20220630 Culture 6

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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 刘珍 Liu Zhen 202170081588

Chinese Guqin and It's Development in the Song Dynasty Liu Zhen

Introduction

First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

Guqin and It's Development

The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:

Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:

Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

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

Performance:

In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument. They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin. Playing Technique:

The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:

First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played

The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty

At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

Development of Guqin Music in the Song Dynasty

The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

The Song Dynasty guqin school -- Zhejiang school

The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

The Cultural Influence of Guqin

The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.

In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics

When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture

As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

Terms and Expressions

the "Yellow Emperor": 黄帝

tablature：指法谱

the Palace Museum ：故宫博物馆

the Voyager Golden Record：旅行者金唱片

geographical isolation：地理隔绝

tempo：节奏、拍子

Organology：乐器学

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

On Chinese Dialects and Translation from Functional Equivalence Theory-- Southwest Dialect Translation 罗姚林 Luo Yaolin

Abstract

Dialect is the language used by people in local areas, which has become a unified national language through economic and political centralization. Its formation is inseparable from economic and political concentration. According to the characteristics of dialects, the formation and development of dialects, China can be divided into seven regions where dialects are distributed, among which there are six dialects in the south.

Dialect whose study belongs to the field of linguistic research is regarded as units structurally dependent on higher level systems. The theories of dialect translation are mainly based on linguistic theories, such as the relevance theory and the language function theory. Dialect translation is not only a process of language conversion, but also involves cultural fields such as sociology, folklore and etc. The research on dialect translation at home and abroad mainly includes the methods of dialect translation, cultural aspect of dialect translation and the linguistic theories of dialect translation.

This paper is mainly divided into the following parts: in the first part, the distribution and current situation of Chinese dialects are briefly explained; The second part is a brief review and summary of the history of dialect translation studies. The third part introduces Eugene Nida's functional equivalence theory and combines it with dialect translation. The fourth part introduces Sichuan dialect; The fifth part is based on Eugene Nida's functional equivalence theory to illustrate dialect translation from Sichuan dialect examples. The last part is a summary of this paper.

Key Words

Dialect translation; Functional Equivalence Theory; Sichuan Dialect;

An Introduction of Chinese Dialects

In the process of the development of the Han society, different degrees of differentiation and unity have appeared, so the Chinese gradually produced dialects. Modern Chinese has a variety of dialects, which are spread over a wide area. The differences between different languages in modern Chinese are manifested in phonetics, vocabulary and grammar, especially in phonetics. But because these dialects and common language have certain phonetic regular corresponding vocabulary. There are also many similarities in grammar, so they are not independent languages. According to the characteristics of dialects, the history of their formation and development, and the results of the current investigation about dialects, dialects of modern Chinese can be divided into several different types.

At present, there is not a complete agreement on the division of modern Chinese dialects in Chinese linguistics. According to most people's opinion, there are seven dialects of modern Chinese.

The northern dialect, represented by Beijing dialect, is the basis of the common language of modern Han nationality. It has the widest geographical distribution, accounting for about 73% of the total Han population. The northern dialect can be divided into four sub-dialects, the first one is north China and Northeast China dialect distributed in Beijing and Tianjin. Hebei, Henan, Shandong, Liaoning, Jilin, Heilongjiang provinces and parts of Inner Mongolia Province. The second one is northwest dialect, which is distributed in Shaanxi, Shanxi, Gansu provinces and some areas of Qinghai, Ningxia and Inner Mongolia. The language used by the Han people in Xinjiang also belongs to the northwest dialect, while the southwest dialect is distributed in Sichuan and Yunnan, Guizhou and other provinces and most of the southeast corner of Hubei Province, except xianning area, northwestern Guangxi, northwestern Hunan and so on. The fourth one is Jianghuai Dialect, which is distributed in Anhui Province, Jiangsu Province and north of the Yangtze River.

The Hakka dialect is represented by Mei county( in the northwest of Guangdong Province) dialect in Guangdong province. Hakka people are distributed in Guangdong, Fujian, Taiwan, Jiangxi, Guangxi, Hunan, Sichuan and other provinces, mainly in the north and east of Guangdong Province, western of Fujian Province, southern of Jiangxi and southeast of Guangxi Provinces.

