldly conditions, such female characters still reflect women's desire for equality between men and women. At the end of the story, Bai Suzhen ends with the suppression of Bai Suzhen under the Tower of Lefa, and the White Snake does not end well. From another point of view, it can also be regarded as the suppression of women's independent spirit by the feudal hierarchical society. The development of the ideology and culture of the times and the change of the status of men and women also impacted the feudal thought to a certain extent. [1] Kunagiwusman. The evolution of the story of the Legend of the White Snake in folk literature and its literary value [J]. Northern Literature, 2017 (32): 178179. It can be seen that the white snake version of the ancient novel is still based on the Confucian male chauvinist standpoint, positioning the white snake as the harmful demon of beauty disaster, female sex is a dangerous temptation for men, desire is to be restrained and forbidden, otherwise, it will lead to the scourge of killing. It goes without saying. Stories of gifted scholars and beauties prevailed in the Ming and Qing dynasties, so the image of White Snake was more inclined to wives, expressing people's vision of a better family life. Since modern times, people's minds have been liberated, and the spirit of anti-feudal struggle has also been reflected in the works of art, issuing the call of the times to pursue free love and personality liberation, to resist power and oppression, and to weaken cross-racial love with the image of "immortals". In order to achieve the effect of beautification.

3. storyline. In the process of evolution, the story of the White Snake is constantly enriching and deepening. From being suppressed after harming people at the beginning to later giving rise to wonderful plots such as "drinking realgar wine in its original form", "stealing immortal grass", "Shuiman Jinshan Temple", "giving birth to a broken bridge" and other wonderful plots, some versions also added the happy endings of sacrificing pagodas, becoming immortals, and Wen Quxing to save their mother, and the storyline became more and more complete.

4. The story ends. It is not difficult to see that as the storyline continues to enrich, the ending of the story is also rewritten. White Snake evolved from a tragedy that was suppressed at first to a happy ending for family reunion later, and some versions were even adapted into the most idealized realm, which made interracial love break through the shackles of the traditional concept of "ethical norms". It expresses the idea that good is rewarded with good.

5. The ways of spreading folktales. The way of spreading the story is becoming more and more diversified, and it has gone through the development stage of oral-text-film and television. At first, the stories related to the White Snake were told by word of mouth, then there were written records in the Tang Dynasty, and later, with the development of the Industrial Revolution, the emergence of television and movies, the Legend of the White Snake was adapted into a film and TV series. Chinese opera elements are also added. In the past two decades, the rise of National Cartoon has promoted the development of anime films. Oral narration is not only the starting point of White Snake narration but also the "foundation" which can be promoted to the classic. Written narrative White Snake Biography is a literati narrative based on folk "ability" on the basis of oral narration. Among them, the intervention of popular literature makes the plot of legends increasingly tortuous and moving, the characters gradually full and round, while the intervention of elite literature makes legends have more characteristics of the times and speculative colors. The integration of the two makes the legend gradually develop in the direction of "Guanfeng" and "elegant upgrading". The Legend of the White Snake is a "modern" and "cinematic" treatment of the legend of the White Snake based on the Legend of the White Snake. This deductive model adapts to the entertainment needs of contemporary people and stabilizes the "classic" status of the Legend of White Snake. Although the rise of the Legend of the White Snake on the Internet is relatively late, it has a great influence. In a sense, the openness and virtuality of the network platform is the return to the folk nature of the Legend of White Snake. More "modern" forms such as online novels, forums, continuation books, comics and parodies have been applied to the spread and inheritance of the Legend of White Snake, deepening and expanding the intergenerational inheritance mode of legends. [1] Gao Yanfang. The Construction and interpretation of Chinese White Snake Classics [D]. Central China normal University, 2014. III. The value and significance of the continuous adaptation of folktales. 1. Enrich the content of folktales and add cultural significance. In the excellent traditional culture of the Chinese nation, folklore not only gives people moral education, but also enriches people's recreational life because of its cultural connotation. The adaptation brings a new and wonderful storyline to the story and explains the story more completely. different versions of folktales also increase the diversity of folktales and a large number of ancient traditional customs retained in legends. it makes the Legend of the White Snake one of the most informative oral heritages of folk culture in our country. no, no, no. two。. It helps to expand the audience and enhance the significance of education. The adaptation of the Legend of the White Snake is to reproduce the charm of folktales with new ideas, new language and thinking, and to adapt them to the psychological characteristics and preferences of all ages, so as to expand the spread of folktales, better understanding and inherit folktales. There are many educational stories in folktales, which aim to reveal interpersonal relationships and criticize moral ugliness in real life, and to promote and promote moral norms and codes of conduct that people should follow in real life. For example, in the Legend of the White Snake, Bai Suzhen met Xu Xian again to repay her kindness, telling people that she should repay her kindness, which is of educational significance now. 3. A peek into the change of society and the change of people's thinking. The Legend of the White Snake is a beautiful folklore with profound significance, which reflects the fundamental contradictions of the feudal society through the image of mythology, like a refractor. Dai Bufan. On the Story of the White Snake [N]. Literary and Art Daily, 1953-11-21 (11). Throughout the history of the evolution of the White Snake legend for more than a thousand years, the White Lady has changed from a demon to a human, to an immortal, from stigmatization to humanization and beautification, we can also see the gradual improvement of women's status in the cultural changes of the times. the gradual awakening of female consciousness. In addition, the ending of White Snake also reflects the continuous liberation of people's minds and highlights the struggle against feudalism and the pursuit of free love.

