Cult Ov 1 2024
Welcome to our course website Cult_Ov_1_2024!
Session 1 OD Fri Mar 1 8:00-9:40 room 603 - Organizational issues
FRI 8:00-9:40 中国文化概要 Cult Ov 1 2024 Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 1.3., S2 8.3., S3 15.3., S4 22.3., S5 29.3., S6 5.4., S7 12.4., S8 19.4., S9 26.4., S10 3.5., S11 10.5., S12 17.5., S13 24.5., S14 31.5., S15 7.6., S16 14.6.)
What we learn in this class
- We learn about Chinese culture from international, especially Western perspective.
- We learn about cultural phenomena, traditional Chinese culture.
- We learn English and Chinese terminology in the area of Chinese culture.
- We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.
- We learn how to determine the location and role of Chinese culture within global culture.
- We learn basics of theories and models of intercultural communication and comparison.
- We learn the appreciate and respect the diversity of multipolar cultures and of integration.
- We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).
Students' contribution
- Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
- Every student selects a topic, translates the textbook text into Chinese until session 2 and prepares 1 ppt presentation of 15 min. and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
- Every student selects several topics from the textbook which are not yet translated into Chinese and translates them into Chinese, submits them to the class representative.
Textbook
These are the last 100 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. The topics set in bold will be presented in the form of a powerpoint presentation.
101 陈昕舟 Money culture: The tradition of Red Envelope and Lucky Money
102 廖巧然 Music and instruments: Guzheng
103 戴振 Music and instruments: Pipa
104 黄文莉ppt Mythology: Gods and Immortals
105 周静怡 Mythology: Huli-jing
106 梁诚知 National Symbols: National Anthem
107 赵梦娇 National Symbols: National Flag
108 陈思思 Opera: Peking Opera
109 陈思思 Opera: Peking Opera Acrobatics
110 肖娄君 Opera: Peking Opera Actor Mei Lanfang
111 陈思思ppt Opera: Tea-picking Opera
112 徐硕珮 Opera: Hunan Flower-drum Opera (Huagu Opera)
113 丁昕怡 Philosophical Schools: Four Main Philosophical Schools
114 龚星月（PPT） Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism
115 李静怡 Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching
116 黄文莉 Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng
117 石慕予 Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living
118 金川玉 Philosophical Schools (Daoism, Buddhism, Legalism): Legalism
119 易祺芳 Philosophy: Chinese Traditional Cultivation Culture
120 黄薪诺 Religion: Traditional Chinese Funeral Culture
121 徐硕珮 Religion: Buddhism
122 戴振（ppt） Religion: Daoism
123 肖娄君 Religion: Christianity
124 戴振 Religion: Islam
125 罗彬 Science and Technology: Ancient Science and Technology
126 刘春秀ppt Science and Technology: China's Four New Inventions
127 李静怡 Science and Technology: Compass
128 刘欣雨 Science and Technology: TikTok (Douyin)
129 师瑶 Science and Technology: Three Giant Home Appliance Enterprises In China
130 刘春秀 Science and Technology: Four Domestic Mobile Phone Companies
131 丁昕怡 Silk and porcelain: Silk
132 金川玉 Silk and porcelain: Porcelain
133 徐硕珮 Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词
+134 陈健PPT Silk Road - by land and by sea: Zhang Qian and the Silk Road
135 龚星月 Silk Road - by land and by sea: Zheng He and the Maritime Silk Road
+136 罗彬PPT Silk Road - by land and by sea: Zheng He's Voyages
137 陈健 Social: The Long-life Lock
138 刘晓宇ppt Social: Round Table Culture
139 陈倩ppt Stage entertainment: Crosstalk 相声
140 温一宁 Stage entertainment: Shadow Play
141 石慕予 Traditional Crafts: Carving
142 王晨 Traditional Crafts: Chinese Jade Culture
143 梁诚知 Traditional Crafts: Cloisonne
144 黄薪诺 Traditional Crafts: Embroidery
+145 石慕予p p t Traditional Crafts: Shu Embroidery (Sichuan Embroidery)
146 黄文莉 Traditional Crafts: Xiang Embroidery
147 赵欣雨ppt Traditional Crafts: Folk Art - Chinese Paper-cutting
148 陈昕舟ppt Traditional Crafts: Handcraft - Chinese Knots
149 赵欣雨 Traditional Crafts: Lacquerware
150 师瑶 Traditional Crafts: The Kingfisher Craft点翠
151 陈倩 Traditional Cuisine: Chinese Dining Etiquette
152 廖巧然 Traditional Cuisine: Chopsticks
