20221231 LangCult 9

Quicklinks: Back to course homepage FAQ Manual Back to Tipps and Overview of the final exam papers: 20221231_LangCult

This is the final exam paper website no. 9

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website

Modern Applications of Traditional Chinese Color

名字中英，学号

Abstract

Chinese opera is one of the three oldest theater cultures in the world, along with Greek tragedy and comedy and Indian Sanskrit. This article will introduce the development of Chinese opera and focus on the five core opera genres: Beijing opera, Yueju opera, Huangmei opera, Pingju opera, and Yuju opera.

Chinese Zodiac

张思诗Zhang Sishi, 202270081678

Abstract

The folklore zodiac has many cultural expressions and various legends, which have become increasingly diverse in their historical transmission, making them rich in cultural connotations. The many types of stories or legends greatly demonstrate the charm of the zodiac folklore, which plays an irreplaceable role in agricultural production and folk communication in particular. Jokes to relieve the boredom, fables to demean the evil and promote the good, are all inseparable from the culture of the zodiac. The animals in the Chinese zodiac are not only integrated into Chinese life as ordinary beings, but their natural habits have been given many deified symbols and cultural significance in folklore.

Live streaming culture in contemporary China

张婷Zhang Ting, 202270081679

Abstract

With the rapid development of live streaming industry, live streaming has been widely present in people's daily life. It is not only an economic phenomenon, but also a cultural phenomenon, reflecting the tendency and preference of contemporary people's spiritual culture and entertainment pursuit. This article will give an introduction live streaming, including its categories, ways of interaction as well as influence.

The Imagery in Chinese Classical Poetry

张文琦 Zhang Wenqi, 202270081680

Abstract

The imagery is an indispensable component of Chinese classical poetry, with rich cultural connotation and unique cultural spirit. After a brief introduction of its origin, development, definition and function, the author interprets some common imageries in detail according to four classifications. They are botanical imagery, animal imagery, character imagery and inanimate imagery.

Key Words

Chinese classical poetry; three promotions of imagery theory; three categorizations of imagery

题目

中国古典诗歌意象简析

摘要

意象，是中国古典诗歌的重要组成部分，承载着丰富的文化内涵和独特的文化精神。在简要介绍意象的起源与发展后，作者按照植物意象、动物意象、无生命意象这三种分类对一些常见意象进行了详细解读。

关键词

中国古典诗歌；意象理论的三次提升；意象的三种分类

Introduction

I. Origin and Development of Imagery in Chinese Classical Poems

Imagery is the soul and the core of the Chinese classical poetry. Based on the actual experiences and feelings, imagery exceeds the simple physical image, and it’s a reflection of the poet's imagination divergence thinking. In Chinese literary tradition, the expression “Yi Xiang”(意象) has existed since ancient times, and it “has long been a concern of Chinese poetry from its very beginning.” (Pauline Yu 1987,3) It’s used to “denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual” (James Y. Liu 1962,101) Actually, the imagery and its theoretical system have undergone three upgrades, and then gradually developed into the one we’re familiar with.

The first theoretical promotion occurred in the Pre-Qin times, based on Zhuangzi’s “words don’t exhaust meaning” and “The Sages established the images to give fullness of the concepts in their minds” in Commentaries on the Book of Changes (Stephen Owen 1992,31). In Wei and Jin Dynasties, the second promotion was marked by Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言) in his book Elucidation of the Images(《明象》), which indicates that words exists for images, and images for the concept in mind. It was Liu Xie in Han Dynasty who exactly introduced image into literary and endowed it with aesthetic connotation, which signals the third theoretical promotion. In his book Carving a Dragon with a Literary Mind, Liu stated “a uniquely discerning carpenter wield his axe with his eye to the concept-image”.

II. Interpretation of Typical Imageries

1. Botanical Imagery

1) Willow Willow is always used to express sentiment attached to parting. Since Han Dynasty, there has been the custom of “breaking off a willow branch for leave-taking”. The pronunciation of “柳” in Chinese is similar with “留”, which means “(want someone) to stay”, endowing the willow with sensibilities of missing someone or the sadness of departure.

2) Wutong trees Wutong, also known as plane or Chinese parasol, is closely associated with autumn and a melancholy mood. Wutong usually conveys a sense of grief and desolation. And the half dead wutong can be compared to the middle-aged widower or widow.

3) Chrysanthemum Blooming in autumn, the Chrysanthemum often symbolizes loftiness, constancy, integrity and nobility of a character as well as a secluded life, especially in Tao Yuanming’s poems. By the way, some botanical imageries, such as bamboo, pine trees and plum-blossom, share similar symbolic meaning to some extent.

2. Animal Imagery

1) Cuckoo

Cuckoo, also named “zǐguī” or “zǐjuān” in Chinese, is associated with farewell because its call sounds like the pronunciation of “不如归去”, which means “It’s better to return.” Wandering travelers far away from hometown will be touched when hearing such a sound, which brings them grief and homesickness. Moreover, when departing with friends or relatives, people are always sorrowful, hoping they can soon return.

2) Crane For one thing, the natural image of the crane, full of vitality and soaring in the sky, often embodies the poet’s yearning for a free and secluded life. For another, the crane symbolizes longevity and mourning, showing poet’s life-worrying consciousness. Additionally, as an important cultural icon of Taoism, the crane is associate with immortality, which reflects the holiness of Taoism and the religious ideal of pursuing the freedom and the eternity.

3) Swallow Swallows are migratory birds whose return heralds the coming of spring. Therefore, swallow imagery, firstly, is employed to appreciate and cherish the pleasant spring. Besides, swallows often appear in pairs in people’s houses or under the eaves, hence two swallows embody an enviable love or love-sickness. Finally, in some poems, the swallow represents the changes of current events, reflecting the poet’s indignation about vicissitudes of the past as well as the country’s subjugation and destruction.

3. Inanimate Imagery

1) Moon The moon, with various appellations in Chinese, such as “yùgōng”, “yínpán”, “chánjuān”, etc., is one of the most commonly-used imageries in Chinese poetry. It implicates the general Chinese national mentality and denotes the obscured illusions of the Chinese spiritual homestead. The moon implies homesickness, especially when it is full, which symbolizes a perfect home life or a happy union. On the contrary, a waning moon indicates destitution or separation. Even today, those who are far from home would feel homesick and forlorn at the sight of the moon, just like the writer of “Still Night Thought”.