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

References

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

英语笔译 聂薇 Nie Wei 202170081592

Cultural Factors Behind the Spring Festival Travel Rush in China 聂薇

Introduction

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

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

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

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

The evolution of the Spring Festival travel rush

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

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

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

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

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

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

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

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

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

Cultural factors behind the Spring Festival travel rush in China

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

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

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

Way of relieving pressure from the rush

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

The prevalence of the Anti-Spring Festival travel rush

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

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

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

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

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

Conclusion

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

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

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

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

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

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

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

Terms and expressions

Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

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

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

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

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

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

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

the household registration system：户籍制度

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

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

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

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

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

References

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

Questions

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

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

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

Answers

1.40days

2.Tourists

3.Confucian culture

英语笔译 孙丽君 Sun Lijun 202170081593

Chuanjing Work Songs Sun Lijun

Introduction

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

The History of Chuanjiang Work Songs

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

The Features of Chuanjiang Work Songs

Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

The Classification of Chuanjiang Work Songs

Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

The Inheritance of Chuanjiang Work Songs

Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

The Translation of Chuanjiang Work Songs

Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

Conclusion

Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

Terms and Expressions

Chuanjiang work song:川江号子 Haozi:号子 Kuixing Tower:《魁星楼》 Giant Turtledove:《大斑鸠》 Lanlong work song:《懒龙号子》 Boatman:船工，船夫 The First Batch of National Intangible Cultural Heritage:第一批国家级非物质文化遗产 Bashu area:巴蜀地区 Perilous Journey to the Land of Shu:《蜀道难》 The westbound road to shu, so steep, steeper than Heaven! I plod my way, step by step, sign by sign.:蜀道之难，难于上青天，侧身西望长咨嗟！ Fuhe work song:府河号子 Huanglongxi work song:黄龙溪号子 Jinjiang work song:锦江号子 Tuojiang work song:沱江号子 Minjiang work song:岷江号子 Jinsha River work song:金沙江号子 Jialing River work song:嘉陵江号子 Tonghe work song:铜河号子 Yongninghe work song:永宁河号子

Questions

1. What can be regarded as the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song?

2. When did Chuanjiang work song first appeared?

3. When was Chuanjiang work song listed as the First Batch of National Intangible Cultural Heritage?

4. How Chuanjiang work song was produced?

5. What are the characteristics of the music of Fuhe work song?

Answers

1. The Neolithic stone anchors and the tracker’s stone figures.

2. In the Spring and Autumn Period.

3. On May 20th, 2006.

4. The leader of a crowd of boatmen created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen’s rowing and pulling.

5. The music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies.

References

• Liu Xiuming,Qu Mengwei 刘秀明，曲梦梅（2021）.生态翻译学理论视域下川江号子词汇外译研究[A Study on the External Translation of Chuanjiang Work Song’s Vocabulary from the Perspective of Ecological Translation Theory].“校园英语”[English on Campus]. (44):251-252.

• Liu Xiuming,Zhao Ning 刘秀明，赵宁(2021).生态翻译学语言维度视域下川江号子翻译研究[A Translational Study of Chuanjiang Work Song from the Linguistic Perspective of Ecological Translation Theory].“校园英语”[English on Campus].(28):241-242.

• Sun Haifeng 孙海峰(2020).浅析川江号子的内在价值与文化传承[On the Intrinsic Value and Cultural Inheritance of Chuanjiang Work Song].“艺术家”[The Artist].(01):50.

• Wang Shuo 王朔(2018).探究川江号子非遗民歌的现状与传承[The Exploration of the Current Situation and Inheritance of the Intangible Folk Song—Chuanjiang Work song].“艺术科技”[Art Science and Technology].(03):54.

• Wu Mingshi 伍明实（2011）.川江号子现状调查报告[A Survey Report on the Current Situation of Chuanjiang Work Song].“中华文化论坛”[Forum on Chinese Culture].(03):34-42.

英语笔译 仝雨梦 Tong Yumeng 202170081594

The Influence of Chinese Traditional Philosophy in Contemporary Times 仝雨梦

Introduction

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

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