153 丁昕怡 Traditional Cuisine: Eight Major Cuisines of China
+154 李静怡PPT Traditional Cuisine: Four Distinct Regional Cuisines
+155 廖巧然（ppt Traditional Cuisine: Breakfast Culture of Wuhan
156 黄文莉 Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick
+157 黄薪诺（ppt） Traditional Cuisine: Hotpot
158 刘晓宇 Traditional Cuisine: The Art of Chinese Cooking
159 龚星月 Traditional Cuisine: Two Famous Dishes
160 赵梦娇（PPT） Traditional Festivals
161 王晨 Traditional Festivals: Lattice on Ancient Chinese Windows
162 周莉 Traditional Festivals: Spring Festival Couplets
163 罗彬 Westernization: The Eastward Spread of Western Learning
164 周莉 Westernization: The Westernization Movement
165 金川玉 Worship: Chinese Incense Culture
166 陈健 Economy: Chinese Currency Changes
167 王晨（PPT） History: Wang Shouren
168 肖娄君（PPT） Martial Arts: Chinese Swordsman Spirit
169 温一宁ppt Cuisine: Luosifen
170 陈昕舟 Fine Arts: Chinese Paper Cutting
171 师瑶 Science and Technology: Taobao(淘宝)
172 李静怡 Traditional Craft: Bronze
173 金川玉ppt Entertainment: Deyunshe 德云社
174 赵梦娇 Traditional Cuisine: Jiaozi
175 刘晓宇 Aesthetic ideals and social customs: the Photo Retouching Culture in China
176 刘欣雨ppt Traditional Crafts: Handcraft - Oil-paper Umbrella
177 周静怡（ppt） stage entertainment:Yuan drama
178 徐硕珮（ppt） Music and instruments: Erhu
179 师瑶ppt Traditional and Modern Views on Marriage and Love
180 刘欣雨 Traditional Cuisine: Tangyuan
181 龚星月 Animals：Golden Monkey
182 易祺芳 Chinese Economy: rich businessmen
183 赵欣雨 Opera: Chinese Local Operas
184 刘春秀 The Chinese tradition of ancestor worship
185 丁昕怡ppt Opera: Huangmei opera
186 陈倩 The “reference” of Chinese Music
187 周莉ppt Chinese Folk Art:Lion Dance
188 周静怡 Science and Technology: Mobile Games（手游）
189 刘晓宇 Clothing: Vintage Clothing
190 梁诚知ppt Fine arts:Kunqu Opera
191 温一宁 Aesthetic ideals and social customs: The Culture of Flowers
192 易祺芳ppt National Belief: the Chinese Dream
193 陈倩 Science and Technology: Buytogether（PDD)
194 廖巧然 Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People
Homework until Session 2
Please make a Chinese translation of the text of the topic you selected for presentation including questions at the end of the textbook text. When you select a topic, please coordinate with your class representative that no other students selects the same topic.
Preparatory homework for every session
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.
Homework until Session 5
Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.
Homework until Session 10
Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.
Homework until Session 15
Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.
Final paper after Session 16
Please think of a new topic of a phenomenon of traditional or modern Chinese culture. Please use the same format as the other topics in the textbook, including text, terms, references, questions. Whenever you indicate a reference, please also mention the page number. When you select another topic, please coordinate with your class representative that no other students selects the same topic and confirm with the instructor that the topic is appropriate.
Session 1: Student presentations
114 龚星月（PPT） Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism
Please upload your power point here: Media:Daoism_as_Philosophy_2024.pptx
Text to read is in the textbook chapter 114 in English and here in Chinese:
114 哲学流派：古典哲学——道教
道教起源于中国哲学家老子和庄子。道教主要的典籍要回溯到老子的《道德经》。第二本典籍则是庄子的寓言书，它用寓言的方式表达了道教的理念。道教强调人与自然的结合，并建议人类不要与自然对抗，而要通过与之合作共生来控制环境。同样，道教教导人应该通过信任而不是反对自己的自然感受和本能来控制自己，将它们引导到想要的方向而不是抗拒它们。只有这样，他才能获得生命，要么在世界中更长时间留名，要么获得肉体永生。
道教徒相信永生。据说，仙人呼吸风，饮露水，乘云漫游。他们超脱一切尘世烦恼。如果人们全身心地修身养性就有望“得道”，能够长寿，甚至永生，。广受民众欢迎的神话故事《八仙过海》也起源于道教。
道教也与炼金术联系在一起，曾经是通过将庸俗物质转变成黄金来寻求长生不老的实践方法。黄金因其在变化条件下的耐久性和稳定性而与永生联系在一起。“炼金术”一词通过阿拉伯语从中文中“金”一词演变而来。由于配制长生不老药所使用的成分包括砷和水银这种有毒矿物质，经常会产生与预期相反的效果：不止一个中国皇帝死于“仙丹中毒”。
道教重视远离时间、烦恼和与官僚权力的纠葛。因此，它为中国思想贡献了一种无政府主义的思潮，对为中央集权服务的传统儒家思想提出了质疑。无为，有时被翻译为“无为而治”，是道教的一个核心信条，也在大多数中国军事战略书籍中具有重要意义。无为并不意味着单纯的惰性，而是指不做与事物发展趋势背道而行的事情。
道教几乎为所有事物都有神灵——太阳、月亮、星星、风、雨、雷电、山川河流。它还有镇神、地主、灶神、门神和财神。这些神灵的归统于太上老君和玉皇大帝。他们被供奉在道教寺庙和庙宇中。它们的象征物也可以在许多家庭，特别是农村家庭中出现。人们崇拜财神，希望能发财。据说门神能够驱赶恶魔，而灶神被认为是“主管每个家庭的命运”。道教认为灶神每年都会向玉皇大帝报告他所管理家庭的善恶。他在农历十二月二十三日也就是上天庭报告那天被供奉，然后在春节前夜返回时再次被供奉。