2) River In China, the Yangtze River and the Yellow River are two main rivers, which originates from the southwest of China hence flowing eastward. So the imagery of river appears always accompanied with words “flowing eastward”. Sometimes poets use it as a metaphor for a moral, hermetic life, obstruction or time. Also, it’s a symbol of separation with sadness, because in ancient China poets usually send their friends or families off by the riverside.

3) East wind and west wind Due to geographical factors, “east wind” in China, as a sign of spring, brings warmth and speeds the greening of plants and spurs love. On the other hand, “west wind” in China symbolizes chilly coldness in winter, which is connected with something bleak and desolate.

Conclusion

There’re three major theoretical upgrades before gradually forming the imagery theory we understand today, that is, the objective things in poetry that fuse the author’s subjective feelings and aspirations. Due to rich connotations, profound philosophy and unique spirit of the imagery, the proper comprehension of imagery is the key to appreciate and experience the charm of poetry. Moreover, the study of imagery is of great significance to the study of Chinese classical literature as well as the inheritance of Chinese traditional culture.

References

▪Deng Yueping 邓月萍. (2004). 论中国古典诗歌意象的英译 [On the Translation of Imagery in Classical Chinese Poetry into English]. Nanchang: Jiangxi Normal University 江西师范大学.

▪Liu, James J.Y. (1962). The Art of Chinese Poetry [中国诗学]. Chicago: University of Chicago Press.

▪Li jin 李进. (2008). 中国古典诗词中常见意象的英译研究 [Studies on the Common Images in Classical Chinese Poetry and Their Translation]. Beijing: Capital Normal University 首都师范大学.

▪Owen, Stephen. (1992). Readings in Chinese Literary Thought [中国文论：英译与评论]. Cambridge, Massachusetts and London: Harvard University Press.

▪Yu, Pauline. (1987）. The Reading of Imagery in the Chinese Poetic Tradition [中国诗学传统中意象的读法]. Princeton: Princeton University Press.

▪Zhou Haoyang 周浩洋. (2020). 中国古典诗歌意象论[On the Imagery in Classical Chinese Poetry]. 名汇 MINGHUI (02) 80-83.

Terms and Expressions

Commentaries on the Book of Changes 《易传》

Elucidation of the Images《明象》

Carving a Dragon with a Literary Mind 《文心雕龙》

Words don’t exhaust meaning. 言不尽意。

A uniquely discerning carpenter wield his axe with his eye to the concept-image. 独照之匠，窥意象而运斤。

Botanical imagery 植物意象

Animal imagery 动物意象

Inanimate imagery 无生命意象

sentiment attached to parting 离愁别绪

Chinese parasol （诗歌中）梧桐

grief and homesickness 羁旅怀乡之情

life-worrying consciousness 忧生意识

Questions

1.What marks the second theoretical promotion of imagery?

A. the first combination of “Yi” and “Xiang” by Wang Chong

B. Wang Bi’s further illustration on the triadic structure of “the concept in mind”(意), “images”(象) and “words”(言).

C. Zhuangzi’s “words don’t exhaust meaning”

D. Liu Xie’s statement about the aesthetic connotation of the imagery

2. What does the imagery of a full moon usually symbolize?

A. immorality B. a perfect home life or a happy union C. destitution or separation D. holiness of Taoism

3.What’s the cultural icon of Taoism that is connected with immorality?

A. horse B. tiger C. crane D. goose

4. Which of the following imageries has nothing to do with departure?

A. willow B. river C. cuckoo D. east wind

Answers

1.b 2.b 3.c 4.d

Traditional Chinese Culture: Tiger-faced shoes

章颖雯Zhang Yingwen, 202270081701

Abstract

   Tiger-faced shoes, or Hutou Xie, is a kind of hand-made shoes for kids in China. Just as its name, the top of a pair of tiger-faced shoes is shaped like a tiger’s head. With sophisticated and practical design, it has been brought into the intangible cultural heritage and has been a proud of the Chinese people. This paper will focus on tiger-faced shoes, and it would analyse the culture from the origin, design,implied meaning and value of tiger head shoes.

Key words

Tiger-faced shoes; Traditional Chinese culture; Intangible cultural heritage

题目

中国传统文化：虎头鞋

摘要

   在中国，虎头鞋是一种为小孩所作的手工鞋。从鞋名可知，虎头鞋的鞋头呈虎头模样。虎头鞋设计精巧且实用，现已纳入中国非物质文化遗产当中，是国人的骄傲。本论文以虎头鞋为题，着重分析虎头鞋的由来、造型、寓意和价值。

关键词

虎头鞋；中国传统文化；非遗

Introduction

   The Chinese people consider tigers as power, luck, righteousness, valour and vigour in their country, so they use anything about tiger to avoid disasters. From the ancient China, “tiger culture” has begun to spread. 

At the beginning, tiger culture was originated from totems. During Yin and Zhou Dynasty, our ancestors engraved tiger patterns on bronze wares; In the military dimensions, the emperors used Military Tiger Talisman(虎符) to move their military troops, and it also means the sovereign power of the ruling class; The ancient people also engraved tiger patterns on eaves and used those eaves to build houses, which means their houses peaceful and auspicious; During Chinese New Year, the Chinese people not only paste “Door God” on their doors, but also paste pictures of a tiger. In folk, Chinese parents make tiger head shoes for their children, because “The folk believes that ‘dog doesn’t eat dog’(虎毒不食子). For the safety and healthy growth of children, people make tiger-faced shoes and hats to knock on luck, drive away evil and avoids evil.” (Liu Jia, 2010, 201) Therefore, tiger-faced shoes play the role in Chinese culture: to bring luck and auspiciousness, to prevent disasters from children, and to make a hope that children could grow up healthily and happily.

Origin

   The origin of tiger-faced shoes, or Hutou Xie, can date back to the Stone Age.There are a lot of fairy tales about tiger-faced shoes. According to Quan Yue(2022, 148-151), once upon a time, a young boatman whose surname is Shi lived on the bank of the Yellow River, and he helped the local residents cross the river every day. One day, an old lady in a hurry to cross the river to ask a midwife to give a birth to her daughter-in-law’s child. However, Unexpectedly that the old lady was dizzy when her was on the boat, so the young boatman had to help the old woman to ask a midwife alone. Then the second day, on the birth of her grandson, the old lady sent a painting to the young boatman as a present for his kindness.

