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202270081643 刘佳玉 Liu Jiayu 英语笔译(English translation)

Chinese Traditional Cultural Elements in Animation

刘佳玉 Liu Jiayu, 202270081643.

Abstract

Originating in the 1920s, Chinese animation has always been committed to creating a road with national characteristics and adhering to the tradition of national painting. By exploring the connection between animation creation and Chinese traditional cultural elements, this chapter mainly analyzes the application, inheritance and innovation of Chinese traditional cultural elements in Chinese animation.

Key Words

Chinese Traditional Cultural; Chinese Animation

摘要

中国动画起源于20世纪20年代，始终致力于走具有民族特色的道路，坚持民族绘画传统。本章通过探索中国动画创作与中国传统文化元素之间的联系，主要分析了中国传统文化元素在中国动画中的运用、传承与创新。

关键词

中国传统文化，中国动画

Chinese Traditional Cultural Elements

“Chinese elements” can be roughly divided into three parts. The first is the inherent elements of China, such as China’s territory, China’s race, China’s climate and so on. The second is the elements of traditional Chinese culture, such as Chinese calligraphy, Chinese knot, Beijing Opera, shadow play, martial arts, etc. The third is China’s modern cultural elements, such as the Beijing Olympic spirit, the culture of China’s famous enterprises and so on. Chinese traditional cultural elements are a very important part of Chinese elements, which are treasures handed down from five thousand years in China.

Chinese traditional cultural elements in animation

In its early development process, Chinese animation actively studied foreign advanced animation technology and art, and greatly improved its animation skills. Chinese animation style, therefore, was inevitably influenced by other countries. In order to explore the national style construction of Chinese animation, Chinese animation artists have drawn nourishment from Chinese traditional culture. The culture of the Chinese nation has a long history and profound cultural heritage, which is an inexhaustible treasure for artists of all artistic categories. The classic elements of traditional Chinese culture, such as traditional Chinese painting, paper cutting, shadow play, calligraphy, Peking opera and so on, not only represent the traditional spirit of the Chinese nation, but also represent a cultural symbol of the Chinese nation in the world. It is the core of the construction of national animation with Chinese characteristics.

The Monkey King

The Monkey King, created in 1961—1964, is our first color animated feature film. The role modeling, scene setting, color expression and other aspects of The Monkey King are borrowed from Chinese temple murals, temple art, ancient paintings, folk New Year pictures, opera masks and other traditional forms of artistic expression with Chinese characteristics. Take the image of Sun Wukong in The Monkey King as an example. The image of Sun Wukong in The Monkey King is loyal to the image description of Sun Wukong in the literary original Journey to the West, and many excellent traditional elements are added. On the whole, Sun Wukong in the film is long-limbed and lean, but still clever and vigorous. His has a slender waist, and his limbs are beautifully curved. He can carry himself lightly. The lines of the image are refined like fine brush painting, which makes Sun Wukong look like the Buddha image in Dunhuang fresco. The facial shape of Sun Wukong is morphed from the elements of Chinese opera facial makeup. Among the types of Peking Opera facial makeup, Sun Wukong’s facial makeup belongs to the animal shape of pictographic face, that is, the facial pattern evolved from the pictographic pattern of monkey to represent the character’s own attributes before incarnation.

Calabash Brothers

Calabash Brothers is actually a paper-cut animation, which is a form of art film combining traditional techniques such as Chinese folk paper-cut and shadow puppetry. Chinese paper-cut has appeared since the early Tang Dynasty. By hollowing out the paper, it can give people a sense of visual penetration and artistic enjoyment. Shadow play is mainly showed by the leather products which are made by folk artists with hand, knife carving and painted. Behind a white curtain, artists manipulate the puppets while telling stories with popular local tunes, which is called “shadow play”. Paper-cut animation involves folk paper-cut and absorbs the characteristics of shadow play in movement and shape. It uses flat paper to create animated characters, props, backgrounds, etc. A character is often a combination of multiple parts. The movement of each part of the static picture was slowly adjusted by hand, and the various movements of the characters were shot one by one. Such a method is what we call “stop-motion animation”. One by one, the flexible calabash brothers are put out various actions on the painted background pattern, and then photos are taken respectively, and each grid is connected into a cartoon. Although each episode is only a few minutes long, it took two years to shoot thousands of scenes. Chinese paper-cut cartoons also include Monk Pig Eats Watermelon, Fisherboy, Ginseng Baby, Golden Conch, etc. They are all very excellent animated works.

Big Fish & Begonia

The character design of Big Fish & Begonia has a strong Oriental classical charm. There are more than 100 characters in the animation. The creativity and characters’ names refer to a large number of ancient books and allusions. Each character has its own source of creation, such as Chi Songzi, Bai Ze, etc., many of which are inspired by the Classic of Mountains and Seas, the Search of the Gods, the Book of Songs, etc. In the image and costume design of the protagonist Chun, this animation uses the school uniforms, short hair with straight bangs, clothing style of the Republic of China period. Chun as the heir of the birth family, masters the growth of begonia flowers. He is strong and persistent. Although he looks cold and serious in appearance, he is delicate, grateful, responsible and compassionate inside. The image of the character Kun, when he turns into a big fish, is also designed according to the description in A Happy Excursion by Chuang Tzu.

Conclusion

The ingenious application of Chinese traditional cultural elements in Chinese animation not only shows the spiritual significance and value of animation works, but also reflects the profound value of Chinese traditional culture behind it. Most Chinese animations have bright national styles. Only in this way can Chinese animation works find their own style and keep moving forward, and Chinese traditional culture is constantly explored in this process, and revitalized through re-creation.

References

[1]100 Years of Chinese Animation: Role of traditional culture in development of the industry[J]. M2 Presswire,2022. [2]Jian Luo. Research on the Characteristics of Chinese Animation[C]//.Proceedings of 2017 4th International Conference on Literature,Linguistics and Arts(ICLLA 2017).,2017:172-175. [3]Qing Xu,Min Wang. Discussions into Necessity of Folk Art Modeling Elements in Chinese Animation Creation[C]//.Proceedings of 2016 3rd International Conference on Economic,Business Management and Education Innovation(EBMEI 2016 V54).,2016:353-357. [4]梁凯迪.壁画元素在中国动画中美学质感的突破——以《姜子牙》二维片段为例[J].流行色,2022(10):124-126. [5]刘康.传统文化价值观在中国动画电影中的现代表达[J].明日风尚,2022(22):25-28. [6]王晶,冯学勤.中华美学呈现是中国动画成熟的标志[N].中国社会科学报,2022-11-16(009).

Terms and Expressions

The Monkey King 《大闹天宫》 Calabash Brothers 《葫芦兄弟》 Big Fish & Begonia 《大鱼海棠》 Chinese opera facial makeup 中国戏曲脸谱 paper-cut animation 剪纸动画 shadow play 皮影戏

Questions

1. What paper-cut animations are mentioned in the article? . 2. Please name at least three traditional Chinese cultures that you know. . 3. Which three animation are mainly described in this chapter? . 4. In the animation The Monkey King, which traditional Chinese cultural element is Sun Wukong's face morphed from? .

Answers

Correct answers are: . 1. Calabash Brothers, Monk Pig Eats Watermelon, Fisherboy, Ginseng Baby and Golden Conch. . 2. Chinese calligraphy, Beijing Opera, shadow play, martial arts, etc.. . 3. The Monkey King, Calabash Brothers and Big Fish & Begonia. . 4. Chinese opera facial makeup elements.

202270081644 刘婷婷 Liu Tingting 英语笔译(English translation)

The Comparison of Chinese and Western Dream Interpretation Theory

刘婷婷 Liu Tingting, 202270081644

Abstract

Everybody dreams. Though it is a common phenomenon during our sleep, different cultures have different theories to interpret it. Besides, every theory of dreams carries a country’s unique culture. Dreams may can foretell something, or may not, which depends on people’s attitude. Therefore, through comparing Chinese and Western interpretations of dream can make us know what are they based on and their opinions of dreams, and also their attitudes of life.

Key Words

Huangdi Neijing, The book Duke of Zhou Interprets Dreams, The Interpretation of Dreams, dream

题目

中西方释梦理论的对比

摘要

每个人都会做梦。尽管在日常生活中这是一个常见现象，但是不同的文化会有不同的理论对其进行解析。此外，每一种释梦理论的背后都有着该国独特文化的支撑。梦是否可以预示未来，这取决于人们的态度。因此，将中西方释梦理论进行对比，可以使我们知道它们的理论依据、人们对于梦的看法，以及人们对生活的态度。

关键词

《黄帝内经》，《周公解梦》，《梦的解析》，梦

Introduction

Dream, a common physiological phenomenon, happens during our sleep. It is a mixture of real and unreal, attracting many scholars through all ages to make researches on it. In China, the book Duke of Zhou Interprets Dreams and Huangdi Neijing are two famous books in dream’s interpretation. “Dating back to the Zhou Dynasty, dream officers gave a great push to dream classification. According to Zhouli Chunguan, dream officers divided dreams into six types by observing the positions of the sun, the moon and the stars.” (王健 2012，217) As for Huangdi Neijing in the pre-Qin period, it related dreams to people’s the five internal organs and Yi Yang, etc. For the West, the most famous book of dream interpretation is The Interpretation of Dreams, which was written by Sigmund Freud. This book is based on Artemidorus’ book—Interpretation of dreams, and combines with Freud’s clinical experience. Whereafter, many masters in psychoanalysis like Carl Gustav Jung and Alfred Adler have shown up, starting to study dreams from different perspectives.