Xiang dialect, also known as Hunan dialect, is one of the seven Chinese dialects with a relatively small area of common use. There are many different languages in Hunan Province, among which Xiang dialect is the most influential one.

Wu dialect is customarily called Wu dialect, also called Jiangzhe dialect or Jiangnan dialect. Wu is the name of the ancient region, being used the prevailing region. Wu dialect is spoken in Jiangnan( the southern of the Yangtze River), southern Jiangsu, Shanghai, Zhejiang, northeastern Jiangxi, northwestern Fujian and part of southern Anhui Province.

Cantonese dialect is also known as Cantonese, commonly known as Cantonese, which is the seven dialects of Chinese language phenomenon is more complex, retain archaic characteristics and more ancient words, the internal differences of the dialect is popular in Guangdong, Guangxi Province, with Guangzhou as the center.

Fujian dialect, also called Min dialect, commonly known as Fu-Lao dialect, is the most complex language phenomenon and has the largest internal disagreement among the seven Chinese dialects. Min dialect is mainly spoken in fujian, Guangdong, Taiwan, southern Zhejiang and some areas in Jiangxi, Guangxi and Jiangsu provinces.

Gan dialect, also known as Gan language, is a dialect with a smaller area and the smallest population among the seven Chinese dialect regions. It is mainly spoken in Jiangxi Province.

Previous Studies on dialect translation

Since the 1990s, dialect translation has been included in the research of translation, which has gradually gone from strength both at home and abroad.

In 1996, Annie Brisset analyzed the relations between power, ideology and culture which arose from the translation between French used in Quebec and English used as the Canadian official language by means of corpus-based study on drama scripts.

After analyzing the early translations of Finnish writer Kalle Paatalo, Ritvaeppihalne (2000, P. 247-269) found that domestication was the main translation strategy to transfer dialects and most of Pãätalo's translations had a tendency of standardization. In his research, with the aid of parataxis, such as translator's translation instructions and reader's letters, Leppihalme indicated that the standardization of dialects had not posed a great challenge to their acceptance.

In 2007, Sánchez illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics. According to these relationships, Sánchez deemed that dialect translation was not only a translation for language, but also a translation for culture. Meanwhile, in 2009 Sánchez analyzed three Spanish translations, that were Pygmalion, Lady Chatterley's Lover and Wuthering Heights. His study found that the dialects in Spanish translations tended to be standardized compared with the originals, and their characteristics failed to be presented in the translations. Therefore, Sánchez concluded that regional dialects and social dialects were inseparable from the source language culture in terms of their region and culture, and were difficult to represent in translation.

The year 2011 witnessed the booming of dialect translation researches. ColiulsZabalbeascoa (2011, pp.113-130) argued that there existed a third language in addition to the source language and the target language. This third language can be a natural and existing language, a dialect or a variant, or a hypothetical and fictional language. They had summarized the translation mechanism and compensation strategies of the third language in the films, together with the possible translation effects that various translation methods put on. Remarkably, Translating Dialects and Languages of Minorities from the series of "'New Trends in Translatology" by Peter Lang Publishing House had come out in 2011. There are many articles in the book to study the translation of regional dialects, social dialects or minority languages from the viewpoint of ideology, poetics and other cultural perspectives.

José Manuel Rodíguez Heirera (2014, pp 278-294) held that the French, Spanish and Italian versions of The Adventure of Huckleberry Finn all tended to standardize American Black English, hindering the acceptance of the translations. Later on, in the article The Adventures of Huckleberry Finn and Jim in China: A Case of What Corpus Pragmatics Can Do for the Translation of Dialect", Henrera had proven that "corpus linguistics can greatly contribute to gauging whether dialect has been transcribed consistently or accurately" (Herrera, 2017, p.385)

Currently, Annie Brisset (2017, pp.127-156) drew attention to the Quebec stage of Shakespeare's works and analyzed the translation strategies employed in the translations of dialects. Additionally, Veronika Ritt-Benmimou dealt with "the preposition fi in the Bedouin dialect of Düz in Southern Tunisia, not in its well-known local and temporal functions, but rather as a marker of various, mainly progressive, durative and habitual aspects" (Ritt-Benmimoun, 2017, p.319) The study of dialect translation in China is later and less popular than that in foreign countries. At the beginning of the 20th century, Chinese academics set out to show their concerns on dialects for translation.