In that painting, there was a beautiful girl. And the next day, the beautiful girl became a real girl standing in front of the boatman, and then, they got married. Several years later, a local official wanted to rob of the beauty, so the girl ran into the picture again. Then the official roared to the picture: “if you do not out, I will break you into pieces!” The girl was extremely afraid. While at the boatman’s home, the old lady made a pair of red shoes which shaped like a tiger’s head to the boatman’s son, and said: “Putting on the pair of red shoes to save you mom!.” After that, the little boy ran to save his mom, and when he came in the official’s home, he was angry and suddenly, his shoes became a fierce tiger! The tiger ate the official in one bite, and finally, the boy saved his mom. The family reunited happily. This is one of the origin of tiger head shoes.

Design

In most areas of China, the main colors of tiger-faced shoes are red and yellow. While tailors sew the mouth, nose and eyes of the tiger with thick threads. “When making tiger-faced shoes, some people like decorating tigers’ eyes and ears with rabbit fur. With three colors of red, yellow and white, the tiger-faced shoes look vivid.”(Xu Xiren, 2017, 144) At the same time, different people use different colors to decorate the shoes. For example, the Han people often use yellow cloth to decorate tiger head shoes, while the Yi people like using white cloth. As to the appearance of tiger-faced shoes, in general, the appearance of a pair of tiger-faced shoes is tiger-liked pattern, on which has eyes, mouth, nose and beard. While in different places, tiger patterns on shoes have slight differences, for example, “In north China, the design of tiger head is more exaggerated and more rugged, while in abundant Jiangnan, the design is more delicate.”(Wang Chenlin, 2019, 69) Chen Hui also described that in Henan province, tiger head shoes have rough shape and strong local flavor; in Shandong province, the head of shoes is more prone to be like cat head, lion head or dragon head.(Chen Hui, 2017, 192)

Implied meaning and value

   In traditional Chinese culture, people attach great importance to their children. Parents hope their children will have bright future and also, they hope they can be taken good care of by their kids when they are old. So parents have high expectations for their kids.

When children are little babies, their parents use kinds of ways which might be superstitious to protect them from dangers. For example, when a baby is born, the first person who holds the baby is serious in China, because the Chinese people think the behavior will pass good luck, a healthy body and so on to the kid, so they require the person who is the first to hold their new-born baby is of good health and good fortune and so on. Therefore, tiger-faced shoes are of the same significance for Chinese parents. Tiger, the king of beasts, has the implied meaning of good luck and power in China, so parents make tiger-shoes for their little baby to prevent dangers, bad luck and disease. Meanwhile, according to Yin Zhuoran, he said a pair of tiger-faced shoes “有鼻子有眼” (has a nose and big eyes), which means the one who wears it is a complete and healthy person.(Yin Zhuoran, 2010, 185) Yang Xueqin also referred to that “In folk art, women's fabric products, embroidery, paper cut and other designs, follow the idea symbolized by the metaphor, and are subject to the wishes of happiness and luck...”(Yang Xueqin, 1990, 179) Such statements implied that those who wear tiger head shoes will be a healthy, auspicious and happy person. Also, the shape of the shoes is matched with children’s growing feet, letting children walking freely. Tigers have strong life, and the Chinese people praise highly of it, which can be shown in some Chinese idioms such as “生龙活虎” “如龙似虎” “龙腾虎跃” (all of these idioms mean someone has vitality and vigour) and so on. All of these idioms contain a high appreciation for tigers, so parents hope their new-born babies have strong life just like tigers. Also, tigers have a positive impression in Chinese people’s hearts, so they also hope their kids could have the same good characters with tigers in the world.

Conclusion

   As a part of traditional Chinese culture, tiger-faced shoes has been handed down by the Chinese people from generation to generation, and people innovate it in different ways. Ding Xiaojia once mentioned in his article: “Tiger shaped pillow and tiger-shaped earthenware are very like modeling of tiger-head shoes in spirit. People are using another way to express their respect for tiger-head shoes’ auspicious meaning.”(Ding Xiaojia, 2015, 628) The combination of traditional craftsmanship with constant innovation has kept the vitality of tiger-faced shoes. And with the shoes, Chinese parents place the best wishes on their children. so, in today’s world, it is important for us to inherit and spread the culture of tiger-faced shoes, as well as making innovation constantly. Only doing these will our fine traditional Chinese culture flourish.

References

Chen Hui陈辉. (2017). 虎头鞋造型元素创新与应用研究[Research on Innovation and Application of Styling Elements of Tiger Head Shoes]. 2017艺术研究国际会议：科学，体验，教育Proceedings of the 2017 International Conference on Art Studies: Science, Experience, Education. Ding Xiaojia 丁晓佳.(2015). 中国中原民间艺术中的儿童虎头鞋[Children's Tiger-Head Shoes in Chinese Zhongyuan Folk Art]. 2015第二届教育、语言、艺术与跨文化交际国际会议[International Science and Culture for Academic Contacts.(eds.)Proceedings of the 2015 2nd International Conference on Education,Language,Art and Intercultural Communication]:640-643. Liu Jia刘佳. (2010). 即墨布老虎、虎头鞋帽[J] [Jimo Cloth Tiger, Tiger-head Shoes and Hats]. 大众文艺The Popular Literature and Art Press(06):201-202. Quan Yue全岳. (2022).中国鞋史系列篇之——神奇的虎头鞋[Chinese shoes history series of magic tiger head shoes].西部皮革West Leather 44(07):148-149+151. Wang Chenlin 王晨林. (2019). 民间虎头鞋造型的文化阐释[Cultural interpretation of folk tiger-faced shoes modeling].民艺Folk Art(06):69-72. Xu Xiren徐夕人. (2017). 从虎图形和鞋造型探究虎头鞋的价值[J][Explore the Value of Tiger-faced Shoes from the Tiger Graphics and Shoe Shape].戏剧之家Home Drama(20):144. Yang Xueqin, An Qi 杨学清，安琪. (1990). 民间艺术简介Introduction to Folk Art. Beijing: Arts and Crafts Press工艺美术出版社. Yin Zhuoran, Yu Honggang尹卓然,余宏刚. (2010). 从豫西南老虎头鞋谈刺绣[J][From the Southwest of Henan Old Tiger Head Shoes on Embroidery]. 大众文艺 The Popular Literature and Art Press(23):185-186.

