LANG2022 LIST OF FINAL EXAM PAPERS

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References

• Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.
• Liu Miqing 刘宓庆. (2010). 翻译基础 [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Please write your paper by clicking on the edit button next to your name

Name Student Number Topic

卞王倩 202170081563 Europeanized Chinese and Cultural Factors Behind it CE

Introduction

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Terms

Questions

Answers

References

曹姣 202170081564 A Brief Talk on Court Culture in Tang Dynasty from the Perspective of the Poem -- Take Changhenge for Example. --Cao Jiao (talk) 07:45, 11 May 2022 (UTC) MW

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

Introduction

Definition

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

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

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

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

Make-up and headgear in The Everlasting Regret

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

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

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

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

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

Court banquets

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

Palaces and architectures

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

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

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

Conclusion

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

Preferences

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

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

Terms and Expressions

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

崔晓凡 202170081566 China Central Plain Culture

--Cui Xiaofan (talk) 13:01, 15 May 2022 (UTC)

高智慧 202170081568 The History of Chinese Noodles

--Gao Zhihui (talk) 14:04, 27 May 2022 (UTC)

胡良明 202170081570 A Study of the English Translation of Chu Ci by Xu Yuanchong

--Hu Liangming (talk) 02:08, 31 May 2022 (UTC)

黄琼 202170081571 Bamboo Weaving in Yiyang Hunan

--Huang Qiong (talk) 11:45, 28 May 2022 (UTC))

邝雨琪 202170081572 Chinese Mooncake Culture

--Kuang Yuqi (talk) 14:20, 27 May 2022 (UTC)

李思源 202170081575 A Study on Chinese Lantern Culture

--Li Siyuan (talk) 12:30, 31 May 2022 (UTC)

李婷 202170081576 Language Culture in Chinese Cuisine Names

--Li Ting (talk) 02:35, 10 May 2022 (UTC)

李媛 202170081579 Phonetic Loan Characters (tongjiazi) in Chinese Language

--Li Yuan (talk) 09:55, 27 May 2022 (UTC)

李梓婕 202170081580 Confucius Institutes

--Li Zijie (talk) 15:33, 11 May 2022 (UTC)

刘双英 202170081585 The Transmission of Chinese Folk Art.

--Liu Shuangying (talk) 06:16, 10 May 2022 (UTC)

刘婷 202170081586 Translation and Dissemination of Chinese Contemporary Science Fiction

刘瑶 202170081587 Dissemination of Chinese Contemporary Literature

刘珍 202170081588 Chinese Guqin--Liu Zhen (talk) 04:34, 10 May 2022 (UTC)

龙翰良 202170081589 Spreading Chinese culture in teaching Chinese as a second language --Long Hanliang (talk) 02:48, 23 May 2022 (UTC)

罗姚林 202170081590 Different Local Dialects in China

马艳焕 202170081591 An overview on the study of Chinese folk stories --Ma Yanhuan (talk) 05:20, 10 May 2022 (UTC)

聂薇 202170081592 Cultural factors behind the Spring Festival travel rush in China

孙丽君 202170081593 Chuanjiang Work Songs--Sun Lijun (talk) 05:42, 10 May 2022 (UTC)

仝雨梦 202170081594 The Influence of Chinese Traditional Philosophy in Contemporary Times --Tong Yumeng (talk) 05:04, 10 May 2022 (UTC)

童略雅 202170081595 A Brief Analysis of The Influence of AI on Translators

庹树梅 202170081596 Translation and Dissemination of Chinese Fairy Tales in the English-speaking World

王思琪 202170081597 A Study on Chinese Dialects

王亚娟 202170081598 Filial Piety in China--Wang Yajuan (talk) 02:29, 10 May 2022 (UTC)

肖冬晴 202170081599 On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating the Cooperative Principle

肖佳莉 202170081600 The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times --Xiao Jiali (talk) 14:09, 10 May 2022 (UTC)

谢晓莹 202170081601 The Acrobatic Fighting in Peking Opera

熊嘉玲 202170081602 Yue Opera--Xiong Jialing (talk) 02:49, 10 May 2022 (UTC)