The book Duke of Zhou Interprets Dreams

The book Duke of Zhou Interprets Dreams is a fortune-telling book according to people’s dream. Because the book is of uncertain day, so some would be doubtful for its existence. After reading the remark of Chang Feng-i, Roberto Keh Ong “tentatively proposes that the Chou-kung chieh meng was already in existence, and quite popular at that, in the sixteenth century.” (Roberto Keh Ong 1981, 6) Since the beginning sentence of the book is “夜有纷纷梦，神魂预吉凶”, “This sets the tone of the text, which means that those good fortune or bad fortune symbolized by dream are omens presented by spirits or ghosts.” (贠培基 2012, 46) But what is affirmative is that the book has a great influence in China, providing the basis of dream interpretation and enlightening people to focus on dream. In Zhouli Chunguan, it divided dreams into six different types, they are 正、噩、思、悟、喜、惧, which indicates that how the dreams come into existence and their nature. “正梦” means an ordinary dream without causing any pulse; “噩梦”，means a stunning dream; “思梦”means a dream that misses others or thinking about something; “悟梦”means a daydream; “喜梦”means a dream that makes you feel happy; “惧梦” means a horrible dream that makes people frightened. In the book Duke of Zhou Interprets Dreams, there are four methods of dream interpretation:  The method of Zhi Meng. It means what you see in the dream will happen in the reality.  The method of Ce Zi. “The oneiromancer departs a Chinese character into several parts and endows them with special symbolic meaning, and uses these meaning to tell the fortune.” (汤叶舟 2015, 84）  The method of Xie Yin. It means the oneiromancer compare the dream with the omen in reality, and find out the same pronunciation of them to judge the dream is good or not good.  The method of Yi Xiang. It means to highlight a single thing in the dream then endow it with special meaning. And the omen from the dream would be got after comparing it with the reality.

Huangdi Neijing

Huangdi Neijing is the first medical book in China, which contains Lingshu and Suwen these two sections. “This book uses Huangdi as a part of its name, which is finished between the Spring and Autumn Period and the Qin and Han Dynasties. It is not finished in a short time, an also be done with only one man. It comprehensively summarizes medical achievements before the Qin and Han Dynasties, laying the foundation of theoretical basis of TCM.” (王凤香 2007，23) Though it is a medical book, it also refers to oneirology, and analyzes the causes of dream, the mechanism of dream formation and the syndrome differentiation and treatment of dream syndrome. Huangdi Neijing explores the reason why dreams happen in many aspects, and there are six points about it:  The attack of Liu Yin Xie Qi. In TCM, Liu Yin Xie Qi means six pathogenesis cause by eternal stimulus: wind, coldness, heat (often happens in the summer), wetness, dryness, and heat. When failing to adapt to the changeable weathers, people may feel ill and then dreams occur.  The influence brought by the change of Qiqing. Qiqing refers to seven emotions: happiness, anger, concern, missing, sorrow, scare and fear. Huangdi Neijing reckons that they would happen in dreams, thus their variations in dreams could reflect the physiological and pathological basis of different viscera.  The dysfunction of viscera.  The qi of yin and yang in the human body becomes over strong or over weak.  The state of the body itself.  Inappropriate treatment. About the mechanism of dream formation, the book uses these four theories to analyze it: Yin Yang theory, Five-element theory, viscera picture theory and Ying Wei theory. In terms of the syndrome differentiation and treatment of dream syndrome, Huangdi Neijing takes Yin and Yang as the general principle of dream syndrome differentiation, brings the syndrome differentiation of viscera into the system of dream syndrome differentiation, and carries out the etiological analysis and differentiation. For the treatment of dream syndrome, the book states that one is to implement the general principle of “实则泻之，虚则补之”; and the other one is “合于五诊”.

The Interpretation of Dreams

The Interpretation of Dreams is a psychological work by Sigmund Freud, a psychologist from Austria and the founder of psychoanalysis. He interprets dreams by many experiments with a rational thinking, and pioneers modern dream interpretation. In this book, “Freud argues that dreams contain meaningful information about the dreamer’s unfulfilled, unconscious wishes.” (William J. Jenkins 2017, 10) That is to say that in Freud’s perspective, dream represents a wish-fulfilment. And he also uses an example to explain it: “If, in the evening, I eat anchovies, olives, or other strongly salted foods, I am thirsty at night, and therefore I wake. The waking, however, is preceded by a dream, which has always the same content, namely, that I am drinking.” And he draws a conclusion on it: “From this sensation arises the wish to drink, and the dream shows me this wish as fulfilled.” (Sigmund Freud 1999, 25-26) Therefore, Freud mainly uses psychoanalysis to interpret dreams, which is quite different from Chinese dream interpretation methods. And what is the most different point is that he uses sex to interpret dreams from a perspective of a psychologist, so he presents the famous Oedipus complex and Electra complex in this book.

References

 Freud, Sigmund. (1999). The Interpretation of Dreams. New York: Oxford University Press.  Jenkins, W. J. (2017). An Analysis of Sigmund Freud’s The Interpretation of Dreams. London: Macat Library.  Ong, R. K. (1981). The interpretation of dreams in ancient China. Doctoral dissertation, University of British Columbia, Vancouver, Canada.  Tnag Yezhou 汤叶舟. (2015). 以《周公解梦》和《梦的解析》为例研究中西方释梦差异性. [Taking the book Duke of Zhou Interprets Dreams and The Interpretation of Dreams as examples to study the differences between Chinese and Western dream interpretation.] 文化学刊 Culture Journal, (11):84-86.  Wang Fengxiang 王凤香. (2007). 黄帝内经梦象研究 [A Study on the dream image of Huangdi Neijing]. 北京中医药大学 Beijing University of Chinese Medicine, 2007.  Wang Jian 王健. (2012). 中西方释梦的差异—以《周公解梦》和《梦的解析》为例 [Differences between Chinese and Western Dream Interpretation—A Case study of the book Duke of Zhou Interpreting Dreams and The Interpretation of Dreams]. 北方文学(下半月) Northern Literature, (09):217-218.  Yun Peiji 贠培基. (2012). 以陈明主编的《周公解梦》为例剖析花样繁多的现代版周公解梦 [Taking Chen Ming's The book Duke of Zhou Interprets Dreams as an example, the modern version of the book Duke of Zhou interprets dreams with various patterns]. 科学与无神论 Science and Atheism, (03):46-49.  Zhai Shuangqing, Chen Zijie 翟双庆, 陈子杰. (2008). 有关《黄帝内经》梦学理论的总结 [A summary of the dream theory in Huangdi Neijing]. 中华中医药学会第九届内经学术研讨会论文集 Proceedings of the 9th Seminar on Neijing of Chinese Association of Traditional Chinese Medicine, 2008:141-147.

Terms and Expressions

The Book Duke of Zhou Interprets Dreams 《周公解梦》 Zhouli Chunguan 《周礼春官》 Huangdi Neijing 《黄帝内经》 The Interpretation of Dreams 《梦的解析》 TCM 中医 Oneirology 梦学 Yin and Yang 阴阳 Liu Yin Xie Qi 六淫邪气 Qiqing 七情

Questions

1. How many methods of interpreting dreams in the book Duke of Zhou interprets dreams? A. One B. Two C. Five D. Four 2. Huangdi Neijing is a __________________. A. Medical book B. Mystery novel C. short novel D. story book 3. The Interpretation of dreams is written by ___________. A. Jung Carl Gustav B. Sigmund Freud C. The Duke of Zhou D. Alfred Adler 4. How many kinds of dreams in Zhouli Chunguan? A. Seven B. Five C. Four D. Six 5. Freud interprets dreams by _____________. A. Asking for the God B. Psychoanalysis C. the position of the moon and stars D. physical condition

Answers

Correct answers are: 1. C 2. A 3. B 4. D 5. B

202270081693 刘雅琴 Liu Yaqin 英语口译(English interpretation)

     Topic: Translation strategies of English animal idioms

     Abstract: Idioms are an indispensable part of language, which is the crystallization of languages, carrying a lot of cultural factors and concentrating in the culture factors, with plenty of idiomatic expression. Throughout the history, animals plays an important role in our life, bringing joys and company to us and become part of family. Therefore, especially in western cultures, there are many English animal idioms, which containing specific cultural meanings. People use different animals to express their feelings and ideas. This paper will first analyze the definition of English animal idioms. Also, the author will talks about some English idioms with classified animals. What’s more, the author will provide some translation strategies in translating those animal idioms.

The Imperial Examination System in Ancient China

刘映辰 Liu Yingchen 202270081645

Abstract

The Imperial examination is a system in which feudal dynasties selected officials and talents through examinations. The Imperial Examination System had a profound impact on ancient China. Therefore, it is very necessary and significant to understand and study the Imperial Examination System. This paper will introduce the origin and development of the Imperial Examination System, describe the types and contents of it in detail, and finally, expound its significance.

Key Words

The Imperial examination system, ancient China, history, culture

题 目

中国古代的科举制度

摘 要

科举考试是封建王朝通过考试选拔官员和人才的制度。科举制度对中国古代产生了深远的影响。因此，了解和研究科举制度是非常必要和有意义的。本文将介绍科举制度的起源和发展，详细描述科举制度的类型和内容，最后阐述科举制度的意义。

Origin

During the Wei, Jin dynasties, the emperor adopted the method of "Nine-rank system" to select talents. However, the system was controlled by powerful families, and only the children of senior officials could be officials, which led to the solidification of the class and the inability to appoint people on the basis of capability. Whereas, in order to consolidate their rule, the rulers also gradually changed their talent selection. Some contents of the imperial examination had already sprout in the Han Dynasty, but this paper still considers the Sui Dynasty as the real origin. The book Datang Xinyu wrote by Liu Su said:" Emperor Yang of the Sui Dynasty changed the Ming and Jin two subjects"(周 奇 金滢坤, 2022). It was the Emperor Yang of the Sui Dynasty who changed the examination to regular, held every year, further carried forward, and finally became a clear beginning of the system. Emperor Yang Jian of Sui dynasty understood the danger of being subject to the high rank and nobility, abolishing the "Nine-rank system". He carried out the system of selecting scholars by subject, and set up state and county schools to test students, and the state could also send talents to the central government for examination and employment. Emperor Yang set up Jinshi Branch, the school students can directly apply for the school, not to the state, county entrance examination, after passing the state, county sent to the central examination(李亚彬, 2020). Sui Dynasty broke through the old rules of the previous dynasties and created a considerable number of new subjects, which started the system of the Tang Dynasty. The standard of selecting talents gradually changed from morality to examination.