Taking Tess of the D'Urbervilles as his research object, Han Ziman (2002, pp.86-90) suggested that the dialects in Tess of the D'Urbervilles were hard for the translator to translate and the features of these dialects were also hard to represent. In the meanwhile, the dialect translation in the book even made it harder for readers to understand, although it was presented a rustic style.

Huang Zhonglian(2012,144) put forward seven kinds of dialect transformation mechanisms based on the four elements such as original dialect,standard original, standard translation and dialect in the target language.

Yu Jing has contributed a lot to the translation of dialect. In 2015. Yu explored six common methods of translating American literature into Chinese. and described the "gap" between each translation method and standard language forms ( 余静, 2015, p.107-110). In 2018, Yu Jing proposed a broad framework for dialect translation in general. a localized framework for descriptive studies of literary dialect translation, and a comprehensive and systematic framework capable of accommodating different areas of descriptive studies of dialect translation is also sketched, so as to facilitate the efforts by concerned Chinese researchers to find suitable issues for their research projects from this specialized area of inquiry(余静2018, p.19).

In addition, Sang Zhonggang(2015,pp. 935-944) discovered that most of the current western studies on the topic concerned are of literary corpus-based descriptive research generalizing the normalized dialect translation strategies and procedures, and domestic studies mainly deal with the critical-interpretive evaluation of dialect translation cases. Therefore,he brought up a new research approach to the process of dialect translation strategy-selection in light of Active Theory ( 桑仲刚, 2015,p. 935).

Wang Enke believed that the respective handling might be a key to the breakthrough of today's research lock and introduced readers, a new element , into the study of dialect translation, and then suggested that translation of dialects into dialects would facilitate the reproduction of the charm the dialects in the original have, and that the descriptive approach instead of the prescriptive one would further the study of dialect translation (王恩科, 2015, P.83).

Zhou Lingshun (2016, pp. 23-27) defined the concept of vernacular language, and pointed out that the critical study of vernacular language translation needs three research approaches: the diachronic investigation of one translator in terms of his different translations in different periods, the synchronic investigation of different translators, and the application of the updated evaluation models in translation practice and translation criticism.

Meanwhile, Wang Baorong and Xie Haifeng presented a critical review of current Western studies on four translation strategies the translator may opt for, observing that dialectal standardization and dialect-for-dialect translation are generally found to be extreme solutions. They proceeded to suggest several possible avenues of further research to improve the current lack of systematic and empirical studies in this fascinating research field (王宝荣&谢海丰, 2016, p.39) Additionally, Jiang Jing (2016, p. 123-131) focused on the literature review of foreign dialect translation studies in the past 30 years, especially the main progress and viewpoints in the aspects of dialect translation strategies, dialect translation and sociocultural context.

In conclusion, the researches on dialect translation suggest that the translation of dialects can be undertaken not only within the linguistic level, but also within the cultural level. Meanwhile, critical researches on translation and interpretive research under a theoretical framework are two main aspects involving in the study of dialect translation. Although the study of the dialect translation around the world has been at an initial stage, there has appeared a climax of dialect translation nowadays.

Functional Equivalence Theory

The famous American translator Eugene Nida constructed a huge theoretical system between 1960s and 1970s, the core of which is the functional equivalence theory, that is, target readers can understand the function of the original in the same way that the original readers understand the original. Equivalence theory includes formal equivalence and functional equivalence. The former one refers to the equivalence of the target language and the source text in form, emphasizing the information itself. The latter is to restructure the original text information and language structure in a flexible and appropriate way, so as to achieve the basic equivalence of the original text audience between the target language audience.

The predecessor of functional equivalence translation theory is dynamic equivalence, which originated from The Theory and Practice of Translation written by Nida in 1969. Dynamic equivalence consists of lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. The core of dynamic equivalence theory is to make the target language readers' response to the translation equivalent to the original language reader's response to the original. In short, it aims to achieve the closest natural equivalence of the translation. Such translation understanding of this point of view has exerted a great controversy, mainly manifested in the above four principles as the principle to measure whether the translation is good sometimes appears stiff and the functionality that translation is supposed to achieve is often overlooked. In order to change this measurement standard and strengthen the concept of function, Nida replaced the theory of dynamic equivalence with the concept of functional equivalence in 1993. Nida proposed that the translation should be smooth and natural, and the content should be vivid and expressive, so that readers' feelings and reactions are similar (谭载喜, 2004, 234). It can be seen that the core of the theoretical framework is functional equivalence, and the purpose of functional equivalence is to achieve equivalence between translation and original text in language function, rather than simple correspondence in language form(叶子南，2013).