Trems and Expressions

dog doesn’t eat dog 虎毒不食子 Tiger-faced/ tiger-head shoes 虎头鞋 Tiger Talisman 虎符 the intangible cultural heritage 非物质文化遗产

Questions

1.What color of cloth does the Han people often use to make tiger-head shoes? 2.What does tiger-faced shoes like in Henan province? 3.In China, parents make tiger-faced shoes for their kids to prevent bad luck and disasters, true or false? 4.The ancient emperors used Military Tiger Talisman to move their military troops, and it also means ________.

Answers

1.Yellow cloth 2.Tiger head shoes in Henan have rough shape and strong local flavor 3.True 4.the sovereign power of the ruling class

Chinese Horseface Skirt

Zhang Yuyan张玉燕,202270081681

Abstract

Horseface skirt (also named mamianqun or mamianzhequn) is one of the main skirt styles of ancient China. Originated from the Song Dynasties, flourished in the Ming and Qing Dynasties, horseface skirt is inherited and favored by people all over the world. Therefore, I’d like to devote this article to introducing horseface skirt so that readers can learn something about its history, structure, patterns and colors, thus bringing it to the world.

Key Words

horseface skirt; history; structure; patterns; colors

摘要

马面裙又名“马面褶裙”，是中国古代裙式的主要代表之一。它源于宋代，盛于明清，延续至今，受到无数人的青睐。在此，我想借此文介绍马面裙，让读者了解其发展历史、结构特征、图案纹样、色彩搭配等，使中国的马面裙走向世界。

关键词

马面裙、历史发展、结构特征、图案纹样、色彩搭配

Introduction

When it comes to “horseface skirt (also mamianqun)”, you may be amazed by its name. So why is it called that? Some people believe that it’s because the skirt doors look quite similar to “mamian”, which refers to the defensive structure of the ancient city wall. While others think that its middle skirt door, which is a rectangle, is like a long horse face. Therefore, this part of skirt is named “mamian”, and the skirt itself is called mamianqun (also horseface skirt)(Cai Liming 1993,379).

The word “Ma Mian” first appeared in Ming Palace (Qi Ziyu 2012，2).And the history of horseface skirt can be traced back to “spin skirt” in the Song Dynasty. So,what’s spin skirt? Actually, it is a functional dress designed for women’s donkey riding. Meng Hui said, “This type of Song skirt is composed of two equal and independent trains. When making a skirt, the two parts are partially stacked together and sewn to the waist (Caoxue,Wang Qunshan 2016,109).” Because of its shape and structure, it’s considered to be the embryonic form of horseface skirt. In Ming Dynasty, the horseface skirt gradually formed. With its simple style and beautiful color, it impressed people with its elegance. From the royal nobles to the common people, everyone wore horseface skirts. However, in terms of texture,decoration,and color, there were strict differences among classes. Since the foundation of the Qing Dynasty, horseface skirt changed from a general skirt for men and women to a skirt only for women, and more forms appeared,such as pleated skirt, yuehua skirt,and fengwei skirt.In the 21st century, to some extent, the rise of Hanfu movement has once again promoted horseface skirt, and it’s still favored by world people.

“The Yi (the upper garment) and Shang (the lower skirt)”is one of the clothing forms in Chinese civilization,and the horseface skirt is a kind of “Shang”,which is mainly composed of four parts, namely, the skirt door, the skirt flank, the skirt couplet and the waistband. There are 4 skirt doors at the front, back, inside and outside, overlapping each other.The two skirt flanks refer to the side folds of the skirt. And two skirt couplets are two pieces, which are partially stacked together and sewn to the waist. While the waistband funtions to girde the waist with the help of beltloops.It is this special design that allows the wearer to move freely without being too revealing，which reflects the implicit and introverted national temperament of the Chinese nation.

Let’s move on,and learn about its patterns! There are two types of horseface skirt patterns­­­­­-separate embroidery patterns and large embroidery patterns，among which the separate embroidery patterns account for the majority.Each pattern conveys a different meaning.Taking the animal patterns “dragon and phoenix”as an example, in the long history of China, dragon and phoenix are considered to be auspicious.They are seen to be the symbols of prosperity, solemnity and power. Therefore, these patterns are mostly found in the clothes of ancient emperors and their concubines.Taking the pattern of “fish” as another example, fish harmonizes with "Yu"（in mandarin）, so it has the good meaning of having a surplus for the next year in China. People also embroider some plants and flowers on their horseface skirts, such as our national flower peony,which represents wealth and nobility; the undefiled lotus,which symbolizes purity; the golden chrysanthemum,which represents longevity;and lily,which represents sacredness and holiness,friendship and a bright future(Sun Hui ,Wu Yue 2017,11).

Generally speaking, in terms of color,horseface skirt can be divided into single-colored horseface skirt and multi-colored horseface skirt(such as yuehua skirt). Horseface skirts are always gorgeous in color, mostly red, followed by blue and other colors(Zhang Pei，Yang Jingyi 2022,80).That’s because the red color represents joy and auspiciousness,which can bring people hopes and wishes for a better life in the future, and give them a sense of happiness.Therefore, it seems that Chinese people naturally love the red color instead of some other dark colors,such as black. Nowadays, young and creative designers are making the horseface skirt more colorful, beautiful and attracting. They are very skillful at striking a wonderful balance between cold and warm colors, and pay attention to the contrast of colors with different brightness and purity,thus making more people know about horseface skirt.

Conclusion

The horseface skirt does originate from China and has a very long history. While in July, Dior appropriated Chinese horseface skirt culture and insisted that its collection was an original design, which infuriated Chinese students who took to the streets to protest, demanding respect for Chinese culture. It is this event that prompts me to write this passage. And I know the passage maybe not comprehensive due to the limitation of words, but I sincerely hope that readers can gain something from it, such as its development history, structure, etc. And I hope more people will love Chinese horseface skirt and spread it to the world. That’s all! Thank you for your careful reading!

References

▪Cai Liming蔡黎明.(1993). 简明纺织品词典[A Concise Dictionary of Textile].Shanghai：Shanghai Lexicographical Publishing House上海辞书出版社.