道教有许多经典著作。明代编纂的《道藏》共有5485卷。然而，作修行用的书籍的数量并不多。道教经书主要包括《道德经》，这是一部五千多字的哲学诗歌；《清静经》，教导人们远离尘世欲望以实现心灵和思想的平静；《玉皇大帝经》，歌颂玉皇大帝并祈求天官赐福；以及《黄庭经》，以七言律诗形式，教导道教修炼之道。
122 戴振（ppt） Religion: Daoism
Please upload your power point here: Media:Daoism_as_Religion_2024.pptx
Text to read is in the textbook in English chapter 122 and here in Chinese:
122. 宗教：道教
参见：哲学学派-道教
道教是唯一一种完全源自中国，并在中国土壤中成熟发展起来的主要宗教。它起源于东汉末年，即顺帝在位期间（125-144年），以古老的巫术和长生之术为基础。然而，道教徒将老子视为道教的创始人和至高神，将老子的著作《道德经》（一部仅有5000字的小册子）视为信徒的经典。
在他的著作中，老子说基本原则是：1. 仁爱；2. 纯洁；3. 不敢先于人行动。 仁爱意味着对宇宙中的一切保持友好的态度，保持普世和谐。纯洁意味着摆脱奢望，保持心灵和身体的简朴。不敢先于人行动意味着谦逊，抑制自我，而不是采取强势和支配的态度。
“道”一词意为“方法”。在最广泛的意义上，道是宇宙运行的方式，所有自然事件的路径。道是自然的方式，表现为毫不费力的行动。道教往往用水的形象来说明这种毫不费力的行动。水总是下降到最低的水平，却可以冲刷甚至最坚硬的物质。
据道教，宇宙是和谐和秩序的体现。它是活跃的，而不是静态的。它的状态是变化和变异的，永远在变化和消失中，收缩和扩张。道指导着它作为一种秩序原则的功能。在道中，阴阳两个基本力量通过相互作用而运行。它们是可以将所有事物分类为两极相反的两种极性。因此，黑暗与光明、生与死、男性与女性、善与恶、强与弱都是阴阳的表现。
在中国，道教的各种派别在不同的时期出现。在顺帝在位期间，张陵（34-156年）建立了天师道，也称为五斗米道。东汉末年，农民起义领袖张角（？-184年）成立了另一个名为太平道的道教派别。到了西晋和东晋时期，五斗米道已成为一种主要宗教。南北朝时期，统治阶级试图改革道教，使其帮助他们控制农民。在北方，建立了北天师道，在南方，建立了南天师道。元朝时期（1206-1368年），南北两派合并为一个新派别，称为正一道。从那时起，这个派别和全真教（1167年创立）一直是道教的主要派别。正一道相信“以神呼神，以神避祸”。它的神职人员可以结婚，可以吃肉和喝酒，除了斋戒期间。全真教强调自我修养和长生不老，其神职人员必须舍弃家庭生活，斋戒素食，保持独身。然而，1949年后，全真教、正一道和其他道教派别逐渐合并为一个派别，特别是在1956年成立中国道教协会后。
术语和表达方式
Daoism n. 道教 Supreme God 太上老君
Be benevolent; be pure; do not act in advance of others. 一曰慈, 二曰俭, 三曰不敢为天下先。
Effortless action 无为而为 Zhang Ling 张陵 The Heavenly Teacher Sect 天师道 The Five Picules of Rice Sect 五斗米道 Zhang Jiao 张角
The True Unity Sect 正一道 The Complete Unity Sect 全真教 Fasting 斋戒
问题
1. 道教是中国唯一的本土主要宗教吗？它是何时出现的？它的基础是什么？
2. 你对老子及其《道德经》了解多少？
3. 根据老子，社会行为的三个基本原则是什么？它们分别代表什么？
4. 什么是道？在道教中，水象征着什么？
5. 在道教中，宇宙是什么样子的？道是如何运作的？
6. 你对道教派别了解多少？
Session 2 MW Fri Mar 8 8:00-9:40 room 603
Session 2: Student presentations
104 黄文莉ppt Mythology: Gods and Immortals
Please upload your power point here: File:Gods 2024.pdf (pptx was too large)
Text to read is in the textbook chapter 104 in English and here in Chinese:
104. Mythology: Chinese Gods and Immortals
Chinese mythology system Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices. (Lü & Gong 2014, p. 71 ) Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India. (Yang, An & Turner 2005, p. 4) The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters). 1987. (Bai 1987, pp. 34-40) Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life. (Olson & Stuart 2002, pp. 27-28) At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her. (Buddhism, p37) 神 shén, 帝 dì and 仙 xiān Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero". (Hu, 2020) There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life. (Fowler & Jeanine 2005, pp. 200-201) Eight immortals The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. (Yang, Deng & Wang 1987, pp. 40-45) The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. (Yang, Deng & Wang 1987, pp. 45-50) The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them - "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海, 各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal. (Little, Stephen 2000, pp. 313, 319–334) Terms and Expressions immortals 仙 mythology 神话, 神话学 cosmology 宇宙论, 宇宙观 monolithic 整体（式）的 the Battle of Zhuolu 涿鹿之战 pantheistic 泛神论的 polytheistic 多神论的 Three Pure Ones 三清 anthropomorphic 人格化的 tutelary 守护神 deity 神 Buddha 佛 Shakyamuni 释迦牟尼 Amitabha 阿弥陀佛 Amitāyus 无量寿佛 celestial 天的 Bodhisattva 菩萨 Pure Land 极乐世界 vessels 法器 Covert Eight Immortals 暗八仙 Taoist 道家的, 道士 Questions 1. What are the topics of the Ancient mythology? 2. What are the differences among shén, dì and xiān? 3. What do the Eight immortals represent respectively? References Lü, Daji; Gong, Xuezeng. (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill. Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press. Bai Yang. (1987). Chinese Huamn History. Time Literature & Art Press. Olson, Stuart Alve. (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company. Buddhism, the Fulfilment of Hinduism Hu Yanan. (2020). From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D]. Harbin Normal University. Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press. Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press. Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.