Functional equivalence has three principles, namely accurately convey original information and style; The translation should be consistent with the grammar and expression habits of the target language and the reader's response should be similar, which requires the translator to have a full grasp of the connotation and spirit of the original text before starting the translation. Only in this way can the target language reader have an equivalent response to that of the original reader. In order to meet the above three criteria, it is inevitable that there will be irreconcilable contradictions between content and form. In this regard, Nida advocates that content is more important than form, because translators should seek equivalents rather than identical languages. In a sense, that is to emphasize the reproduction of the original information, rather than the preservation of its expression form. In addition, Nida also put forward three criteria for the quality of translation, which can make the audience understand the original text correctly. The translation language is concise and easy to understand, as well as the form is appropriate and attractive to the audience.

Case Study

Dialect reflects the integration of a nation and the inheritance of culture. Sichuan dialect, for example, has retained many ancient and middle ages colloquial expressions and words unique to the ancient ba( ancient Chongqing) language. In each area of Sichuan Province, the pronunciation of Sichuan dialect is also different, and there is often a case of polysemy. The meaning of the same word will change in different contexts.

The meaning of the same word may change in different contexts. In translation, in order to achieve the equivalence of communicative functions, the translator needs to fit the context and choose the most appropriate meaning.

e.g：瓜娃子。

The word "瓜娃子" is a characteristic word in Sichuan dialect. Its meaning can be roughly divided into three categories:(1) indicating nicknames between intimate relationships; (2) meaning that there's something wrong with one's nerves; (3) It means that someone is not smart enough to do something. The literal translation of "melon child" would be ironic if the translator did not understand its cultural context. Here are three examples to understand its interest and meaning.

Example 1：我的小瓜娃子，几天不见，好想你。

Analysis: Obviously, in such case, there is always room for translating the word"瓜娃子" into "darling","dear" and "Sweetheart". In translation, the translator can also understand the relationship between the speakers on the basis of the context, and further achieve functional equivalence.

Example 2：你看那个人在垃圾堆里捡东西吃，怕是个瓜娃子哦。

Analysis：The phrase “瓜娃子” in this sentence means insane, which can be translated as "neurotic insane". It takes a lot of work for the translator to achieve functional equivalence from the complete translation of words and phrases, and to convey the tone of surprise of the speaker.

Example 3：那么简单的事都做不好，真的是个瓜娃子。

Analysis：In this sentence, “瓜娃子”means that someone is not clever enough and not able to do things wisely.

e.g: 抻展

The word "抻展" in standard Chinese means to stretch something out. But in Sichuan dialect, the meaning of the word is quite different. It can be used to describe someone who looks good, or someone who does things well, who is beautiful, who dresses well, etc. In other words, the word is conjugated from a verb to an adjective with multiple meanings. In translation, the translator should first be able to understand the correct meaning of the word in different contexts to achieve equivalence in vocabulary selection, and then adjust syntax, part of speech, tone, etc., so as to make the reader feel roughly the same and achieve functional equivalence.

example 1: 小明你把这道题搞抻展没得?

Analysis: In this sentence, the phrase "抻展" can be described as understand, figure out and so on. While here in this case, it can be thought as" figure out" or "work out". According to the context, we can easily find that its meaning is mainly known as "figure out".

example 2: 她今天穿的还算抻展。

Analysis: In this context, the phrase "抻展" can be translated as "well fitting", "decently"。In order to realize the equivalence of communicative functions, we should pay attention to the change of parts of speech. "抻展" in the original sentence is an adverb, but actually, it is used as an adjective to describe clothes, so it would be better to translate it into an adjective.