Development

However, Sui dynasty lasted only thirty-seven years, which meant that the imperial examination system had been introduced in the Sui dynasty but could not be further developed. Therefore, the important task was carried out by the rulers of the Tang dynasty. Tang dynasty attached great importance to the cultivation and selection of talents. After the founding of the Tang dynasty, several generations of rulers put the emphasis on to the imperial examination and took relevant measures. The first emperor of Tang Gaozu Li Yuan put forward the regular date of“every october”to go to the court for examination, and clarified the local pre-examination of the state and county, which is equivalent to the "Provincial Examination" method of later generations. Li Shimin, Emperor Taizong of Tang Dynasty, greatly expanded the scale of the college, the school cottages and increased the number of students. Wu Zetian set up a military examination. It held by the Ministry of War examiners, mainly to assess students 'military strength. During the reign of Emperor Xuanzong of Tang Dynasty, poetry and Fu became the main examination content of Jinshi. Also, during his reign, the court admitted many talented people. The method of selecting scholars by poetry and Fu also greatly promoted the prosperity of Tang poetry(王一汕, 2010).  Song Dynasty was also an important period for the development and reform of the imperial examination system. After the development of Tang Dynasty, the imperial examination system of Song Dynasty became mature and complete(邓叶倩, 2019). For one thing, in terms of the form, in Song dynasty, the emperor's personal visit to the palace examination turned into a custom. At the same time, reform measures such as sealing and transcription were taken. Sealing(Mi Feng), that is, the examinee's name, native place and other records on the examination paper sealed up. Transcription is that the palace examination papers will be sent to copy by other people, and then examine the official review. These measures greatly increased the fairness of the examniation, so that more talented and learned people can enter the officialdom, and these reforms even had a profound impact on the modern examination system. However, these measures required a large amount of manpower and material resources, so by the reign of Emperor Yingzong of the Song dynasty, the imperial examination was officially held every three years. For another, as for the content, Song dynasty strengthened the status and importance of Ce Lun in the imperial examination. With the rise of Neo-Confucianism in Song Dynasty, the ability of thinking also became an important standard for assessment. In the Song Dynasty, the emperors abolished the examination of poetry and Fu, and replaced it with the examination of the meaning, theory and policy of the classics. Since then, the basic form and content of the imperial examination system tend to be complete. The imperial examination was held every three years, mainly divided into the provincial examination, the metropolitan examination and the palace examination. In the autumn, the provincial examination was held by each state, The first name is Jieyuan. The metropolitan examination was held in the spring of the following year by the Ministry of Rites, the first name will be called Huiyuan. The palace examination was held in the following month and presided over by the emperor. The first name was Zhuangyuan. Getting the first place three times in a row is known as the "the three consecutive Yuan(Lian Zhong San Yuan)", and ancient China has also appeared such talents. Through the layer upon layer selection at district, provincial and national levels, outstanding talents are called “jinshi”. Such elites obtained qualifications to enter the final examination hosted by the emperor, and were conferred different ranks official positions according to their performance. Because of this, the imperial examination system (keju) had become the main way for all civilians to start their official careers (Ho, 1962).

Completion

The Yuan dynasty saw an eighty-year suspension of the imperial examinations, which were later restored, but with increasing inequality, mainly to protect the privileges of the Mongols and reduce the number of Han officials. This phenomenon did not change until the establishment of the Ming Dynasty. The Ming and Qing Dynasties were the period when the imperial examination system was flourishing, but it was also the period when it was ending. In the Ming and Qing Dynasties, the imperial power gradually reached its peak. In order to consolidate the imperial power, the rulers took the imperial examination system as the most important tool to absorb talents. The social atmosphere gradually changed, and many scholars took the imperial examination as their lifelong goal, and "To be a scholar is to be the top of society." became the motto of most scholars at that time. With the increasing importance of the imperial examination, the emperors carried out a series of reforms on it. First, the imperial examinations in the Ming and Qing dynasties became a huge system with various levels, rules and regulations. In addition to the above-mentioned several types of examinations, there are new types of examinations: the imperial examinations to admit scholars and county examination(Barry O’Sullivan, 2022), a total of five types of examinations. As a result, many people began to study hard for the imperial examination from a very young age, devoting their whole lives to the imperial examination system. The minimum age for the examination was greatly lowered during this period. In terms of examination content. To further strengthen their rule and control over the people's thoughts, the rulers of the Qing dynasty limited the imperial examinations to stereotyped writing(bagu). The stereotyped writing(bagu) are that the paragraphs written in the examination articles are fixed, and the scope of the examination is also set and limited to the Four Books and Five Classics, and no other ideas are allowed to exist. Under the implementation of this kind of policy, the stereotyped writing fettered the scholar's thought, and the theory of Chengs and Zhu Xi became rigid under the guidance of the imperial examination system. Scholars have spent their whole lives studying the writing of stereotyped writing, lacking understanding of politics and social reality. Intellectuals 'thinking is solidified and they weren’t able to think out of box. Gu Yanwu, the great mind in late Ming dynasty, once said: "The harm of stereotyped writing is equivalent to burning books." From the Ming Dynasty to the Qing Dynasty, the advantages of selecting scholars from stereotyped writing increasingly decreased and the disadvantages gradually increased, which became one of the important factors for the stagnation of national development and the decline of national strength in the late Qing Dynasty.

End

In the late Qing Dynasty, due to foreign aggression, China continued to cede territory and pay reparations, and popular discontent ran high. The Qing Dynasty was in serious crisis and emperors wanted to consolidate the rule through reform. Meanwhile, the westernization movement continued to develop, and many western thoughts and ideas spread to China as well(徐云, 2022). Therefore, in order to meet requirements of national development, the content of the imperial examination was constantly adjusted, and the stereotyped writing was gradually abolished. However, the disadvantages of the imperial examination system had been irreversible detrimental and could not become beneficial through reform. Thus, The imperial examination system, frst administered in 605 CE during the Sui dynasty, continued almost uninterrupted until it was finally abandoned in 1905 CE(Barry O’Sullivan, 2022). At this point, the imperial examination system completely withdrew from the stage of history.

Conclusion

As a culture formed by the evolution and development of the Chinese civilization for five thousand years, the traditional Chinese culture reflects the characteristics and features of the Chinese nation. As one of the basic components and core elements of traditional Chinese culture, the imperial examination system not only has a significant impact on the history of nearly 1,300 years, but also plays an important role in modern Chinese culture and civil servant examination system. The 1300 years' imperial examination tradition of selecting officials has given the Chinese nation legitimate reasons and cultural confidence to adhere to the system of selecting talents by examination, but on the basis of adhering to the system, we should carefully study the history and cultural connotation of the imperial examination system, timely update the content standard of selecting talents, so as to provide more profound cultural capital for the great rejuvenation of the contemporary Chinese nation.

Reference

[1]O’ Sullivan, Barry, and Liying Cheng. "Lessons from the Chinese imperial examination system." Language Testing in Asia 12.1 (2022): 1-20. [2]Ho, P., 1962. The Ladder of Success in Imperial China: Aspects of Social Mobility. Columbia University Press. [3]周奇[Zhou Qi], 金滢坤[Jin Yingkun]."论隋代察举制向科举制的转变."[The transformation from investigation examination system to Imperial Examination System in Sui Dynasty] 人文杂志[Humanities journal] .05(2022):129-140. [4]李亚彬[Li Yabin]."问史——科举制何以终结门阀士族."[A Question of History - Why the Imperial examination system ended the royal families]. 博览群书[Well Read] .06(2020):37-41. [5]王一汕[Wang Yishan]."唐朝科举制与文化繁荣."[The Imperial Examination and cultural Prosperity in Tang Dynasty] 历史学习[History Learning] .03(2010):19-20. [6]邓叶倩[Deng Yeqian]."论中国古代科举制度及其影响." [The Imperial Examination System in Ancient China and its Influence.]汉字文化[Chinese Character Culture].14(2019):66+79. [7]徐云[Xu Yun]."科举制度废除：过程、原因及影响探讨."[The abolition of the Imperial Examination System: A probe into the Process, Causes and Effects.] 今古文创[Modern and Ancient Literary Creation] .43(2022):64-66.

Reference

The Imperial Examination System 科举制度 Nine-rank system 九品中正制 Datang Xinyu 《大唐新语》 Jinshi 进士 Provincial Examination 乡试 Wu Zetian 武则天 Ministry of War 兵部 Sealing and transcription 弥封和誊录 Neo-Confucianism 儒家理学 Metropolitan examination 会试 Palace examination 殿试 Ministry of Rites 礼部 The three consecutive Yuan (Lian Zhong San Yuan) 连中三元 To be a scholar is to be the top of society 万般皆下品，惟有读书高 the imperial examinations to admit scholars 童试 county examination 院试 stereotyped writing 八股文 The harm of stereotyped writing is equivalent to burning books. 八股之害，甚于焚书

Questions

1.When was the imperial examination system abolished？ A.1905 B.1907 C.1904 D.1908 2.What are the types of imperial examinations in Ming and Qing Dynasties? A.the imperial examinations to admit scholars B.county examination C.provincial examination D.metropolitan examination E.palace examination. 3.What are the reasons for the abolition of stereotyped writing?

Questions

Correct answers are： 1.A 2.ABCDE 3. (1) Foreign invasion and compensation caused the Qing Dynasty to fall into crisis. (2) When western ideas were introduced into China, the stereotyped writing was already backward and could not meet the needs of national development. (3) The Qing government's policy was weak and the reform on keju was useless.