160 赵梦娇（PPT） Traditional Festivals
Please upload your power point here: File:Festivals 2024.pdf
Please learn the vocabulary.
Terms and Expressions
- slack season 农闲时节
- get-together banquet 团圆饭
- King Huai of Chu 楚怀王
- the Warring States Period 战国时期
- Zuotu 左徒
- Elegies of Chu 楚辞
- The Nine Hymns 《九章》
- The Nine Songs 《九歌》
Text to read in English:
160. Traditional Festivals
The most popular festivals among all the nationalities are the Spring Festival, the Lantern Festival, the Dragon Boat Festival and the Mid-Autumn Festival. Besides, the Tomb-Sweeping Day (around April 5), the Chinese Valentine’s Day (July 7 of the lunar calendar) and Senior Citizens’ Day (September 9 of the lunar calendar) are more and more popular. The Spring Festival, the Lunar New Year, is the most important traditional national festival in China. It usually falls in late January or early February. There is some reason for ancient people to begin the year in cold weather. This is the time after the autumn harvest and winter storage, the time before “spring ploughing and summer weeding” - the slack season in farming, time for relaxation and celebrations after a year’s toil, time for looking back to the past and looking forward to the days to come, in short a time for a good, long rest before going to the fields to do backbreaking work again. Legend has it that a long time ago, there was a ferocious demon called Nian. He would come to do evil things very winter after twelve months had passed. People got together and discussed how to deal with him. Some said that the demon was afraid of the red color, flames and noises. So people put up red couplets on their gates, set off firecrackers and kept on beating gongs and drums to drive Nian away. Nian was terrified and fled, and the customs of celebrating the lunar New Year were passed down. Every year now, Chinese families always clear their houses, set off firecrackers, and post Door-God pictures and couplets on their gates to observe this time-honored festival. On the eve of the Spring Festival, it is a folk custom to stay up late or all night and pray for peace and prosperity in the coming year. New Year is ushered in at midnight, 12 sharp. A get-together banquet is usually a must for every Chinese family. The most popular food enjoyed by the rich and the poor alike is jiaozi, or dumplings, which is supposed to augur good fortune. On the first day of the new year, everybody, men and women, old and young, put on new clothes and visit relatives and friends to exchange greetings by bowing, saying nice things such as “gongxi” (congratulations) and wishing one the best of everything during the new year. In recent years, the Spring Festival has become a public holiday. People have several days off from their work, doing whatever they like to do. Family dinners, family travels, dinner parties, going to movies and concerts are the most popular of all the festival activities. The Dragon Boat Festival, or the Duanwu Festival, falls on the fifth day of the fifth lunar month and is an age-old festival. It is widely accepted that Duanwu is the occasion to commemorate Qu Yuan, China’s great poet of the Warring States Period. People respect Qu for his quest for a way to make his country powerful and prosperous and for his spirit of dedicating himself to his ideals. On the day of Duanwu, the legendary day of his death, people rush from all quarters, rowing dragon boats on the river in an attempt to find his remains, which are supposed to have drifted downstream and never been recovered. People throw bamboo tubes filled with rice into the river as a sacrifice offered to him. It is also the custom to eat zongzi on Duanwu Day, a special rice pudding wrapped up with reed leaves. The fact that Qu Yuan is commemorated at the Duanwu Festival signifies the popularity of a people’s poet. Qu was among the four cultural giants whom the World Peace Council in 1957 called on the whole world to commemorate. Qu Yuan (340 BC–378 BC) was born into an aristocratic family of the Chu state. Trusted by King Huai of Chu, Qu was appointed as zuotu, an important post assisting the king in handling internal and diplomatic affairs. During his office, Qu advised the king to appoint virtuous and talented people to important positions and rule the state by law so as to revitalize Chu. He also proposed that the king form an alliance with the state of Qi against the hegemonic state of Qin. But his proposals did not garner support from the king and other aristocrats. At the same time, Qin played tricks and alienated King Huai from Qu Yuan. Slandered by treacherous court officials, he was dismissed and exiled. Frustrated in his political career, Qu achieved brilliant accomplishments in the field of literature. He was one of the greatest poets, composing many splendid poems. Based on the folk songs of Chu and the Chu dialect, he created a new style of poetry called by later generations the “Elegies of Chu”. His most famous poem is the long lyrical work Li Sao, which amounts to more than two thousand characters. Li Sao, full of rich imaginative expressions and sincere emotions, reveals the poet’s love of his native kingdom of Chu and its people. By adopting symbols and metaphor, Qu wove the myths, legends, historical figures, mountains, rivers, the sun and moon, storms, grass, flowers and so on into lively and magnificent pictures. He also wrote Jiu Zhang (The Nine Hymns) and Jiu Ge (The Nine Songs). His poems have been translated into many foreign languages. The Mid-Autumn Festival comes on the fifteenth day of the eighth lunar month, when the moon is supposed to be brighter and fuller than in any other month and the moonlight is the most beautiful. In China, a full moon is also symbolic of family reunion and so, that day is also known as the “day of reunion”. The moon was always looked on as the symbol of brightness, purity and goodness by men of letters in ancient times. There are many beautiful odes to the moon left to us written by poets of previous ages. Besides, many myths and legends are attached to the moon. The most popular one is about Chang E, who flies to the moon and allegedly lives in the Moon Palace. She is believed to be a female, so generally a married woman who has gone to visit her parents must come back to join her husband and the rest of his family on the Mid-Autumn day. People eat something special on a particular traditional festival. At Mid-Autumn Festival people eat the moon cake. When night falls, with the moon shining overhead and a gentle breeze bringing people a cool air, thousands upon thousands of families sit together in a circle, having a table placed in the courtyard under the moon, on which incense is burned and fruits of all varieties in season are spread. At the center is a big moon cake cut into a number of slices equal to the number of people in the family. On this day, people can really enjoy the harmony and happiness of family life.