example 3: 他长得好抻展啊，不愧是校草。

Analysis: With no doubt, "抻展" in this sentence means "handsome", "good looking", "attractive" and so on. When it comes to describe women, we have more options depending on the context. For a little girl, it can be translated as "cute" and "beautiful". For a young woman, it can be translated as "attractive", "sexy" and so on. An older woman can be described as "intellectual", "elegant"and "graceful".

example 4: 耙耳朵

The word“耙耳朵” originates from a kind of ear in Chengdu bicycle (soft cushion), which is invented by men in Chengdu for their wives so that they could sit more comfortably in the back seat. Some streets in Chengdu can still see a small number of such bicycles. The expression evolved to today, meaning "hen-pecked wife's man ". In Sichuan, the term is both humorous but meanwhile full of praise, because the man who is afraid of his wife shows that he has a deep love for his wife, and also demonstrates that men in Sichuan generally have a kind of virtue. "耙" means "soft", if translated literally as "soft ear", which is obviously wrong, and foreign readers or listeners will not understand its connotation. In order to achieve the equivalence of communicative functions, translators need take the method of free translation, looking for similar western cultural background, such as "hen-pecked husband".

example 5: 假老练

Do you still Remember Tom and Jerry? In the Sichuan dialect version, the cat, originally named Tom, is given a funny name called "fake sophisticated", because in Sichuan dialect, this phrase fits Tom's character, that is, he pretends to have experienced a lot while actually he knows nothing, which is similar a kind of banter of "puffing up your face and pretending to be fat".

In the everyday language of Sichuan dialect, we also often use "fake sophisticated "to describe this type of person. But it is often difficult for the translator to find the corresponding word, with "witling" barely working, but only to achieve equivalence at the lexical level. To truly achieve functional equivalence, the translator should adopt the method of translation and interpretation.

example 5：梭边边

analysis：One of the characteristics of Sichuan dialect is the use of reduplication. Translators all know that reduplication in Chinese is translated into English by omitting translation, adding translation and changing parts of speech and so on to achieve the functional equivalence. Then, the translation of reduplication in Sichuan dialect will also encounter the same problem. For example, "梭边边" means "slip away or evade responsibility", which can not be found in the translation of the corresponding verb, thus the translation has to find a relevant similar translation, saying "avoid responsibility".

Another example is "鱼摆摆", which actually refers to "fish", "pendulum" is just an expression of image in Sichuan dialect, describing fish swimming in the water. A similar phrase is "睡告告", which means "go to bed"or "sleep";"吃莽莽 "which means "have a meal"; "吃嘎嘎" means "eat meat".

There is also the word "火瞟瞟"，which is used to describe "burning pain". In translation, the translator can use addition and free translation in order to achieve the equivalence of its communicative functions; And "光咚咚", which means "without clothes".

There are also AABB-like refrains such as "咔咔咯咯", which means" a corner that is difficult to find". When translating, the translator has to translate it according to the specific context for translating as "corner", "gap", "a place hard to find" and so on.

The above is a translation of some dialects used in daily life. Next, we will talk about the subtitle translation of Sichuan and Chongqing dialects, and discuss how to apply functional equivalence theory through the film anonymous.

With the globalization of the world and the acceleration of the process of cultural diversity, cultural exchanges between countries are becoming more frequent. More and more high-quality Chinese films are going to the whole world through the medium of subtitle translation. To disseminate unique Chinese culture and consciousness to the outside world. A Cool Fish is a Chinese dialect film featured by Chongqing dialect( the southwest dialect). It has been well received in China and received warm response abroad.

As a film with unique characteristics of southwest China, it should achieve the purpose of cultural exchange, which requires that the subtitle translation of the film not only makes the translation response to the original with vivid, appropriate and natural way of good faith to the purpose and the audience, but also on the basis of the text, makes the maximum reduction of emotional attitude, style and characteristics. The goal is to make the audience has a similar spiritual experience with the original audience. It coincided with the Nida's functional equivalence theory, that the purpose is to make the audience's reaction to the translation is basically the same as the original English audience's reaction to the original text. Therefore, the following cases, based on the functional equivalence theory, analyzes the translation strategies used by the film translator and its quality.

example: 你莫骗老子哈。

Translation: Don't you make a fool of me?