202270081694 刘雨晴 Liu Yuqing 英语口译(English interpretation)

刘雨晴Liu Yuqing, 202270081694

Abstract

Chinese people attach great importance to family, which makes family an important part of Chinese culture. The traditional family structure in China mainly consists of Joint Family, stem family, and nuclear family. However, along with the profound changes that have occurred in modern China, the Chinese family structure is also changing, with the nuclear family gradually becoming the dominant family structure and marriage becoming more liberal and the divorce rate increasing. At the same time, there is a growing trend toward gender equality in family relations. Of course, the reasons behind the changes in family structure cannot be separated from the development of society, policy changes, transition in social ideology and even the influence of globalization. In turn, the transition in family structure also has an impact on education and social and economic development.

Key Words

family structure;changes; nuclear family

题目

中国传统家庭结构的变化

摘要

中国人非常重视家庭，家庭是中国文化的重要组成部分。中国的传统家庭结构主要包括联合家庭、直系家庭、核心家庭。然而，伴随着现代中国发生的深刻变化，中国的家庭结构也在发生变化，核心家庭逐渐成为家庭结构的主导，婚姻变得更加自由，离婚率不断上升。同时，家庭关系中的性别平等趋势也越来越明显。当然，家庭结构变化背后的原因离不开社会的发展、政策的变化、社会意识形态的转型，甚至全球化的影响。反过来，家庭结构的转型也会对教育和社会经济发展产生影响。

关键词

家庭结构；变化；核心家庭；

I. The main types of traditional Chinese family structures

1.Joint Family A joint family is usually a large undivided family where members of more than two generation live together under one roof (grandparents, parents, uncles, aunts, their children or even grandchildren). This kind of family is large in size and is usually headed by the eldest member of the family. The responsibility of making decisions rests with the head of the family, although family members can give suggestions. After marriage, the children also live in the same house along with other family members. This family structure was common among wealthy families in ancient China. For example, the family structure in the Dream of the Red Chamber is a typical joint family. 2. Stem family A stem family consists of parents and one married child, his or her spouse and offspring. It has three generations (or even four), but each generation has at most one couple. It is also known as a medium-sized family. For example, in a stem family, there are grandparents, parents and children, but it does not include uncles and aunts. In terms of size, it is smaller than a joint family while bigger than a nuclear family. 3. Nuclear family Nuclear family refers to the core members of a family, usually two parents and their children. Children are included only while they’re young enough to live with their parents. This family unit became widely recognized because it’s where many of society’s rules and norms are passed along from parent to child. Sociologists see the concept of a nuclear family as a fundamental building block of society.

II. Characteristics of traditional family structure

According to the records, in the mid to late 18th century of China, the proportion of nuclear family was over 50%, stem family about 30% and joint family less than 10%. This indicates that nuclear family had become the dominant family form in the society at that time. And the following are the main features within the traditional family structure: 1. Men are Superior to Women and husband guides wife .This feature constitutes the basic structure of the traditional family. As Fei Xiaotong said, the core of a tradition family relationship is the parent-child relationship while the relationship between husband and wife is unimportant. 2. The eldest son has equal inheritance rights with the other brothers. The family became smaller and smaller. Finally, it stayed in the model of a nuclear family. The daughter has no right to inherit, but has the right to get a dowry. The so-called wealth only within three generations is the embodiment of this inheritance system of dividing family assets and the reason why there are few large families in China. 3. Marriage is decided by parents Children have no marital autonomy. Marriage is often decided by parents. The daughter may have never had any contacts with the husband's family before marrying him, and the wife should be subordinate to her husband. 4. The traditional family has mixed functions, including economic, nurturing, support, affection, support, etc.

III. The transition of family structure from traditional to modern.

Since the reform and opening up, social resources have been relatively abundant and every aspect of the family has changed dramatically. 1. The family is becoming more nuclearized. Since many of the functions of the family, such as production, education, and support of elders, have been replaced by society. Society has built a large number of nursery schools and nursing homes, it is not necessary to maintain a large family size to perform these functions. 2. Some other types of family structures have emerged. These are: single person families, cohabiting families and even some homosexual cohabiting families. 3. Marriage tends to be autonomous and divorce rate increases. In contemporary times, divorce has also become common, the way of divorce has become more civilized, and more and more divorces are initiated by the wife. In addition, remarriage in old age has been widely accepted by the society, and there is a new trend of the younger generation matching and organizing weddings for their parents. 4. Increasing trend of gender equality in family relations. In today's families, the traditional patriarchy is disappearing and the concept of male superiority over female has been fundamentally changed. There is a tendency for family members to discuss with each other, to make democratic decisions, and to be democratic and egalitarian.

IV. Causes behind the changes in family structure

1. The One-Child policy has had a huge impact on the structure and size of families in China. In the late 1970s, The One-Child policy was introduced in China as a national policy. This policy has had a decisive effect on the structure and size of families in China, promoting the trend of the nuclear family. Since the main purpose of the One-Child policy was to reduce the birth rate of each family. Only one child is allowed in urban families and no more than two in rural families (except for ethnic minority areas) and the government was promoting the concept of equality between men and women. A large number of “the only child” are born in cities. In addition, most young married couples live apart from their parents after marriage, thus more and more nuclear families have emerged. The number of empty nest families has also increased. 2. With the development of economy, many responsibilities of the family were assumed by the society, thus nuclear family became more dominating. The tradition family assumed responsibilities such as nurturing children, support the elders and production. But in modern times, economic development has also promoted the division of labor and the development of the social welfare system, and various institutions have emerged in society to help assume some of the family obligations. For example, nursing homes can help take care of the elders, and nurseries or schools can help care for the children. In this way, the adult workforce in the family can devote more energy to their work. In addition, since older couples have pensions and retirement funds after retirement, they can live without relying on their children after retirement, and they prefer to live separately from their children to avoid the tension that may arise between the two generations of couples. 3. The influence of globalization on the family concept in China since the reform and opening up. Since the opening up, western ideas have come into China, and the younger generation has been increasingly influenced by western family concepts. The emphasis on self-independence in the Western family concept has a great influence on young people. For example, premarital cohabitation, trial marriage, free love, celibacy, gender equality and so on. These concepts have caused an unprecedented impact on the traditional family concept in China. A lot of media reports about western families flooded into our lives, which also had an important impact on our young generation.

V. Influences follow the changes

1. Impact of changing family structure on family education The size of the family has shrunk and parents have become more concerned with their children's development. Children are seen as an individual with a sense of independence, personality and individuality, and the goal of parents in raising their children shifted from “glorifying their ancestors” to achieving the all-round development of the child, freedom of personality and perfection of character. 2. The impact of changes in family structure on the economy As the basic consumption unit of society, the family not only creates new social demand, but also influences social supply. As the population grows and the joint family gradually divides, many new families are created. The rapid increase in the number of households inevitably leads to a simultaneous increase in the demand for many goods, such as housing and furnishings, matching kitchen and sanitary equipment, high-end durable household appliances, furniture sets, cars and household services. In addition, smaller families have more needs for enjoyment and development, higher expectations for their children, and relatively higher expenditures for their children's education and training; With the number of elderly families, especially empty nesters t, continues to increase, there will be a significant increase in elderly living goods and facilities to serve the elderly. These changes in demand structure provide an important basis for corresponding adjustments in the supply structure.

References

[1] 王跃生，当代中国家庭结构变动分析[J].中国社会科学，2006（01） [2] 王跃生，中国家庭结构变动与特征[J].人口与计划生育，2017（09） [3] 胡亮，由传统到现代---中国家庭结构变迁特点及原因分析[J].西北人口，2004（2） [4] 童辉杰，黄成毅，当代中国家庭结构的变迁及其社会影响[J].西北人口，2015（06） [5]吴愈晓，王鹏，杜思佳，变迁中的中国家庭结构与青少年发展，中国社会科学，2018（2）

Questions

1. What are the main types of traditional Chinese family structures? A. Stem family B. Joint family C.nuclear famliy D.composite family 2. When was the One-Child policy was introduced in China? A.In the late 1970s B.In the early 1970s C . In the late 1980s D. In the early 1980s. 3. Which type of family structures are realistically depicted in Dream of the Red Chamber? A. Stem family B. Joint family C.nuclear famliy D.composite family 4. Which types of family structure is the dominating one nowadays?A. Nuclear family B. Joint family C.Single-parent famliy D.Stem family

Answers

1. A,B,C  2. A  3.B 4. A

202270081710 鲁思 Lu Si 朝鲜语笔译(Korean translation)

Evolution and Characteristics of Ancient Currency in China

鲁思Lu Si，202270081710

Abstract

Currency is the cultural essence of the development of civilizations of all nations for thousands of years, and is also the common material and spiritual wealth of mankind. China has been using money for 5,000 years. Due to the evolution of history, nearly tens of thousands of currencies (banknotes and coins) and colorful Chinese currency culture have been created, and a system with its own unique style has been formed.

Key Words

Ancient Currency，Monetary Evolution，Characteristics of Money

Introduction

China is one of the earliest countries in the world to use currency, with a history of 5,000 years. In the process of its formation and development, ancient China currency has undergone six major evolutions

Evolution of Ancient Currency

1.Evolution from natural currency to artificial currency. Shell is the earliest currency in China. It was used as currency in Shang Dynasty. In all the China characters were related to value are mostly from "shell." With the development of commodity exchange, the demand for money was increasing, and seashell could not meet people's demand. People began to imitate seashell with copper in Shang Dynasty.The appearance of copper coin is an important evolution from natural currency to artificial currency in the history of ancient currency in China. With the extensive use of artificial coins, seashells, a natural currency, gradually withdrew from the monetary stage of China.