Questions
1. What special Chinese food do we have on traditional festivals?
2. How is the Spring Festival celebrated at home and abroad?
3. Why is the Dragon Boat Festival so named? How is it related to Qu Yuan?
3. What do you know about the legend of Chang E?
4. What in traditional Chinese culture suggests people’s longing for reunion or perfection?
Session 3 MW Fri Mar 15 8:00-9:40 room 603
Session 3: Student presentations
169 温一宁ppt Cuisine: Luosifen
Please upload your power point here: File:Luosifen 2024.pdf
Text to read is in the textbook chapter 169 in English and here in Chinese:
169. Cuisine: Luosifen
Luosifen, also called River snails rice noodle, is a Chinese noodle dish with “offensive” oder and a speciality of the city of Liuzhou, in Guang Xi, southwest China. It consists of rice noodles boiled and served in a soup which is made by stewing river snails and pork bones for several hours with black cardamom, fennel seed, dried tangerine peel, cassia bark, cloves, white pepper, bay leaf, licorice root, sand ginger, and star anise. It usually does not contain river snail meat, but it is instead served with pickled bamboo shoot, pickled green beans, shredded wood ear, fu zhu, fresh green vegetables, peanuts, and chili oil added to the soup. Diners can also add chili, green onions, white vinegar, and green peppers to suit their taste.
History of Luosifen
Origin
According to the findings of archaeologists, in the last Paleolithic age forerunners have eaten the river snails in the White Lotus Cave and Big Dragon Pool which is in the Guang Xi province. Since the Era before Qin Dynasty, rice noodle has become the staple food to people who grow up in southern China including Guang Xi Province. However, their combination, Luosifen has appeared around 1970s-1980s. There are many assumptions about its origin. The one is that in the mid-1980s, there was a grocery store on Jie Fang South Road, operating dry-cut noodles, and its clerks used to take a handful of dry-cut noodles in the morning and cook them at the granny's river snail stall next door. Wang Ji granny who sold river snails thought it tasted very good, so she sold river snail rice noodles. The other one is that in the 1970s and 1980s, the Gu Bu Street food market became the largest distribution center for wholesale raw snails in Liuzhou, and the audience of the nearby workers' cinema liked to stroll around after the show, leading to the Gu Bu Street night market. Liuzhou people have always been fond of snails and rice noodles, and some night market owners operated both boiled snails and rice noodles. Some diners liked to add snail soup with a lot of oil and water to the rice noodles, thus forming the prototype of snail noodles. Another is that late one night in the early 1980s, several foreigners came to Liuzhou and arrived at a rice noodle stall that was about to close, as the bone broth was no longer available and only a pot of snail soup left over from cooking snails was left, the stall owner put the rice noodles into the snail soup and cooked them with vegetables and peanuts and other side dishes. The stall owner later gradually improved its ingredients and production, made into snail noodles.
The most brilliant star of Liu Zhou
More than ten years ago, Luosifen was just in the night market,but now it is not only in small "hole-in-the-wall" restaurants, but also luxury hotel restaurants. When we come to terms with Liu Zhou, people come with Luosifen. Not only because itself, but also due to its popular instant version. In 2010, Liuzhou encouraged businesses opening stores in major cities such as Beijing and Guangzhou. In 2014 local authority proposed to industrialize it into bagged instant river snails noodles for large-scale production of special snacks. During the process of rapid industrial development, the government continued to regulate the development of the industry and raised the threshold of access. These gives way to promote instant river snails rice noodles.
As of the end of 2021, Liuzhou has 127 pre-packaged snail river noodles production enterprises.Liuzhou snail noodles is going into the "bagged fast food" era, on the Internet e-commerce express, the local snacks gradually go to a broader world. In 2021, Liuzhou snail rice noodles sales revenue of the whole industry chain reached 50.16 billion yuan, including 15.197 billion yuan of bagged river snail rice noodles, an increase of 38.23%, the annual delivery volume exceeded 100 million pieces, and the turnover of physical stores nationwide was 20.68 billion yuan, an increase of 75.25%. By the way, in 2018, the skill to make the rice noodle of Luosifen has been selected in the list of intangible cultural heritage of Guang Xi Zhuang Autonoumous Region. In 2021, it has selected in the list of national intangible cultural heritage.