Analysis: This scene is the two men( one called "Glass" and the other one is " the Big Head" ) were hiding at the heroin, Ma Jiaqi's home after robing at the phone store. Glass was asking Ma whether the liquid medicine would make him feel painful when the Big Head was applying unction for him. In Chongqing dialect, “莫”means "no", "don't"; the original meaning of the sentence is warming Ma not playing trick on him, but the word " lie" is not able to express the tone of teasing. Therefore, it is translated as" make a fool of me", which has such meaning. Here the literal translation is chosen to accurately express the attitude and convey the original text 's style and message.

example 2: 老子耍女人的时候你娃还在吃鼻屎！

translation: I was already a womanizer when you were still shitting your pants!

The so-called free translation, that is, only faithful to the content of the original text, but not confined to the original text (Meng Qingsheng, 2009). In the example, Glass does not admit that he does not have girlfriend and he is still a virgin. In the original text, "Boose-eating," refers to an unworldly child. If the literal translation would make the foreign audience feel disgusting and unacceptable, the translator is here translated as "shit one's pants", referring to children who pee their pants, and the texts correspond to each other, both faithful to the original text and considering the audience's feelings.

Example 3: 等于是你永远不会睡着嘛？

Translation: Will you never fall asleep?

In the case, the underlined part was omitted in the translation. The translator sacrifices the original form to translate in an appropriate way to show its spirit, essence and content( Zoe, 1995). In this case,Ma is threatening Glass, and if he would leave, Ma will cry out for help. This is what the Glass put forward to deal with Ma's trick. In Chongqing dialect, “等于是”means"难不成”、“难道, which is often in interrogative sentence. There is no exact equivalent words or phrases in English. So the translation delete it. It will not affect the purpose and the audience's understanding of the original text, but make the translation more concise and more in line with the requirements of subtitle translation.

This paper analyzes and summarizes the translation of the subtitle of the film--A Cool Fish--under the guidance of functional equivalence theory. The subtitle translation strategy of Chongqing Dialect is flexible, translation strategies including deletion, reconstruction, literal translation and free translation, all of which are used in the faithful manner. Based on the faithful expression about the original text, the characteristics of Chongqing dialect are fully displayed, and to a large extent, the original retained the appeal and attraction of the audience and the original audience to achieve the same film experience and effect, and finally achieve Nida's "functional equivalence".

Conclusion

Translating dialects is a very interesting practice. Even if it is a simple word, its meaning changes a lot. The translator can choose the most appropriate one from Nida's functional equivalence theory to realize lexical equivalence; Try to achieve syntactic equivalence through appropriately taking use of translating methods including changing the part of speech; Then according to the context and speakers' relationships, grasping the tone of translation, and finally realizing the equivalence of communication functions.

The translator should not blindly pursue the brevity of language to use "hard translation" or "dead translation", which would make the translation hard to understand and inconsistent with linguistic habits of the target language readers. On the contrary, the translator should be appropriately make use of addition, omission, changing part of speech and the word order to make the translation fluent and natural, achieve functional equivalence and truly realize communication between local residents and tourists or readers.

Through the above translation and analysis of Sichuan and Chongqing dialect that we can see, Nida's functional equivalence theory is applicable to the translation of dialects. The core of his theory is that the translation should be smooth and easy to translate, which means that after reading, the reader's reaction is similar to that of the original reader and finally achieve dynamic equivalence, that is, to achieve lexical, syntactic, textual and stylistic equivalence, but the ultimate goal is to achieve communicative function. In dialect translation, in order to make the target language audience know the fun and charm of the language and feel the regional cultural characteristics, namely, to achieve the equivalence of communicative functions, in translation, the translator should make appropriate addition, omission and free translation, etc. In the era of globalization, people matter on the one hand keeping pace with the times to speak standardized mandarin and to learn standardized English; and on the other hand, people should well keep the language treasure house left by their ancestors and inherit the characteristics of its nation.

References

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Corrius, M. & Zabalbeascoa, P. (2011). Language variation in source texts and their translations: The case of L3 in film translation, Target, 23 (1), 113-130.

De Linde, Zoe, “Read my lips: Subtitling principals: Practices and problems.” In Perspectives, Studies in Translatology, 1995, 3(1)：9-20.