2.Evolution from disordered shape to unified shape. From the appearance of copper coins in Shang Dynasty to the Warring States Period, there were many shapes of currency in our country. During the Warring States Period, not only countries made their own money, but also all regions within a vassal country made their own money. It is famous for the spade-shaped coin of Zhao, the sword-shaped coin Qi, the round square hole coins of Qin and the Each within Zhu（commonly known ant nose money） of Chu各内朱俗称蚁鼻钱. After the Qin Dynasty unified China, also the currency. the First Emperor of the Qin Dynasty promulgated the earliest currency law in China in 210 B.C., which stipulated that ‘banliang’, at first called ring money and later ‘fang kong yuan qian’(Circular Coin with a Square Hole).After the unification of Qin, ‘banliang’ coin was spread around the whole country. The unification of currency ended the disorder state of different shapes and weights of ancient currency in China, and was an important evolution from disordered shape to standardized shape in the history of ancient currency in China. The shape of this round square hole, which was determined by Qin Banliang coin, continued until the early period of the Republic of China.

3.Evolution from local coinage to central coinage. In the early days of the Han Dynasty, the county was allowed to freely cast money. According to the records of Han Shu·Monograph on Food and Currency , Emperor Wen "except for the order of stealing and casting money, the people let the casting go," so "stealing and casting rose like clouds." This not only caused the chaos of the currency, but also made the rich merchants manipulate the right to coin, rich than the emperor. In 118 BC, Emperor Wu of the Han Dynasty ordered new coins of five baht to be cast because banliang of coins were stolen and cast continuously, and allowed all prefectures to cast them, commonly known as "five baht of prefectures." In 113 B. C., Emperor Wu of the Han Dynasty took back the right of coining coins in the county state, and the three officials of Shanglin unified the coinage of five baht coins, which became the only legal currency at that time. From then on, the unified management of coin minting and issuing by the central government was determined, which was an important evolution from local coinage to central coinage in the history of ancient China currency. Since then, the coins of the past dynasties have been directly managed by the central government. The centralization of the coinage right played an important role in stabilizing the political situation and economic development of each dynasty.

4.From the weight of documents to the evolution of Tongbao（通宝） and Yuanbao（元宝）. Since the Qin and Han Dynasties, coins usually have a clear indication of the weight of the money, such as "banliang,""wuzhu coin" and so on (twenty-four baht for one liang). In the fourth year of Emperor Gaozu 's reign (621), Li Yuan decided to reform the currency system, abolish the ancient coins of different weights, take the meaning of "opening up a new era," and uniformly cast "Kaiyuan Tongbao" coins. "Kaiyuan Tongbao" is an anti-Qin and Han Dynasty old system, money does not write weight, is China 's ancient currency from the weight of documents to Tongbao, Yuan Bao evolution. "Kaiyuan Tongbao" money is the earliest Tongbao money in China. Since then, China 's copper coins no longer use money to mark the weight, are to Tongbao, Yuanbao commensurate, it has been used until the Revolution of 1911 "Republic of China Tongbao."

5.The evolution of metal currency to paper money "Jiaozi." In the Northern Song Dynasty, with the development of exchange, the amount of currency in circulation increased. When Taizong of the Northern Song Dynasty, the annual coin was 800,000 Guan, which gradually increased later. Because of the shortage of copper material for casting coins, the government made up for the shortage of copper coins by casting iron coins in large quantities in some areas. According to the records of Song History, the iron coins cast in Sichuan at that time always weighed 25 catties and eight liang. To buy a piece of silk in Sichuan, you have to pay 130 jin of iron money. Iron money is so heavy and inconvenient that the paper money "Jiaozi" printed by the Northern Song Dynasty came into being in Sichuan. Song Zhenzong, under the permission of the government, by Chengdu 16 rich households jointly operated. The appearance of "Jiaozi" is an important evolution from metal currency to paper currency in the ancient monetary history of our country. "Jiaozi" is not only the earliest paper money in China, but also the earliest paper money in the world.

6.Evolution from Manual Coining to Mechanized Paper Money. In the late Qing Dynasty, with the gradual introduction of foreign advanced science and technology, Guangxu years began to buy coin-making machines abroad for making silver yuan and copper yuan. Later, Guangdong began to machine non-porous when ten copper dollars. As manufacturers made huge profits, provinces followed suit. The appearance of mechanism currency in the late Qing Dynasty is the evolution from manual coinage to mechanism currency in the ancient currency history of our country. From then on, not only the craft of casting money has undergone major changes, but also the circulation of more than 2,000 years of round square hole money died.

Characteristics of Ancient Currency

From the historical perspective, China's ancient monetary system has several characteristics.

1.The separation of monetary functions. In ancient China, gold and silver were used as a store of value, as a means of payment for international trade, and as a unit of account. But the medium of exchange in circulation is mainly borne by copper coins. Gold and silver coins have been minted in all generations, but they are more of a form of money, more of a position of luxury jewelry, used to hide wealth, used to give gifts, used to bribe, used as reserves. Copper coins were minted in large quantities as a means of payment. The nature of copper coin determines that its surface value is greater than the value of actual coinage materials, which is actually credit currency. Unfortunately, the seigniorage was hard to resist throughout the ages, and copper coins had a long history of inflation, with many instances of weight loss and devaluation. This also taught the common people that they would not use copper coins as a means of hiding wealth, but only as a means of circulation. According to the principle of "bad money drives out good money," they should spend what they have, leaving only gold and silver coins in their hands.

2.Currency casting and circulation are regional. In ancient China, coin casting was managed by different places. The sword coins of the pre-Qin Dynasty were cast by various cities, and the place names would be indicated on the coins. At the end of the Qing Dynasty and the beginning of the Republic of China, silver dollars were also cast and issued by various provinces, with place names on them. Not only is casting regional, but so is currency circulation. Of course, when the warlords were separated from each other, the Three Kingdoms era was definitely a regional currency circulation. Even in the period of political unification, the regionalism of currency circulation is still widespread. For example, in the Northern Song Dynasty, Jingdong, Jingxi 13 Road exercise copper coins; Chengdu and other four roads exercise iron money, Shaanxi, Hedong copper money, iron money both. Until liberation, the circulation of money throughout the country was not unified.

3.It has not paid attention to the innovation of monetary technology for a long time. The casting method is not advanced, resulting in uneven color and weight of currency. Although the process is exquisite, it has not formed an industrialized, expandable and large-scale banknote printing and coin-making project, so the quality of currency is very problematic.

References

 Chen Hui陈慧.(2022). 中国古代货币的演变与发展论析 [On the Evolution and Development of Ancient China Currency].产业与科技论坛 Industry and Technology Forum (09):60-61.

 Peng Xinwei 彭信威. (1965). 中国货币史 [The History of Chinese Currency]. Shanghai: Shanghai People’s Publishing House] 上海人民出版社.

 Liu Ruixuan, Wang Di刘芮瑄,王娣.(2020). 中国古代货币演变简述 [A Brief Introduction to the Evolution of Ancient Chinese Currency]. 科教文汇(上旬刊) Science and Education Collection (04):169-170.DOI:10.16871/j.cnki.kjwha.2020.04.072.

 Ma Tao, Song Dan马涛,宋丹.(2009). 论中国古代货币范畴的特点  [On the Characteristics of Currency Category in Ancient China]. 财经研究  Financial Research . (11):26-36.DOI:10.16538/j.cnki.jfe.2009.11.010.

 Tuo Tuo 脱脱. (1985). 宋史 [The History of Song Dynasty]. Peking: China Publishing House 中华书局.

 Yan Caiyun燕彩云.(2005). 中国古代货币的演变  [The Evolution of Ancient China Currency]. 中学历史教学  History Teaching in Middle School (07):51.

Terms and Expressions

spade-shaped coin 布币，铲币. sword-shaped coin 刀币. Ant nose money 蚁鼻钱. Wuzhu Coin 五铢钱. Han Shu·Monograph on Food and Currency 《汉书·食货志》. History of the Song Dynasty 《宋史》.

Questions

1.The world's first paper money () A.spade-shaped coin B.Jiaozi C.Tongbao D.Wuzhu Coin

2.After the unification of the Qin Dynasty, the unified currency used throughout the country was () A.sword-shaped coin B.spade-shaped coin C.Fang kong yuan qian D.Wuzhu Coin

3. Which of the following are the characteristics of ancient China currency() A.currency casting and circulation are regiona B.distinguish one's status C.the separation of monetary functions D.it has not paid attention to the innovation of monetary technology for a long time

4."Kaiyuan Tongbao" money is the earliest Tongbao money in China. True or False（） A.True B.False

Answers

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

Chinese Imperial Harem Rivalry Drama

陆玉琴Lu Yuqin, 202270081711

.

Abstract

Chinese Imperial Harem Rivalry Dramas are dramas set in ancient China's feudal dynasties, with female characters such as harem concubines or female officials as the main subjects of the story, and with characters' emotional entanglements or political power struggles as the main plot lines.

题目

中国宫斗剧

摘要

宫斗剧是指以中国古代封建王朝为背景，将后宫嫔妃或女官等女性角色做为故事主体，以人物情感纠葛或政治权力倾轧为剧情主线的电视剧集。

关键词

imperial harem rivalry drama, feudal dynasties，female characters

Introduction

In ancient China, there was a well known saying to describe ancient emperor’s concubines which is “3,000 beauties live in the inner court”. Imperial harem rivalry drama uses " imperial harem " as the narrative space and " rivalry " as the narrative theme. (Wang Siqi 2020, 4) It focuses on entertainment and playful interpretation, and are somewhat different from historical dramas. In this kind of drama, the emperor’s concubines intrigued against each other for the emperor's favor and their power, which takes full advantage of the viewers' curiosity about the ancient court. Imperial harem rivalry dramas are loved by viewers for their tense, exciting and bizarre plots. War and Beauty, which was broadcasted in 2004, established the art form of imperial harem rivalry dramas. In 2012, Empresses in the Palace pushed imperial harem rivalry dramas to the peak. Imperial harem rivalry dramas have taken an important place in the Chinese TV drama market.