From China to the world
In the late 2010s, many luosifen restaurants have opened in Beijing, Shanghai, and Hong Kong, as well as in other countries such as the US. According to the data, Luosifen has sold to over 20 countries, and in 2021, the exports were valued at 8.24 billion up 89.86% on the last year.
Making process
Sour, spicy,refreshing and hot sensations with tons of umami flooding in the mouth. That’s what Luosifen is all about. To achieve that, there are the steps to make a wonderful Luosifen. 1.Cut off the lean meat from the pork bones and chop the spine directly.2. Soak the snail in water for 1 hour to remove the mud and earthy taste, and wash it again.3. Cut the ingredients into shreds and dice, pour some oil into the pot and fry the sliced tofu (the oil should be hot when frying the sliced tofu, but leave it off the fire or it will scorch), and pour the leftover oil from frying the tofu into the chili powder to make chili oil (notice that the residual heat from frying the tofu is enough, no need to add fire).4. Put the pork bones into a pot of boiling soup, add a tablespoon of rice wine to the water, and put the shredded pickled vegetables and diced pickled bean curd into the pot and stir-fry with a little oil, but do not add salt.5.Add black fungus and pork (cut off lean meat) to the pot and stir-fry them together with a little salt.6. Add a tablespoon of salt and half a tablespoon of spices and stir-fry for 2 minutes, then add half a bowl of water and put it into the bone broth after it boils.7. Boil the soup with the snail meat and enough for 1 hour, then put the chili oil you made beforehand into the pot (you can leave it out if you don't like spicy food). 8.Boil half a pot of water, put salt in the water (stir well, taste salty), when the water is boiling, put the rice noodles in the water and scald them respectively, add the prepared ingredients, and finally add the snail soup snail noodles are done.
Influence
Economy
Obviously, it supplies thousands of jobs for people,promotes the economic growth of Liu Zhou and cultivates Liu Zhou’s industrialization. Therefore, Luosifen becomes a celebrity, even an heated IP which is abused by many businessmen who just want to earn money. However, its contribution to economy is important.
Culture
Nostalgia lies behind every special dish. So dose Luosifen. It is good memory to people born and growing in Liu Zhou. It is a typical example to show the profound influence of traditional medicine culture. With the Liu River flowing right through Liuzhou, Liuzhou has great water resources for high quality river snails. Also, Liuzhou sits in a basin, so it’s quite humid and hot. Traditional Chinese medicine believes that river snails can expel heat and moisture form the body. All of this makes river snails the local’s fave.
References
1. 李莉 《重口味奇迹：「柳州之光」螺蛳粉的逆袭》
2. 夏梦帆《从地方小吃到“网红”大产业》 食品地理
3. 何伟，徐海涛，农冠斌，林凡诗 《柳州螺蛳粉：从小米粉到大产业》 新华每日电讯
4. 第五批国家级非物质文化遗产代表性项目名录
Questions
1. Where dose Luosifen come from?
2. What are the ingredients of Luosifen?
3. When was Luosifen selected in the list of national intangible cultural heritage? What’s Luosifen all about?
111 陈思思ppt Opera: Tea-picking Opera
Please upload your power point here: Media:Tea-picking_Opera_2024.pptx
Please learn the vocabulary, read the text and answer the questions:
Terms
- Tea-picking Opera 采茶戏
- Gannan Tea-picking Opera赣南采茶戏
- Fuzhou Tea-picking Opera 抚州采茶戏
- Nanchang Tea-picking Opera 南昌采茶戏
- Gao'an Tea-picking Opera 高安采茶戏
- Wuning Tea-picking Opera 武宁采茶戏
- Gandong Tea-picking Opera 赣东采茶戏
- mountain songs 山歌
- the twelve-month tea-picking songs 十二月采茶歌
- Tea-picking lantern opera 采茶灯
- Three characters’troupe 三角班
- The National Intangible Cultural Heritage Lists 国家级非物质文化遗产名录
- Qi Opera 祁剧
- Half Mix Opera 半整杂
- high-tone and disordered-tone 高腔和弹腔
- The Republic of China 民国
- half-troupe stage 半班舞台
- Legend of Luang Knife 《銮刀记》
111. Opera: Tea-picking Opera
A. Overview
Tea-picking opera is a kind of opera category popular in Jiangxi, Hubei, Anhui, Fujian, Guangdong and other provinces, and it is one of the regional cultures with strong local characteristics in China[7]. It is produced in the Ming and Qing Dynasties, and has more than 400 years of history of a wide variety of distinctive features. On May 20, 2006, tea-picking opera was approved by the State Council and included in the first batch of the National Intangible Cultural Heritage Lists. [1][2]
Tea-picking opera in the provinces take local names to distinguish according to the regions, such as Guangdong's "Guangdong North Tea-picking Drama", Hubei's "Yangxin Tea-picking Drama, " "Yellow Mei-Tea Opera, " "YuChun Tea-picking Opera" and so on. (xi-qu. com)
B. The Origin of Tea-picking Opera
The production of tea-picking opera is related to the abundance of tea. According to historical records in the Ming Dynasty, in the tea area in the South of Fujian Province, east, south and north of Jiangxi Province, working women went up the mountain, picked tea while singing mountain songs to encourage labor enthusiasm.