Herrera, J. M. R. (2014). The reverse side of Mark Twain's brocade: The Adventures of Huckleberry Finn and the translation of sialect. European Journal of English Studies, 18 (3), 278-294.

Herrera, J. M. R. (2017). The Adventures of Huckleberry Finn and Jim in China: A case of what Corpus Pragmatics can do for the translation of dialect. Digital Scholarship in the Humanities, 32(2), 385-397.

Leppihalme, R. (2000). The two faces of standardization:On the translation of regionalism in literary dialogue. The Translator, 6(2), 247-269.

Ritt-Benmimoun V. (2017). The preposition fi: As an object and aspect marker in a south Tunisian Bedouin dialect[J]. Journal of Semitic Studies, 62(2), 319-355.

Han ziman韩子满. (2002). 试论方言对译的局限性——以张谷若先生译《德伯家的苔丝》为例. [ On the limitation of dialect translation-- take the translation of The Tess of the d'Ubervilles by Zhang Guruo as an example][J]. 解放军外国语学院学报[Journal of PLA Foreign Language Institute], 25(4): 86-90.

Huang Zhonglian黄忠廉. (2012). 方言翻译转换机制[ Conversion Mechanism of Dialect Translation ][J]. 北京理工大学学报[ Journal of Beijing Institute of Technology ] 14(2): 144-151.

Jiang Jing姜静. (2016). 国外方言翻译研究三十年：现状与趋势[ For 30 years' Dialect Translation Studies in Foreign Countries: Current Situation and Trend ][J]. 放军外国语学院学报[ Journal of PLA Foreign Language Institute ], 39(2): 123-132.

Meng Qingsheng孟庆升. (2009). 新编实用汉英翻译教程[ A New Practical Chinese-English Translation Course ][M]. 天津：天津大学出版社[Tianjin: Tianjin University Press ]. Tan Zaixi谭载喜. (2004)西方翻译简史[ A Brief History of Western Translation][M]. 北京：商务印书馆[ Beijing: The Commercial Press ].

Wang Baorong & Xie Haifeng汪宝荣, 谢海丰. (2016). 西方的文学方言翻译策略研究述评[A Review of the Translation Strategies of Western Literary Dialects ][J]. 外国语言研究[ Foreign Language Studies ], 2(4): 39-49.

Wang Enke王恩科. ((2015). 文学作品中方言翻译再思考[ Rethinking on Dialect Translation in Literary Works ][J]. 外国语文[ Foreign Language ], 31(4): 83-90.

Ye Zinan叶子南. 高级英汉翻译与实践(第三版）[ Advanced English-Chinese Translation and Practice( The Third Edition) ][M]. 北京：清华大学出版社[ Beijing: Tsinghua University Press ], 2013.

Yu Jing余静. (2015). 论方言翻译的“落差”策略[ On the Fall-off Strategy of Dialect Translation ][J]. 中国翻译[ Chinese Translation ], 17(2): 107-110.

Yu Jing余静. (2018). 文学方言描写翻译研究路线图[ Research Roadmap of Descriptive Translation of Literary Dialect ][J]. 中国翻译[Chinese Translation ], 19(3): 19-27. Zhou Lingsong周领顺. (2016). 乡土文学、乡土语言及其翻译研究[Study on Local Literature and Local Language and Translation ][J]. 158(1): 23-27.

Terms and expressions

relevance theory 关联理论

language function theory 语言功能理论

sociology 社会学

Pygmalion 《匹格玛利翁》

Lady Chatterley's Lover 《 查泰莱夫人的情人》

Wuthering Heights 《呼啸山庄》

The Adventure of Huckleberry Finn 《哈克贝利费恩历险记》

Tess of the D'Urbervilles 《德伯家的苔丝》

functional equivalence theory 功能对等理论

The Theory and Practice of Translation 《翻译理论与实践》

A Cool Fish 无名之辈

Questions

1. How many local dialects in China?

2. which dialect is spoken in Zhejiang Province?

3.Who illustrated the relationships between language and society as well as context and register theory and dialect from the perspective of sociolinguistics?

4. The phrase "瓜娃子" means that someone is "smart", true or false?

5.What unique characteristic does the film A Cool Fish featuring?

Anwsers

1.Seven

2.Wu dialect

3.Sánchez

4.False

5. Chongqing dialect

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