Empresses in the Palace

Empresses in the Palace, written by Liu Lianzi and later directed by Zheng Xiaolong, is by far the most popular Chinese imperial harem rivalry drama. It tells a story about how an innocent young girl named Zhen Huan entered the Forbidden City and eventually defeated other concubines with her wits and schemes during the relentless palace fighting and ultimately became the Empress Dowager herself. (Mengyuan Yin & Honghong Zhou 2019, 83)

Zhen Huan was chosen for the Emperor Yong Zheng’s harem. After entering the palace, She was caught in the fierce infighting between the empress and the concubines. Zhen Huan gradually became a calculating woman in the harem. After helping emperor defeat Consort Hua, Zhen Huan was framed by empress, and she also learned that the emperor liked her only because she looked like her former lover, Empress Chunyuan, who was current empress’s elder sister and was killed by her. After giving birth to her daughter, Zhen Huan chose to leave the palace to have monastic life. Outside the palace, Zhen Huan was taken care of by Yunli, emperor’s younger brother. They fell in love and planed to go far away. However, when the fake news of the death of Yunli came, in order to save Yunli’s child growing in her belly and to rescue her seriously ill father, Zhen Huan designed to make emperor meet her and returned to the palace. She was able to evade the Empress's trap several times and eventually brought her down. However, the emperor detected Zhen Huan's affair with Yunli and ordered Zhen Huan to kill Yunli. Finally, Zhen Huan conspired with Ye Lanyi to commit regicide. Zhen Huan's adopted son ascended to the throne and Zhen Huan was honored as the Empress Dowager.

Story of Yanxi Palace

In the summer of 2018, the popularity of “Story of Yanxi Palace” directed by Yu Zheng rose sharply, becoming a leader in imperial harem rivalry dramas over the same period with a high range of influence and a high degree of discussion. (Han Mao,Jingru Liu & Zihan Qu 2021, 1) The TV series tells the story of Wei Yingluo, a palace maid, who, with her courage, quick wit, and broad mind, resolved the difficulties in the court and eventually became Consort Ling who helped Emperor Qian Long to realize “the times of prosperity”.

In order to seek the truth about her eldest sister's death, Wei Yingluo entered the Forbidden City as a palace maid. After an investigation, Yingluo confirmed that her sister's death was related to Hong Zhou, emperor’s brother, and is determined to get justice for her sister. The Empress Fucha was worried about Yingluo’s going astray and tried her best to give Yingluo warmth and help. Under the empress' careful tutelage, Yingluo became strong and upright, and put aside her grudges to live a serious life. The unfortunate death of the Empress makes Yingluo misunderstand Emperor Qianlong. The two went from mutual hostility to understanding and supporting each other. It was only before Yingluo's death that she informed Qianlong of Empress Fucha's deathbed entrustment that she hoped Yingluo accompany Qianlong and assist him to be a wise ruler. In the sixtieth year of the Qianlong era, the Qianlong emperor proclaimed Yong Yan, son of Yingluo, as the crown prince, while posthumously crowning the crown prince's mother Yingluo as Empress Xiao Yi. Yingluo finally used her whole life to fulfill her promise to Empress Fucha.

Conclusion

Compared to other costume dramas, imperial harem rivalry drama accomplishes a shift in narrative subject by deeply portraying female characters, with the theme of conflict shifting from the male, who had communicate power, to the female. Moreover, the main line of love in previous female dramas is diluted. The love between men and women is subjected to the main line of harem rivalry, and the love narrative is often used to highlight the image of female characters and as the reason for their character transformation. In addition, the portrayal of female characters in imperial harem rivalry drama has become more self-aware, and women are mostly no longer the appendages of men, but are equal to or even free from men, pursuing their own independence and having a sense of subjectivity.(Hu Ying 2021, 26)

In today's society, people need more pressure release and emotional catharsis, and imperial harem rivalry dramas meets their need.(Wang Maoru 2020, 178) In imperial harem rivalry drama, everyone viewer can find what they need: Academic success, the spread of information, survival in the workplace, power struggles, handsome men and beautiful women, etc.( Xiaoming LUO 2014, 178) This is the main reason of the success of imperial harem rivalry dramas.

References

王思齐.(2020).宫斗剧火爆的原因研判(硕士学位论文,海南大学).https://kns-cnki-net-443.webvpn.blcu.edu.cn/KCMS/detail/detail.aspx?dbname=CMFD202101&filename=1020748194.nh

王茂入.(2020).《延禧攻略》对女性观众的心理满足分析. 卫星电视与宽带多媒体(05),178-179.

胡颖.(2021).清朝宫斗剧的类型化叙事研究(硕士学位论文,南京师范大学).https://kns-cnki-net-443.webvpn.blcu.edu.cn/KCMS/detail/detail.aspx?dbname=CMFD202202&filename=1022405090.nh

Mengyuan Yin & Honghong Zhou.(2019).A Research on Mock Politeness —— A Case Study of the Legend of Zhen Huan..(eds.)Proceedings of the 5th Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2019)(pp.).Atlantis Press.

Han Mao,Jingru Liu & Zihan Qu.(2021).Chinese Traditional Aesthetics in Qing Palace Drama*-Take “Story of Yanxi Palace” as an example. E3S Web of Conferences. doi:10.1051/E3SCONF/202123605082.

Xiaoming LUO.(2014).The Impervious Zhen Huan. Frontiers of Literary Studies in China(3). doi:10.3868/s010-003-014-0026-1.

Terms and Expressions

imperial harem rivalry drama宫斗剧

War and Beauty金枝欲孽

Empresses in the Palace甄嬛传

Forbidden City紫禁城

Empress Dowager皇太后

Story of Yanxi Palace延禧攻略

Questions

1. When did the art form of imperial harem rivalry dramas establish? A.2002 B.2003 C.2004 D. 2005

2. Which TV drama pushed imperial harem rivalry dramas to the peak?

A.War and Beauty B.Empresses in the Palace C.Story of Yanxi Palace D.Ruyi's Royal Love in the Palace

3. Compared to other costume dramas, What characteristics does imperial harem rivalry drama have?

A.A shift in narrative subject by deeply portraying female characters, with the theme of conflict shifting from the male, who had communicate power, to the female. B.The love between men and women is subjected to the main line of harem rivalry. C.The portrayal of female characters in imperial harem rivalry drama has become more self-aware D.All of above

4.What’s the main reason of the success of imperial harem rivalry dramas?

A. People need more pressure release and emotional catharsis, and imperial harem rivalry dramas meets their need. B.The clothes in imperial harem rivalry dramas are beautiful C.The actors of imperial harem rivalry dramas are famous.

Answers

Correct answers are:

1.C

2.B

3.D

4.A

The development of Chinese Animation

马明宇Ma Mingyu, 202270081705

Abstract

Chinese animation started in the 1920s, inspired by French, German, Russian and mostly American productions. After decades of development, many excellent animations have been created, such as The Princess of Iron Fan, The Monkey King, Baby Tadpoles Look for Their Mother, Calabash Brothers and so on. Some of these have become household names and a symbol of Chinese culture.

Key Words

China, animation, development

题目

中国动画发展历程

摘要

中国动画起源于20世纪20年代,其灵感来自于法国、德国、俄罗斯和美国的大多数作品。经过几十年的发展，中国动画产业制造出许多优秀的动画作品，如《铁扇公主》、《大闹天宫》、《小蝌蚪找妈妈》、《葫芦兄弟》等等，其中一些作品已经家喻户晓，成为中国文化的一种象征。

关键词

中国，动画，发展

I.The Enlightenment Period of Chinese Animation

The period of germination and exploration of Chinese animation is 1922 to 1945. As early as 1918, American animation films landed on the Chinese mainland one after another with Shanghai as the center, which made the Chinese people in the semi-colonial and semi-feudal society at that time amazed by the strange animations. In the following 20 years, a group of people with lofty ideals represented by the Wan Brothers made great efforts to explore and learn with the goal of "creating Chinese own animations," becoming the founder of Chinese animations. In 1926, the Wan brothers created the Uproar in the Studio which had a great impact in the world. And in 1935, they made another great achievement by producing China 's first audio animation, The Camel Dance. Then, in 1941, under the influence of the American animation Snow White, the first large-scale animation of China, Princess Iron Fan, was produced, which was the fourth large-scale animation after the American animations Snow White, Lilliput and Pinocchio in the world film history, indicating that the animation level of China at that time was close to the leading level in the world. Unfortunately, the Chinese society was in turmoil at that time, and the new thing of animation did not spread to the mainland of the motherland, but could only be seen in big cities like Shanghai. Therefore, it was impossible for Chinese animation to form an industrialized development in that era. It was just a "novelty" at the time. With the outbreak of the Pacific War, the Wan brothers were forced to interrupt the animation creation, Chinese animation of the Enlightenment period has been rushed to an end. (Li Junda, 2012,5,100; Qu Huili, and Su Jianing, 2008,182; Wen Ting Fang, Po- Hsien Lin, and Rungtai Lin, 2017, 27)