▪Cao Xue曹雪,Wang Qunshan王群山.(2016).从开衩旋裳到罗裾撷芳——马面裙的发展历程[From the Slitting Skirt to the Absorbing Essence. History of Art Development about the Horse-face Apron ]. ART AND DESIGN艺术设计（10）108-110.

▪Qi Ziyu祁姿妤.(2012).清代马面裙形制研究[A Research on Structure of Paired Aprons in China Dynasty].Beijing: Beijing Institute Of Fashion Technology北京服装学院.

▪Sun Hui 孙辉，Wu Yue武越.(2017). 明清时期马面裙的研究及创新应用[Research and Innovative Application of Horse Face Skirt in Ming and Qing Dynasties].APPRECIATION 收藏鉴赏（15）11-12.

▪Zhang Pei 张佩，Yang Jingyi杨景壹(2022).马面裙在现代服饰中的创新应用[Innovative Application of Horse face skirt in Modern clothing].Analysis and Discussion分析与讨论(5)79-81.

Terms and Expressions

English Chinese 1. horseface skirt/ mamianqun 马面裙 2. Ming Palace 《明宫史》 3. shape and structure 形制 4. yuehua skirt 月华裙 5. fengwei skirt 凤尾裙 6. skirt door 裙门 7. skirt flank 裙胁 8. waistband 裙头 9. skirt couplet 裙联 10. beltloops 袢带 11. separate embroidery patterns 独立的刺绣图案 12. large embroidery patterns 大面积刺绣图案

Questions

1.The word “Ma Mian” first appeared in______. A.Bible B.Ming Palace C.Journey to the West D.The Seventh Day

2.Spin skirt is designed for_____. A.women’s donkey riding B.men’s donkey riding C.children’s donkey riding D.women's horse riding

3.____represents wealth and nobility. A.The undefiled lotus B.The golden chrysanthemum C.Lily D.Our national flower peony

4.While in July,____appropriated Chinese horseface skirt culture and insisted that its collection was an original design. A.Parada B.Dior C.Chanel D.Gucci

Answers

Correct answers are: 1.B 2.A 3.D 4.B

The Rise of ‘China Chic’: A Case Study of Beijing 2022 Winter Olympic Games

周晓兰 Zhou Xiaolan,202270081682.

Abstract

‘China Chic’ is a term that describes the trend of China-centric design, incorporating unique cultural elements into the latest trends. With the growing popularity of China’s native fashion trends, more young people are paying attention to traditional Chinese culture. And the Beijing 2022 Winter Olympic Games can been as a good example of how young people have embraced China Chic. This paper focuses on the rise of China Chic, taking Beijing 2022 Winter Olympic Games as an example.

A Brief History of Petting in China

周子豪Zhou Zihao, 202270081702

Abstract

Pets had been considered to be a component of Western liyestyle, and Chinese, maybe due to the notorious reputation for eating dogs, has been long labeled as "a land unfriendly for pets". It was documented that, however, Chinese, especially those in high society, have been keeping pets since anicent times. This paper attempts to give a descriptive view to the petting history of China and a contrastive analysis to the Western.

Opera:Lv opera(of Shandong Province)

庄昊康Zhuang Haokang, 202270081713

Abstract

Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are Zhuiqin (the main string), Yangqin, Sanxian and Pipa, which are called "the four major pieces of Lv Opera".It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

Key Words

Lv Opera;Cultural Heritage;Opera;Music Forms;Performing Arts

Introduction

Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "Shuo Shu" is especially popular among the masses, and the storytellers use the local language familiar to the masses to interpret stories that express the emotional life and social patterns of the Qilu people. Huimin County," there is mentioned: "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou not far from the Yellow River there is a Huji village (belonging to Huimin County), where every year to hold a 'book meeting' to Huji as a gathering place, hiring rap artists from around the world to come to sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the conditions for the introduction of the qinshu panel style, which also laid the main position of Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and the predecessor of Lv opera sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu is divided into the east, the south and the north to spread. The various documentary sources can be summarized that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence and the mode of make-up performance respectively, which marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region, and is the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here and developed from here, precisely because of the performance form of South Road Qinshu as the foundation, plus the later development and consolidation of East Road and North Road Qinshu, which facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs and customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being developed, and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody. The repertoire of Shandong Lv opera can be divided into three categories: "traditional plays", "modern plays" and "new historical plays".

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between "singing" and "reading" in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, spitting out words clearly, speaking naturally, and sounding natural and smooth. Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation, and it is important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: "Siping cavity" and "two boards".

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors doing fighting on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life actions. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance and waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be a small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to pass on Lv opera better, it is inevitable that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

Conclusion

The current situation of Lv Opera in Shandong province is not optimistic.Many professional Lv Opera troupes have been gradually renamed or merged,or even completely disappeared.The inheritance of Lv Opera has become increasingly difficult. The younger generation,who genuinely love Lv Opera and perform it,are also less and less.The audience is aging.Based on these conditions,it is not only necessary to carry out the task of promoting traditional culture to individuals,but also requires the government to increase its investment in culture and art, and introduce more effective policies.

References

He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

Terms and Expressions

1. shuoshu 说书 2. Qilu people 齐鲁人民 3. Huimin County 《惠民县志》 4. Huji village 胡集村 5. Book Fair 书会 6. qinshu 琴书 7. Guangrao 广饶 8. Boxing 博兴 9. board cadence 板腔 10. Siping cavity 四平腔 11. two boards 两板腔 12. lying fish 卧鱼

Questions

1.Lv Opera originated in______. A.Yangtze River Delta B.Yellow River Delta C.Pearl River Delta D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice is______. A.lyrical and lingering B.high and aggressive C.soft and distant D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera? A.traditional plays B.modern plays C.new historical plays D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province? A.the east B.the north C.the west D.the south

Answers

Correct answers are: 1.B 2.A 3.D 4.C

CORRECTIONS ARE MARKED IN BRACKETS.