In special festival or time in rural areas such as at the time of widespread tea tress in March and harvesting, people sing in the tea forest with the joy of harvesting. Mountain songs and ditties sang by them are in vivid form and rich contents expressing the joy of labor and love between men and women. This kind of mountain songs circulating in the tea area are known as "tea-picking songs. " Tea-picking opera developed from the folk tea-picking songs and tea-picking lamp singing, and then become a kind of folk drama with characters and storyline. Because it is generally only two female roles and one clown, or a painted role, a female role, and a clown three persons’ performance, it is also known as “Three characters’ troupe. ”[3] The drama has many sorts, such as Jiangxi tea-picking opera, that is, Gannan Tea-picking Opera, Fuzhou tea-picking opera, Nanchang tea-picking opera, Gaoan tea-picking opera, Wuning tea-picking opera, Gandong tea-picking opera, Ji'an tea-picking opera, Jingdezhen tea-picking opera and Ningdu tea-picking opera and so on. (Zhu Feiye, 2021)
There are several stages from tea-picking song to tea-picking opera. Tea-picking songs were first sung in minor tunes, with only four lyrics per line, which were lively and euphemistic. After the development of the tea-picking song, it was composed of tea-picking ditty, which was called twelve-month tea-picking songs. Later, the twelve-month tea-picking songs combined with folk dances became tea-picking lantern opera. The form of tea-picking lantern opera is relatively simple, pure collective performance of song and dance, but it has taken a step towards the tea-picking opera. (Zhu Feiye, 2021)
C. The Development of Tea-picking Opera
Tea-picking opera has experienced a tortuous process of development. In the Ming Dynasty, tea farmers in the Jiulong Mountain Tea District of Anyuan County, Jiangxi Province, which is rich in famous tea, often performed impromptu programs related to tea picking in the form of tea-picking lantern opera in order to receive tea merchants from Guangdong. This kind of performance is already the prototype of tea-picking opera.
Before the founding of the People's Republic of China, the performance of tea-picking opera was often interfered and banned by the rulers. The first reason was that there were few literati involved in tea picking, and the cultural level of the artists was not high, so the rulers thought these plays were very vulgar and difficult to be elegant. Secondly, in order to cater to the audience, the actors added some unhealthy contents during the performance. Some plays appear to be very vulgar and indecent, and even disturb social order. (Zhu Feiye, 2021)
In the middle Guangxu (光绪) period of the Qing Dynasty (about 1891), some Qi opera artists and half-troupe performers could independently perform high-tone and disordered-tone repertoire. The original plays of Qi opera and half-troupe repertoire coexisted on the half-troupe stage, so they were called Half Mix Opera. Around 10 years in the Republic of China, Half Mix Opera disintegrated, caused the reproduction of “seven tight eight loose nine free and unrestrained” half-troupe. They performed in the mountains until the eve of liberation. (Zhu Feiye, 2021)
After the foundation of the People's Republic of China, professional opera troupes were established. They not only excavated, arranged and made excellent traditional repertoire, but also created a number of new repertoires, such as One Heart, Send Straw Shoes, New Neighbors and the adaptation of Legend of Luang Knife. Ningdu Hakka Tea Picking Opera not only has a complete range of skills, beautiful tunes, but also has a variety of performance procedures. It has become a regular drama class capable of singing and dancing, modern and ancient, large and small, and martial arts, and has become a unique style of drama in China. (Zhu Feiye, 2021)
If there is no tea picking and other tea work, there will be no tea-picking songs and dances, and no tea-picking opera, which is widely popular in many provinces and regions in southern China. Therefore, tea picking is not only related to tea, but also a splendid culture derived from tea culture in the field of opera or absorbed by opera culture.
D. Gannan Tea-picking Opera
Gannan Tea- Picking Opera is an important school of Tea picking Oper, mainly popular in southern Jiangxi, that is, Ganzhou. In the tea-picking opera groups, the characteristics of tea picking in southern Jiangxi are reflected in the following aspects: First, it belongs to the Hakka ethnic group. The dialect of the South Jiangxi is Hakka, so the traditional repertoire of Gannan Tea-peaking Opera is basically performed in Hakka. Second, tea picking in southern Jiangxi originated early and had an impact on the early development of various tea picking operas.
Its origin can be traced back to the late Ming and early Qing dynasties. In the first year of Qianlong's reign, Yu Zhaoyue, governor of Jiangxi Province, mentioned in a note that “the custom of pretending to be a sex play is forbidden”[4]485. Drama experts believe that the “sex play” here is the tea-picking opera in southern Jiangxi Province[5], so it is speculated that its birth date should be earlier than this. Thirdly, in terms of artistic form, the traditional repertory of tea-picking opera in southern Jiangxi still retains the form of “three small operas”. And many other types of tea-picking opera have a trend of development to the big drama. For example, tea-picking opera in northern Jiangxi (Jiujiang tea-picking opera, Nanchang tea-picking opera, etc. ), influenced by Huangmei Opera in Hubei, has developed into a “half-troupe”, which can be used to perform ancient costume drama. In addition, a symbolic difference between different types of operas is music. The music of the tea-picking opera in southern Jiangxi belongs to the combination of Qupai（曲牌）. There are as many as two or three hundred Qupai, with beautiful melodies, which are well known to the local people[6]. (Wang Jingbo 2020)
The main performance forms of Gannan Tea-peaking Opera include dwarf step, single sleeve and fan, which deeply depict the character image and perform the story plot incisively and vividly. The main Musical Instruments used in the accompaniment of Gannan Tea-peaking Opera are hooks, Suona horn, bamboo flute, gong, drum, cymbals and other folk instruments, which is full of local atmosphere.