II.The Growth Period of Chinese Animation

The growth of Chinese animation has experienced two periods of stable development and initial prosperity. From 1946 to 1965, it was the stable development period of Chinese animation. On October 1, 1949, the People's Republic of China declared its establishment. Before this, the puppet animation "The Emperor Dream" and "Go after an easy prey" produced by the Northeast Film Studio laid the foundation for the development of animation after the founding of the People's Republic of China. After a period of time, Chinese animation industry has been considerable development. During the period from 1950 to 1956, Chinese animations mostly used the content of fairy tales in terms of subject matter; in terms of style, they incorporated national characteristics; in terms of technology, they changed from black and white films to color films. There was an initial prosperity of Chinese animation from 1957 to 1965. In 1957, the establishment of Shanghai Animation Film Studio made China the first professional factory to independently produce art films, and Chinese animation entered a prosperous period of development. At this time, the animation has reached an unprecedented level in art and technical quality. Many animations have won awards in international film festivals, such as the classic blockbuster "The Monkey King," which has made the Chinese people proud. At that time, Tezuka Osamu, revered as the "God of Japanese Manga", made a special trip to Shanghai Animation Film Studio to learn from Wan Laiming, the "father of Chinese animation". Chinese animation has formed a school of Chinese animation recognized by the world. During this period, China's animation paper-cut, origami, ink and other colorful forms of creation. In particular, ink animation was a must at that time. In July 1961, Shanghai Animation Film Studio successfully produced China's first ink animation "Baby Tadpoles Look for Their Mother," which declared the success of the first Chinese ink animation. This production technology won the first prize of scientific and technological achievements of the Ministry of Culture and the second prize of National Scientific and Technological Invention Award. It can be seen that there were not only many works of Chinese animations at that time, but also a lot of high-quality animations.(Li Junda, 2012,5,101; Feng Guiyun, 2021, 1)

III.The Period of Stagnation and Recovery of Chinese Animation

From 1966 to 1976, China experienced the unprecedented "the Cultural Revolution." This period can be called the "Ice Age" in the history of China's animation development. In 1967, 1969, 1970 and 1971, all animation manufacturers in the country "stopped production and started a revolution." Since the end of 1978, China has entered a new period of Reform and Opening-up. In the first ten years, a number of new animation production departments emerged, which changed the situation that Shanghai Animation Film Studio stood out. A total of 219 animations were produced nationwide, producing a number of excellent and beautiful films representing the highest level of Chinese animation, such as Prince Nezha's Triumph Against Dragon King, The Legend of Sealed Book and so on. At the same time, it also produced TV animations and animation series for the first time, such as Calabash Brothers, Dirty King Adventure, Black cat Sheriff, The story of any lift and so on. Because of the wider subject matter, profound content, sharp allegory and derogatory criticism of the current malpractices, the social influence and international reputation of animation in this period also jumped greatly and won extensive praise. In the decade after the 1990s, Chinese animation continued the fruits of its recovery. Although this period has Lotus Lantern, Shuke and Beita, Blue Mouse and Big Face Cat, The big head son and little head father, Haier Brothers and other excellent works, but not much innovation in style. Chinese animation has embarked on an alternative path of "animation is what children watch".(Li Junda, 2012,5,101; Rolf Giesen，2014, 89)

References

1. 曲慧丽,and 宿佳宁."浅谈中国动漫的历史与发展." 今日科苑 .24(2008):182.

2. 李俊达."试论中国动漫产业的发展." 中共青岛市委党校.青岛行政学院学报 .05(2012):100-104.

3. Wen Ting Fang, Po-Hsien Lin & Rungtai Lin, Western vs. Eastern: A Reflective Research on the Development of Chinese Animation, Graduate School of Creative Industry Design, National Taiwan University of Arts, New Taipei City, Taiwan, 2017, 25-36

4. Feng Guiyun, The history of Chinese animation, from groundbreaking "Havoc in Heaven" to crappy-looking "Kung Fu Mulan", Xi'an Jiaotong-Liverpool University, 2021

5. Rolf Giesen，Chinese Animation, A History and Filmography, 1922-2012, Jefferson： McFarland, 2014

Terms and Expressions

Uproar in the Studio 《大闹画室》

The Camel Dance 《骆驼献舞》

Princess Iron Fan 《铁扇公主》

The Emperor Dream 《皇帝梦》

Go after an easy prey 《瓮中捉鳖》

The Monkey King 《大闹天宫》

Baby Tadpoles Look for Their Mother 《小蝌蚪找妈妈》

Prince Nezha's Triumph Against Dragon King 《哪吒闹海》

The Legend of Sealed Book 《天书奇谭》

Calabash Brothers 《葫芦兄弟》

Dirty King Adventure 《邋遢大王历险记》

Black cat Sheriff 《黑猫警长》

The story of any lift 《阿凡提的故事》

Lotus Lantern 《宝莲灯》

Shuke and Beita 《舒克和贝塔》

Blue Mouse and Big Face Cat 《蓝皮鼠与大脸猫》

The big head son and little head father 《大头儿子和小头爸爸》

Haier Brothers 《海尔兄弟》

Questions

1. What was the first large-scale animation in China, which indicated that China's animation level at that time was close to the world's leading level?

A Uproar in the Studio B The Camel Dance C Princess Iron Fan D The Emperor Dream

2. In the 1960s, there was a world-renowned classic animation blockbuster in China. What is it?

A The Monkey King B Baby Tadpoles Look for Their Mother C Prince Nezha's Triumph Against Dragon King D The Legend of Sealed Book

3. Which of the following animations indicate that Chinese animation has embarked on an alternative path of "animation is what children watch"?

A Shuke and Beita B Blue Mouse and Big Face Cat C The big head son and little head father D Haier Brothers

Answers

Correct answers are:

1. C

2. A

3. ABCD

Impact of Chinglish on standard English

彭琦Peng Qi,202270081646

Abstract

English is one of the major common languages in the world. With the development of economic globalization, more and more people are learning and using English for communication, and in this process, Chinese English has gradually emerged, which has led to many ludicrous incidents in the process of foreign communication in China. This paper discusses the concept of Chinglish, its causes, and its impact on standard English, and also analyses measures to reduce the emergence of Chinglish in order to provide a reference for English learners.

Key Words

Chinglish, Impact, Standard English

Introduction

With the development of the times, English has become one of the ways of communication in the world, and learning English has become one of the compulsory courses in China. However, many people, in the process of learning English, will have the problem of Chinglish due to the influence of the Chinese language, which affects their subsequent English learning. what's more important is that it lays a great impact on today's standard English in its development.

Cause of Chinglish

Chinese English is the English of Chinese learners who, in the process of learning and using English, are disturbed by their mother tongue, their culture and their communicative habits, as well as their limited English proficiency, and have to combine English phrases according to their own subjective imagination, thus appearing in English that does not conform to the standard English expressions or communicative style. The degree of error also depends on the level of English learners and the difficulty of the communicative content. This phenomenon has been studied in the past and the theory of negative transfer of language and culture has been used to explain the reasons for the production of Chinglish. First of all, it is due to the interference of native language habits. The second is the clamping down of Chinese communication styles, behavioural habits, ways of thinking and social codes of conduct; the third is that the learners' English is so poor that they have to make up random English sentences to express themselves. If we look at this issue from multiple perspectives, we may have a better understanding of it.1. Chinese English is not a standardized language system that learners seek, but a linguistic error in learning English. 2. The errors in Chinese English vary from person to person, depending on the depth of content, and can be changed through learning and self-reflection. From a certain point of view, Chinese English is a transition from Chinese to standard English, often playing the role of an interlanguage.3. Many errors are caused by a poor command of English and learners generally adopt English words, Chinese idioms and grammar in a haphazard manner.As they improve their English, these phenomena will be greatly reduced.4. Because of their unfamiliarity with Western means of communication, Chinese people often make communicative mistakes in their foreign interactions. For example, they speak in an "indecent manner" (Chinese is decent, but the direct translation into English is indecent), and their speech and behaviour are often impulsive.5. As Chinese English is mainly a kind of language disorder of English learners, this kind of language error will gradually decrease as the learners' English level improves. Therefore, Chinese English is a trial-and-error phenomenon in the learning process of Chinese people learning English, and it can be corrected and improved.

Linguistic Impact on standard English

There are major differences between Chinese and English. As a non-formal form of language, Chinese vocabulary is mainly monosyllabic and diphthongic, and the grammatical components of Chinese expressions cannot be expressed in accordance with morphological transformations, which is different from the regularisation of English. As a product of the fusion of the two languages, Chinglish has the linguistic characteristics of Chinese, and its vivid and indirect expressions sometimes can better express emotions. English is an open and inclusive language, and in the context of economic globalisation, the absorption and borrowing of Chinese by English has become an inevitable trend. Chinese English expressions need to be tested over a long period of time and by users in practice, so that they can be accepted as having a positive impact on the development of the vocabulary and expressions of modern English, and that the positive impact will become more pronounced as time goes on. The emergence and development of Chinese-English will contribute significantly to the acceptance of Modern English and will increase the enthusiasm of users as they will not need to follow excessive rules in their practice. At the same time, the emergence of a Chinese-English vocabulary will enrich the vocabulary of modern languages and contribute to the internationalisation of modern English.

Cultural Impact on today's English

The further rise of Chinese English on the agenda has to do with the large number of foreigners coming to China to work, live and travel. The most influential Chinese English is that found on signs in public places and on restaurant menus, most of which have been photographed by foreigners on the internet and appear in pictures with text in their thousands. For example, "Please take good personal luggage" is written as "Please take good personal luggage" and "First under after on, take a civilised ride" as "First under after on, take a civilised ride". First under after on,take riding with civility". The English translations of the bilingual signs in many metro stations, tourist attractions, restaurants and other public places were initially only for the sake of completeness, and some of them were just taken from dictionaries or turned out with software like Google Translate, and not many people noticed them. Surprisingly, most foreigners don't hate Chinese English, and quite a few genuinely enjoy it. Perhaps due to the encouragement of their foreign friends, for some time now many Chinese have started to create their own English words and sentences in their own way, such as Smilence, a 'self-created compound word' like Brangelina (the joint name of Brad Pitt and Angelina Jolie). There are also words that translate playful words from Chinese to create a misplaced and amusing effect, such as "We two who and who? If you want money, I have no. If you want life, I have one.", and "American Chinese not enough". The Xinhua News Agency reported that this was "Chinese witticisms enriching the English language" - and it was an innovative form of Chinese English. The Global Language Monitor (GLM), based in Texas, USA, has given Chinglish a global perspective and a high rating from the perspective of English language development. Since 2005, Chinglish has been ranked as one of the top ten words that have influenced the world, and GLM believes that Chinglish is driving a profound change in the English language, with a large number of Chinese words entering the English language as the most significant source of new vocabulary, up to 20%. Each year they select the most popular Chinese words of the year, such as "No Noising" ("Quiet, please" in authentic English), "Question Authority" ("Information Booth" in authentic English), and "Information Booth"), the 2008 Deformed Man Toilet, the Airline Pulp According to GLM, Chinese is surprisingly complex and rich in its ability to produce and accept new words, and Chinese English is a "welcome mixture".