Abstract

Lv Opera, also known as Yangqin and Qinxi Opera, is a national intangible cultural heritage, one of the eight major operas in China, and the most representative local opera in Shandong Province. It is popular in most parts of Shandong Province and parts of Jiangsu, Anhui[,] and Northeast China. It originated in the Yellow River Delta in northern Shandong Province and evolved from Shandong Qinshu. Its music belongs to Banqiang, and it also sings Qupai. The main accompaniment instruments are [z]huiqin (the main string), [y]angqin, [s]anxian and [p]ipa, which are called "the four major pieces of Lv Opera".[ ]It is deeply loved by the broad masses of the people with its simple and vivid language, beautiful and pleasant singing voice.

Key Words

Lv Opera; Cultural Heritage; Opera; Music Forms; Performing Arts

Introduction

Lv Opera originated in the Yellow River Delta, where the Yan and Zhao cultures, the Sanjin culture and the recent Beijing and Tianjin cultures have merged, making this area a long and colorful history of folk art. Among these arts, "[s]huo [s]hu" is especially popular [with] the masses, and the storytellers use the local language familiar to [the people] to interpret stories that express the emotional life and social patterns of the Qilu people. ["]Huimin County," [it] is mentioned[,] "rap music in the lower reaches of the Yellow River in this area is quite prosperous, more than fifty miles southwest of Binzhou[,] not far from the Yellow River[,] there is [ ] Huji village (belonging to Huimin County), where every year [there is held] a 'book meeting' [with] Huji as a gathering place[. They] hir[e] rap artists from around the world to come [and] sing ". According to local elders, the "Huji Book Fair" was traced back to the Yuan Dynasty, and was even more prosperous in the early Qing Dynasty, and is still an annual event in Huimin. It can be inferred that this "book fair" provided the [groundwork] for the introduction of the qinshu panel style, which also laid the [foundation for] Shandong qinshu in the cultural activities of the Yellow River Delta at that time, and [served as] the predecessor of Lv opera [which] sprouted in such an environment.

In terms of the distribution of Lv opera in Shandong Province, the Qinshu divided [and spread to] the east, the south and the north. The various documentary sources can be summarized [as stating] that it was not until around 1913 that Guangrao and Boxing completed the establishment of the board cadence[. The] mode of make-up performance [was also established at this time] respectively[. This] marked the basic formation of the prototype of Lv opera.

The germination of Lv opera is the fruit of the geographical environment, folk customs and folk art traditions of the Yellow River Delta region[. It is also] the crystallization of the wisdom of the working people of Guangrao and Boxing. Lv opera emerged here, flourished here[,] and developed from here, precisely because the performance form of South Road Qinshu [acted] as [its] foundation[. In addition,] the later development and consolidation of East Road and North Road Qinshu facilitated the process of the birth of Lv opera.

Because of the connection between Lv opera and Shandong Qinshu, the repertoire of early Lv opera was mostly adapted from Shandong Qinshu, and some of the repertoire was transplanted from other genres. This type of repertoire was mainly based on folklore, and was created orally by the artists of the time according to the local customs. After the test of time, scholars now classify this category of repertoire as "traditional repertoire". After the establishment of New China, according to the national policy of that time, Lv opera also created some new plays in response to the current trend, which are called "modern plays". Lv opera is still being develop[ing], and the plays with historical themes that appear on the stage today are born out of the increasing aesthetic demand of the audience and the national policy of melody [is there an actual government policy on melody?]. The repertoire of Shandong Lv opera can be divided into three categories: [traditional, modern, and new historical plays.]

The singing method of Lv opera is the same for both male and female cavities, but the male cavity is mainly sung in real voice, while the female cavity is sung in a combination of real and falsetto voice, and is five degrees higher than the male cavity. Since Lv opera originated from the art of rapping, there is no distinction between singing and reading in the performance.

When singing, Lv opera focuses on setting up the cadence with words, bringing the voice with emotion, singing with singing, [pronouncing] words clearly, speaking naturally [and smoothly.] Compared with the high and aggressive Qin cadence and the soft and distant Kunqu, the singing voice of Lv opera is more lyrical and lingering. It is often used for the glissando, trill and ornamentation[. It is also] important for the words to be correct. The combination of soft tone, trill, beating tone and overtone of the falling qin makes the whole singing stretching [consider a new word here to clarify your meaning for "stretching"] and beautiful. Shandong Lv opera has absorbed the artistic components of the clapper cavity, so it is also based on the board cavity, and its singing voice can be roughly divided into two categories: siping cavity and two boards.

Lv opera is mostly about small matters between parents and neighbors, so it is rare to see actors [doing fight scenes] on the stage of Lv opera, and the plays with more action are only exaggerated renditions of real-life [activities]. It was only after a large number of new historical dramas were created that more and more martial arts plays were seen on the stage of Lv opera. "Doing" and "fighting" are usually combined with each other in opera performances. The female roles require a higher level of "doing", such as "lying fish", which requires the actor to be skilled in terms of flexibility, balance[,] and [utilizes much] waist and leg strength.

After a hundred years of development, Lv Opera has been included in the list of [the] intangible cultural heritage of China and is one of the eight major local operas in China, which can be said to be [no?] small achievement. However, as an important member of Chinese traditional culture, it inevitably encounters various obstacles in the process of development. In order to [continue to] pass on Lv opera [effectively], it is [necessary] that reasonable and effective countermeasures should be formulated in conjunction with the characteristics of the times.

Conclusion

The current situation of Lv Opera in Shandong province is not [looking very] optimistic.[ ]Many professional Lv Opera troupes have been gradually renamed or merged,[ ]or even completely disappeared.[ ]The inheritance of Lv Opera has become increasingly difficult. The younger generation,[ ]who genuinely love[s] Lv Opera and perform[s] it,[ is] also [becoming smaller and smaller].[ ]The audience is aging.[ ]Based on these conditions,[ ]it is not only necessary to carry out the task of promoting traditional culture to individuals,[ ]but also requires the government to increase its investment in culture and art, and [to] introduce more effective policies.

References

He Xiaolong. (2019). Research on the musical art of Lv Opera贺小龙.(2019).吕剧音乐艺术研究(硕士学位论文,山东艺术学院).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019258741.nh

Li, Mengjun. (2020). A Brief Discussion on the Inheritance and Development of Lv Opera.李梦君.(2020).浅谈吕剧的传承与发展. 戏剧之家(05),34.

Wang W.. (2019). The Aesthetic Style of Lv Opera Art.王伟.(2019).吕剧艺术的审美风格. 齐鲁艺苑(05),86-91.