颜媛 202170081603 Linguistics Humor

杨心怡 202170081604 Gendering History on Chinese Movie

杨紫微 202170081605 Appreciating of the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theories

张国浩 202170081606 The Influence of Electronic Language on Chinese Language and Culture in the Internet Age

张姣玲 202170081607 The comparison of the translations of Li Bai’s poem The River-Merchants Wife: A Letter (E.Pound's Version and Xu Yuanchong's)

张瑞 202170081608 An analysis of honorifics between Chinese and English--Zhang Rui (talk) 01:15, 10 May 2022 (UTC)

赵宇翔 202170081609 Dunhuang Frescoes In Contemporary China

郑冬琴 202170081610 A Comparative Study of Sino-German Cultural Differences

钟青 202170081611 The English translation of the ancient Chinese official positions, taking History of Imperial China as an example.

周皓熙 202170081612 Rhetorics in China

周哲 202170081613 Confucian Teaching Thoughts

朱丽娟 202170081614 Eco-awareness in Traditional Chinese Culture--Zhu Lijuan (talk) 12:30, 10 May 2022 (UTC)

段小蝶 202170081615 Chinese Movies

方楚晗 202170081616 Bullet Screen in Chinese Online Video Sites--Fang Chuhan6 (talk) 02:04, 10 May 2022 (UTC)

胡雯雯 202170081617 Chinese Baijiu Culture

黄天琪 202170081618 Marriage Culture in China

Marriage Culture in China Huang Tianqi

Introduction

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

Marriage System

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

References

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

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李丹 202170081620 Differences of Tea Culture between China and the UK--Li Dan (talk) 06:13, 10 May 2022 (UTC) (talk) 01:42, 10 May 2022 (UTC)

李立飞 202170081621 Memes in China

莫雨婷 202170081622 Chinese animal symbolism--Mo Yuting (talk) 12:23, 10 May 2022 (UTC)

彭慧璇 202170081623 Foot binding in China --Peng Huixuan (talk) 04:17, 15 May 2022 (UTC)

时友洁 202170081624 Makeup Evolution in Ancient China --Shi Youjie (talk) 01:47, 10 May 2022 (UTC)

伍佳惠 202170081625 Chinese Dragon Culture--Wu Jiahui (talk) 03:29, 10 May 2022 (UTC)

夏晶 202170081626 The Differences of Table Manners Between China and West--Xia Jing (talk) 14:29, 11 May 2022 (UTC)

向师琦 202170081627 The Collision between Confucian Culture and Chinese Modernist Literature --Xiang Shiqi (talk) 02:30, 10 May 2022 (UTC)

向望 202170081628 Fandom Culture in China --Xiang Wang (talk) 10:32, 26 May 2022 (UTC)

徐舞 202170081629 Analysis on Chinese"Chi+O" Construction

张静芝 202170081630 The Chinese cheongsam culture --Zhang Jingzhi (talk) 03:11, 12 May 2022 (UTC)Zhang Jingzhi

张旻丰 202170081631 Chinese chess culture --Zhang Minfeng (talk) 06:08, 14 May 2022 (UTC) --Zhang Minfeng (talk) 08:38, 28 May 2022 (UTC)

曹梦然 202170081632 Wedding costumes of China --Cao Mengran (talk) 08:36, 11 May 2022 (UTC)Cao Mengran

胡梦琪 202170081633 Huangmei opera

张白鹭 202170081634 An analysis of Chinese translation of Modern Japanese literature

刘安莉 202170081635 China’s internet literature IP

王思佳 202170081636 Longevity culture of Nanyue--Wang Sijia (talk) 08:56, 27 May 2022 (UTC)

徐盖 202170081638 Nuo Culture in China

徐文慧 202170081639 Chinese Writing: The “scholar's four jewels” (writing brush, ink stick, ink slab and paper) --Xu Wenhui (talk) 14:05, 18 May 2022 (UTC)

Akira 202121080009 The emergence of new linguistic forms in Chinese (neologisms?)

Mahzad Heydarian 202021080004 Chinese Mythology and its impact on Chinese Cinema