Conclusions

Chinese-English refers to English with Chinese phonological, semantic, grammatical and pragmatic features, and is a country-specific variant of English with Chinese characteristics. Its words are usually produced in five ways: phonetic, transliteration, phonetic-phonetic combination, phonetic-phonetic affixation and semantic regeneration, all more or less "Anglicised" to some extent. Chinese English is a reality and a contribution to English itself; it not only enriches the content of English, but also expands its sphere of influence. In recent years, Chinese English has become very popular in China and is beginning to make its way into the English-speaking world. The famous British linguist Mr David Kristel has pointed out that with the rapid development of the Chinese economy, Chinese English is bound to have more impact on Standard English.

References

1. 杜争鸣. 中国英语问题及其它[J ]. 西安外国语学院学报 ,1998 ,(3) :7 - 119. 2. Jiang , Yajun. Chinglish and China English [J ]. English To2 day , 1995 :16 :3 - 3 3. 金惠康. 中国英语与中式英语讨论[J]. 广东技术师范学院学报, 2003(5):5. 4. 韩威. 中式英语的融入对现代英语发展的影响[J]. 语文课内外, 2018. 5. 琼·平卡姆. The translator's guide to Chinglish[M]. 外语教学与研究出版社, 2000. 6. Zhuang Y . Guard Against Chinglish[J]. Chinese Translators Journal, 2000.

Questions

1. Do you know any typical Chinese English?

2. What does GLM stand for?

Answers

1. Good good study，day day up; “We two who and who？”（咱俩谁跟谁？）;“If you want money,I have no. If you want life,I have one.”（要钱没有，要命一条）;“American Chinese not enough”（美中不足）....

2. 全球语言监测机构(Global Language Monitor)

Traditional Revolutionary Songs in China

漆羿鑫Qi Yixin,202270081647

Abstract

Rising in the revolutionary war period, traditional revolutionary songs in China, or "red Song", mainly focusing on praising the party and the country, told the difficult course of the revolution, as well as the heroic deeds of the predecessors. It expressed the deep feelings of the majority of people for the motherland, and described the Chinese nation's confidence in social undertakings to overcome difficulties.

Key Words

traditional revolutionary songs, artistic features, current value

Introduction

Traditional revolutionary songs are a political and social phenomenon peculiar to socialist countries, and particularly prosperous in China. It is clear that they are inspired by popular folksongs (De Sales, A. 2003, 7). Their core theme is to sing songs to praise the motherland, the proletarian revolution and the Communist Party. With a strong political orientation, it contains a profound ideology, specifically, reflecting the inherent spiritual needs of proletarian revolution and socialist construction (雷亚林 2019, 63).

History of Traditional Revolutionary Songs

The wide range of red songs included revolutionary songs from the Soviet Union, translated into Chinese, as well as Chinese red songs dedicated to the founding fathers of the new China, postludes, military songs for improving morale, and theme songs or interludes from revolutionary movies and opera (Li, S., & Yan, F. 2020, 3). The traditional revolutionary songs started with the May 4th Movement, gradually developed in the First Revolutionary Civil War, reached a certain scale in the Second Revolutionary Civil War, became mature during the War of Resistance Against Japan and the in the Third Revolutionary Civil War, and performed well in the period of socialist revolution and construction. Traditional revolutionary songs are closely related to the tide of the new democratic revolution, socialist revolution and construction led by the CPC, and record many unforgettable events, history, characters and stories (达晖 2009, 1).

Artistic Features of Traditional revolutionary songs

Lyrics embraces ideology, but they reflect the time when they are written (Howard, K. 2020, 18). Musically, traditional revolutionary songs have the characteristics, such as beautiful melody, simplicity and refinement, each of which is produced and sung in the specific revolutionary life or production practice. Because the traditional revolutionary songs directly reflected the spiritual outlook of the specific people at that time, the emotions contained in them seemed simple, touching, sincere and moving, especially those that eulogized the motherland, the people, and the party (雷亚林 2019, 63).

Traditional revolutionary songs vary by period. They emerged and developed with the proletarian revolution and socialist production. In different historical periods, the content, feelings and ideas conveyed are quite different, leading to a strong sense of the times for traditional revolutionary songs. For example, Guerrilla Songs(游击队歌) in the revolutionary war years reflected the people's mental state during the war, while My Motherland, The Moon of Lunar 15th, and Bless the Motherland in the socialist construction period showed the people's spiritual outlook in the process of production and construction (雷亚林 2019, 63).

The Value of Traditional Revolutionary songs in Contemporary Society

Traditional revolutionary songs help young people form correct values. The advent of the Internet era has enriched the lives of young people, but it has also led many people astray. Traditional revolutionary songs inherit the ideological spirit of the revolutionary ancestors, and their ideas, glory are also of great significance to the growth of young people and the rectification of social ethos （张正雨 2021, 100-101）. The list excitingly goes on—March Song(长征之歌) about the Long March; Guerrilla Song(游击队歌) of the Anti-Japanese War; I Am a Soldier of the early liberation period; Spring Story(春天的故事), On the Field of Hope(在希望的田野上) about the reform and opening up. The content described in the lyrics of traditional revolutionary songs in each period can help guide young people to form correct values to varying degrees, and also help to inherit red culture in modern society.

Traditional revolutionary songs can stimulate people's patriotic enthusiasm. The tragic images depicted in the traditional revolutionary songs can bring people back to that special era, help people better understand the history of that year, and then deeply understand that countless people with lofty ideals just shed their blood to realize the ideal in their hearts: defeat all enemies, and the people become masters of the country（张正雨 2021, 100-101）. As the "Heroic Battle Song" sings, "The hero leaps out of the trench, breaks the sky with lightning, falls into a single block, and the sky collapses with one hand..." The popularity of traditional revolutionary songs can make the people deeply feel the noble spirit of their ancestors, and the value of today's peace, and deepen their understanding and recognition of the national spirit.

Traditional revolutionary songs can inspire people's belief in innovation. The older generation of revolutionaries fought hard for a long time, and finally drove away all the aggressors, so that today's New China came into being. Today's people still need to inherit the revolutionary spirit and write more brilliant chapters through continuous efforts to live up to the efforts of the martyrs. As an indispensable part of national culture, traditional revolutionary songs play an extremely important role（张正雨 2021, 100-101）. Here are some examples—Hands Watering Flowers of Happiness（众手浇灌幸福花）, Descendants of the Drago（龙的传人）. Singing traditional revolutionary songs can help people better understand the traditional revolution and make people realize that no matter what kind of hardships they face, they can overcome difficulties as long as they keep firm faith and actively explore solutions to problems.

Conclusion

"With the continuous evolution of human society, in addition to the dialectical movement of material life, the demand for spiritual life also changes," said Marx. The outbreak of the epidemic leads to more people pessimistic about the future, but the new situation still requires high morale to move forward. Therefore, the article discusses the history, artistic characteristics and contemporary value of traditional revolutionary songs. Hopefully, it can promote the spread of traditional revolutionary songs and enrich the spiritual life of Chinese people.

References

[1] De Sales, A. (2003). Remarks on revolutionary songs and iconography. European Bulletin of Himalayan Research, 7. [2] Li, S., & Yan, F. (2020). Searching for Red Songs: The politics of revolutionary nostalgia in contemporary China. The China Quarterly, 3. [3] Howard, K. (2020). Songs for" great Leaders": Ideology and Creativity in North Korean Music and Dance. Oxford University Press, 18. [5] Wang, Q. (2012). Red songs and the main melody: Cultural nationalism and political propaganda in Chinese popular music. Perfect Beat, 13(2), 127. [6] Dahui达晖.(2009).中国红色革命歌曲的伦理审视[Ethical Survey of Chinese Red Revolutionary Songs].Hunan: Hunan Normal University湖南师范大学. [7] Lei Yalin雷亚林.(2019).红色歌曲的传唱与历史意义研究[Study on the Singing and Historical Significance of Red Songs].艺术评鉴Art Evaluation(09)63-64. [8] Zhang Zhengyu张正雨.(2021).论红色歌曲的传承与发展[On the Inheritance and Development of Red Songs]大众文艺Popular Literature and Art(08)100-101.

Terms and Expressions

May 4th Movement 五四运动 the Second Revolutionary Civil War 第二次国内革命战争 the War of Resistance Against Japan 抗日战争 new democratic revolution 新民主主义革命

Questions

1. What is true about the traditional revolutionary songs? A. being peculiar to socialist countries. B. containing profound ideology. C. praising good behaviors in everyday life. D. reflecting the inherent spiritual needs of proletarian revolution. 2. Which of the following songs are traditional revolutionary songs? A. Guerrilla Song. B. I Believe. C. March Song. D. Spring Story. 3. When did traditional revolutionary songs became mature? A. the May 4th Movement. B. the First Revolutionary Civil War. C. the War of Resistance Against Japan. D. the Third Revolutionary Civil War. 4. The Value of traditional revolutionary songs in contemporary society includes: A. inspire people's belief in innovation. B. help young people form correct values. C. increase material wealth for holders. D. stimulate people's patriotic enthusiasm.

Answers

Correct answers are: 1.ABD 2.ACD 3.CD 4.ABD