Xie, Linsuan. (2019). A study on the performance art of Shandong Lv Opera谢林杉.(2019).山东吕剧的表演艺术研究(硕士学位论文,扬州大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202001&filename=1019217446.nh

Terms and Expressions

1. shuoshu 说书 2. Qilu people 齐鲁人民 3. Huimin County 《惠民县志》 4. Huji village 胡集村 5. Book Fair 书会 6. qinshu 琴书 7. Guangrao 广饶 8. Boxing 博兴 9. board cadence 板腔 10. Siping cavity 四平腔 11. two boards 两板腔 12. lying fish 卧鱼

Questions

1.Lv Opera originated in______. A.Yangtze River Delta B.Yellow River Delta C.Pearl River Delta D.Heilongjiang River Basin

2.The characteristics of Lv Opera singing voice are______. A.lyrical and lingering B.high and aggressive C.soft and distant D.rustic and simple

3.Which of the following is not the repertoire of Shandong Lv opera? A.traditional plays B.modern plays C.new historical plays D.traditional historical plays

4.Which of the following is not the direction of the spread of qinshu in Shandong Province? A.the east B.the north C.the west D.the south

Answers

Correct answers are: 1.B 2.A 3.D 4.C

Chinese Culture and A Child’s Education

Wellsand, Benjamin, 202111080018

Abstract

The social conditions of China have never been more taxing when it comes to a decades-long engrained child education culture and a problematic rapidly aging population. The social constructs of the longstanding loyalty to kinship and interdependence of collectivism within China place a cyclical concern from parent to child as one looks out for the other to ensure a fruitful economic future. The 1950s one-child policy has not only served to slow birth rates but has inadvertently allowed for a significant amount of finances to be set aside for the future of an only child to ensure the desired monetary success. The Chinese Communist Party has recognized the challenges the future of the country faces as a result of past policies and is seeking to revolutionize the education culture in order to permit Chinese families to grow without fear of missing out on a profitable and fulfilling future for the entire family unit. The modern-day CCP and the ancient philosopher, Confucius, align in their understanding of the vital role that the family plays in the future health of Chinese society.

Key Words

Collective Culture; Filial Piety; Kinship Culture; Private Education; Standardized Testing

Introduction

In Chinese culture, the family name is displayed prominently before the individual’s given name as a clear indicator of the honor given to the family unit and the collective nature by which the individual is viewed within foundational societal institutions. China is a culture that is overtly centered on kinship. “Male offspring were especially valued for their role in carrying on the family name, explains Li Liu of Beijing Normal University, “without a male heir, a family line originating from its ancestors is terminated, and the family’s place in the universe gets lost forever.” (2007: 57) China is world-renown for having the largest population. Beginning in the 1950s, the population grew on a steep trajectory from 540 million to 940 million by 1976. The booming industrialization caused concern of famine and housing shortages as more people were expected to start searching for higher-paying urban jobs as opposed to working on farms. In response to these concerns, the Chinese Communist Party (CCP) started limiting births provincially in 1979 and finally standardized the one-child policy in 1980 which limited ethnic Chinese to only one child per couple. The fertility rate dropped from 6.1 in 1990 to 1.16 in 2021. (Master & Zhang 2022)

It is the cultural importance placed upon a male heir to carry on the family name that explains the resulting current skewed sex ratio. (Statista 2021) Charles Kraft shares, “Family and relatives are the big things to [kinship cultures]. Those with family are wealthy (whether or not they have any money).” (1996: 121) Great financial responsibility is placed upon a son’s family who is seeking to find a wife for him. 房子, 车子, and 票子 are viewed as the requirements that should be met in order for a daughter to agree to take a man as her husband. While housing prices have steadied (Aljazeera 2022), the job market continues to be a challenge do to an economic slow from the COVID-19 pandemic. (Bloomberg News 2022)

There is an inordinate amount of competition in children’s education that accompanies these high social demands. Laurie Chen (2018) reports that more than sixty percent of primary school children (up to seventy percent in larger cities) were tutored outside of the classroom and parents paid an average of 120,000 RMB on up to 300,000 RMB for extracurricular education. The 双一流 higher education ranking leaves limited space for academic success. Zhang Duanhong (2019), writes of “the ‘exhausting high school, carefree university’ paradigm, in which university life is treated as a reward for making it through the rigors of the country’s college entrance exam.” The 90 percent graduation rate further limits the space available in universities and increased entry competition. The highly competitive nature in higher education has conditioned both sexes to pursue the greatest quality of education and the highest paid positions obtainable. Students must place their entire life on hold and focus all attention on study.

To ease the high societal demands of childrearing and encourage population growth, the CCP has made significant policy changes in areas such as private education (Koty 2021), maternity leave (Huang & Huang 2021), afterschool childcare (Zhang 2021), along with child subsidies (Ma 2022). Yet it remains an uphill battle to change the social conditioning of a country built around a single-child family. The 鸡娃 parenting mentality continues on despite best efforts to curb this longstanding trend. (Feng 2021) Private education has not disappeared but has simply undergone a transformation as is the case with English tutors turned online product salespeople. (Jia 2022) Private education companies are believed to shift as well from educators to a rebranding as providers of AI products, software, and services for public education institutions. (Knox 2021)

The philosopher, Confucius, upon whose teaching pillars Chinese society is built, was a strong advocate of the family. He recognized human flourishing occurring within five complex relationships and three of these are familial: father/son, elder/younger brother, and husband/wife. Confucius felt that it was “in the context of the family that we acquire the building blocks for navigating the wildly complex relational networks that comprise human society.” (Ten Elshof, 2015: 14) Filial piety is no surprise in the face of a culture that centers on the family. Liu explains, “Filial piety is more than just showing filial obedience to parents: most importantly, it indicates raising sons to support aging parents and having sons to continue the family line.” (2007: 56) This too is a practice that finds support within Confucianism as a “value that calls on adult children to fulfill obligations to respect, obey, support, and care for elderly parents.” (Shea, Moore, & Zhang, 2020: 29) 养儿防老 is the Chinese parental motto that shows the expectations placed upon the children to care for their aging parents. Caring for the aged will only increase in difficulty as the average age of Chinese citizens rises. (Campbell 2019) Further exacerbating the age demographic phenomena is that this comes on the heels of the one-child policy that leaves two sets of aging parents on the shoulders of one married couple. Tang Youcai and Jeanne Shea discovered that those coming from rural areas “have both higher proportions of elderly folks and lower levels of economic development.” (2020: 92)

Conclusion

A collective, kinship country that is culturally conditioned to associate the wellbeing and preservation of the family with social and economic success finds itself in the face of a challenging future. The CCP is working tirelessly to show it supports and recognizes the need for the Chinese family, only that it has one major issue with it: its size. The battle for the family that started in Confucius’s day continues in the present. The academic atmosphere that crescendos at standardized testing (Li 2019) and a highly competitive job market that leaves even college graduates in a tight spot (Pike 2022) places the child’s education at front and center in the battle for social survival. The weight of the future of China predictably rests, from a cultural perspective, on the shoulders of the family unit.