As a native Gannan culture, tea picking is a portrayal of Hakka people's life in the mountains. It expresses the joys and sorrows of Gannan people's life through comedy and farce. It is also a folk activity created in the tea-picking work and the main leisure and entertainment activity of the people after dinner. Tea-picking opera is a local opera developed from folk songs and dances and lanterns, and its repertoire mostly reflects the life of working people. Its music and singing styles are also folk songs, so it is deeply loved by the people. (xi-qu. com)
The general characteristics of Gannan tea-picking opera are: cheerful performance, humorous, singing and dancing, strong comedy, rich local flavor, quite popular with the masses. The representative works include Pairs of Flowers, Picking Tea in Jiulong Mountain, Digging Bamboo Shoots and so on.
Questions
1. Where is tea-picking opera popular?
2. When does tea-picking opera originate?
3. What is the nickname of tea-picking opera?
4. What are the main performance forms of Gannan Tea-picking Opera?
5. What are the general characteristics of Gannan Tea-picking Opera?
6. What are the representative works of Gannan Tea-picking Opera?
References
[1]采茶戏简介和影响_采茶戏历史_中国戏曲网 (xi-qu. com)
[2]国务院关于公布第一批国家级 非物质文化遗产名录的通知 国发〔2006〕18号 . 中国政府网
[3]试论我国采茶戏的形成与发展 - 中国知网 (cnki. net) 朱飞晔 2016
[4]清实录( 第九册) ·高宗纯皇帝实录: 卷十九［G］. 北京: 中华书局, 1985: 485.
[5］苏子裕. 赣南采茶戏的发展历程及其艺术形态［G］∥中国戏曲声腔剧种考. 北京: 新华出版社, 2001: 192.
[6]从传统到现代:赣南采茶戏的变迁与多元传承 - 中国知网 (cnki. net) 王静波
[7]施德玉. 中国地方小戏音乐之探讨［M］. 台北: 学海出版社, 2000: 241.
[8]采茶戏_百度百科 (baidu. com)
Session 4 OD Fri Mar 22 8:00-9:40 room 603
Session 4: Student presentations
185 丁昕怡ppt Opera: Huangmei opera
Please upload your power point here: File:Huangmei Opera 2024.pptx
190 梁诚知ppt Fine arts:Kunqu Opera
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Session 5 MW Fri Mar 29 8:00-9:40 room 603
Information: Apr 4-6 is Qingming holiday in China, the Chinese students make up for the missed classes on Sun (!) Apr 7 and 28.
Session 5: Student presentations
177 周静怡（ppt） stage entertainment:Yuan drama
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139 陈倩ppt Stage entertainment: Crosstalk 相声
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Session 6 OD Fri Apr 12 8:00-9:40 room 603
Session 6: Student presentations
Session 7 MW Fri Apr 19 8:00-9:40 room 603
Session 7: Student presentations
173 金川玉ppt Entertainment: Deyunshe 德云社
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178 徐硕珮（ppt） Music and instruments: Erhu
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Session 8 OD Fri Apr 26 8:00-9:40 room 603
Session 8: Student presentations
187 周莉ppt Chinese Folk Art:Lion Dance
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168 肖娄君（PPT） Martial Arts: Chinese Swordsman Spirit
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Session 9 OD Sun Apr 28 8:00-9:40 room 603
Repetition of Qingming-Fri April 5.
Session 9: Student presentations
134 陈健 Silk Road - by land and by sea: Zhang Qian and the Silk Road
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136 罗彬 Silk Road - by land and by sea: Zheng He's Voyages
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Session 10 MW Fri May 10 8:00-9:40 room 603
Session 10: Student presentations
167 王晨（PPT） History: Wang Shouren
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145 石慕予 Traditional Crafts: Shu Embroidery (Sichuan Embroidery)
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Session 11 OD Sun May 12 (?) 8:00-9:40 room 603
May 1-3 is an extended May First Holiday. The class of May 3 needs to be repeated on May 12 (?).
147 赵欣雨ppt Traditional Crafts: Folk Art - Chinese Paper-cutting
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176 刘欣雨ppt Traditional Crafts: Handcraft - Oil-paper Umbrella
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Session 12 MW Fri May 17 8:00-9:40 room 603
Session 12: Student presentations
148 陈昕舟ppt Traditional Crafts: Handcraft - Chinese Knots
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154 李静怡 Traditional Cuisine: Four Distinct Regional Cuisines
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Session 13 MW Fri May 24 8:00-9:40 room 603
Session 13: Student presentations
155 廖巧然 Traditional Cuisine: Breakfast Culture of Wuhan
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157 黄薪诺 Traditional Cuisine: Hotpot
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Session 14 MW Fri May 31 8:00-9:40 room 603
Session 14: Student presentations
179 师瑶ppt Traditional and Modern Views on Marriage and Love
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126 刘春秀ppt Science and Technology: China's Four New Inventions
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Session 15 MW Fri Jun 7 8:00-9:40 room 603
Session 15: Student presentations
138 刘晓宇ppt Social: Round Table Culture
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192 易祺芳ppt National Belief: the Chinese Dream
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Session 16 OD Fri Jun 14 8:00-9:40 room 603
Review of this semester