References

Aljazeera. November 1, 2022. “China’s Property Slump Continues as October Prices Fall” [随着 10 月价格下跌，中国房地产市场继续低迷]. Aljazeera. [[1]].

Bloomberg News. October 9, 2022. “China Job Market Prospects at Record Low as Economy Slows” [随着经济放缓，中国就业市场前景创历史新低]. Bloomberg. [2].

Campbell, Charlie. February 7, 2019. “China’s Aging Population Is a Major Threat to Its Future” [中国人口老龄化是其未来的主要威胁]. TIME. [3].

Chen, Laurie. December 4, 2018. “Chinese Parents Spend up to US $43,500 a Year on After-School Classes for Their Children” [中国父母每年花费高达 43,500 美元用于孩子的课后补习班]. South China Morning Post. [4].

Feng, Emily. “Forget Tiger Moms. Now China’s ‘Chicken Blood’ Parents Are Pushing Kids to Succeed” [忘了虎妈吧。现在中国的“鸡血”父母正在推动孩子取得成功]. NPR. [5].

Huang, Fiona & Christine Huang. December 23, 2021. “China: Beijing and Shanghai Extend Maternity Leave by 30 Days; Parental Leave Entitlement Introduced" [中国：北京和上海将产假延长 30 天；引入育儿假权利]. WTW. [6].

Jia, Cui. June 15, 2022. “Former English Teacher an Online Sales Sensation” [前英语教师在线销售轰动]. China Daily. [7].

Knox, Jeremy. 2021. “How the ‘Taming’ of Private Education in China is Impacting AI” [中国民办教育的“驯化”如何影响AI]. On Education. Journal for Research and Debate, 4 (12).

Koty, Alexander C. September 27, 2021. “More Regulatory Clarity After China Bans For-Profit Tutoring in Core Education” [中国禁止核心教育中的营利性辅导后，监管更加明确]. China Briefing. [8].

Kraft, Charles H. 1996. Anthropology for Christian Witness [基督教见证人类学]. Maryknoll: Orbis Books.

Li, Xuanmin. July 24, 2019. “Resumption of Gaokao Propelled China’s Economic Takeoff” [高考复赛助力中国经济腾飞]. Global Times. [9].

Liu, Li. 2007. “Filial Piety, Guanxi, Loyalty and Money: Trust in China” [孝道、关系、忠诚和金钱：对中国的信任]. In I. Marková and A. Gillespie (eds), Trust and Distrust: Sociocultural Perspectives, pp. 51—77. Greenwich, CT: Information Age Publishing.

Ma, Josephine. August 17, 2022. “China Tries to Lift Birth Rate with New Measures to Make it Easier to Work and Raise a Family” [中国试图通过新措施提高出生率，使工作和养家更容易]. South China Morning Post. [10].

Master, Farah & Albee Zhang. August 16, 2022. “China to Discourage Abortions to Boost Low Birth Rate” [中国不鼓励堕胎以提高低出生率]. Reuters. [11].

Pike, Lili. “China has an Unemployment Problem. Why Nearly 20 Percent of Young Job-Seekers Can’t Land a Job” [中国有失业问题。 为什么近 20% 的年轻求职者找不到工作]. Grid. [12].

Shea, Jeanne, Katrina Moore, & Hong Zhang, eds. 2020. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies [超越孝道：反思当代东亚社会的老龄化和照料]. New York: Berghahn Books.

Statista. 2021. “Sex Ratio in China from 1953-2021” [1953-2021年中国人口性别比]. Statista. [13].

Tang, Youcai & Jeanne Shea. 2020. “Old-Age Support in Rural China Case Study of the Jiangxiang Model for Community-Based Filial Piety” [中国农村的养老支持 以社区为基础的孝道江乡模式案例研究]. In Shea, Moore, & Zhang, eds. Beyond Filial Piety: Rethinking Aging and Caregiving in Contemporary East Asian Societies, pp. 92-142. New York: Berghahn Books.

Ten Elshof, Gregg A. 2015. Confucius for Christians: What an Ancient Chinese Worldview can Teach us About Life in Christ [基督徒孔子：古代中国的世界观可以教导我们在基督里的生活]. Grand Rapids: William B. Eerdmans Publishing Company.

Zhang, D. H. January 15, 2019. “The Problem with Chinese Universities? Not Enough Dropouts” [中国大学的问题？ 辍学率不够]. Sixth Tone. [14].

Zhang, Phoebe. July 5, 2021. “China Creates Thousands of Free Childcare Centres to Help Parents Cope with After-School Tutoring Crackdown” [中国设立数千家免费托儿中心，帮助家长应对课后辅导打压]. South China Morning Post. [15].

Terms and Expressions

房子, 车子, and 票子; 养儿防老; 鸡娃; 双一流

Questions

1. What is significant about the Chinese name coming first? A) Honor for the family unit B) Tribal units in China’s history C) Record keeping habits D) All of the above

2. The fertility rate in China has A) grown B) leveled off C) fallen since the 1990s

3. What are the three commonly expected requirements to be met prior to marriage? A) Good looks, education, and hobbies B) Love, laughter, and musical taste C) A house, car, and salary D) None of the above

4. What was the average amount a couple paid for the education of their child outside of public school? A) 300,000 RMB B) 210,000 RMB C) 120,000 RMB

5. The government has done what to encourage couples to have more kids? A) Created more video gaming systems and animated movies B) Provided free annual winter vacations to 三亚市 C) Offered various child subsidies

6. China is no longer a collective, kinship culture. True or False

Answers

1. A

2. C

3. C

4. C

5. C

6. False