中国文化英语教程unit15翻译
中国传统文化英语翻译教学教材
中国传统文化英语翻译1.香囊(scented sachet)，古代也称“香袋”，通常是用布缝制或彩色丝线编织的袋子，里面塞满香草(aromatic herbs)。
香囊最初用来吸汗、驱虫和避邪。
香囊不仅有用，而且可作装饰品。
它们的形状和大小各异，有圆形、椭圆形和其他形状。
它们通常配有精致的图案，每个图案都象征着特别的含义。
例如，双鱼或成对蝴蝶图案象征男女之爱;莲花或牡丹花(peony flower)等图案象征女性;松树和仙鹤图案象征长寿;石榴(guava)图案象征很多孩子。
漂亮的香囊不仅是装饰品，而且含有丰富的文化和历史内涵。
翻译：Scented sachets, also called “fragrant bags” in ancient times, are bags usually sewed with cloth or weaved with multicolor silk threads and stuffed with aromatic herbs. The fragrant bags were originally used for absorbing sweat, repelling insects and warding off evils. Scented sachets are not only useful, but also ornamental. They come in different shapes and sizes, such as round, oval and many others. And they are normally decorated with elaborate patterns, with each pattern symbolizing a special meaning.For instance,a double-fish or double-butterfly pattern smybolizes the love between a man and a woman;patterns like lotus or peony flowers symbolize women;pine and crane patterns symbolize longevity and a guava pattern is the symbol of lots of children.A nice scented sachet is not just an ornament,but more of something that contains cultural and historical richness.2.中国民间艺术与中国哲学统一于“阴阳(yin-yang)生万物”这一理念。
《中国文化》英语教程复习题及答案
I.Chinese Cultural Terms :1.绿茶green tea2.红茶black tea3.乌龙茶oolong tea4.黑茶dark tea5.花茶scented tea6.茉莉花茶jasmine tea7.八大菜系eight major schools ofRegional cuisine /8 Chinese Cuisines8.茶道tea ceremony9.茶具tea set10.紫砂壶boccaro teapot11.北京烤鸭Beijing roast duck12.清蒸鱼steamed fish13.狗不理包子Goubili steamed buns14.佛跳墙Buddha Jumping the Wall15.《论语》The Analects16.《诗经》The Book of Songs17.《道德经》Classic of the Way and Virtue18.道家Daoism19.汉字Chinese character20.象形文字pictograph21.甲骨文oracle-bone inscription/ oracle-bone script22.篆文seal character/ seal script23.文房四宝four treasures of study24.丝绸之路the Silk Road25.海上丝绸之路the Maritime silk road26.一带一路倡议The Belt and Road Initiative27.西the Western regions28.敦煌石窟the Dunhuang Grottoes29.春秋时期the Spring and Autumn Period30.方块象形文字the square-shaped pictographic character31.颜（真卿）体the Yan style32.民间艺术folk arts33.年New Year pictures34.剪纸paper cutting /papercuts35.皮影戏shadow play36.苏Suhou Embroidery37.造纸术paper making38.印刷术printing39.佛Buddhist scripture经40.行书running script /semi-cursive script41.草书cursive script42.楷书regular script/standard script43.隶书official script/ clerical script44.砚the ink slab/ the ink stone; 墨ink stick45.六艺：礼乐射御书数“six arts” : ritual,music,archery, carriage driving ,calligraphy , and mathematics46.毛笔the writing brush47.宣纸xuan paper/ rice paper48.中国书法Chinese calligraphy49.简体字：simplified characters50.繁体字complex characters/ traditional characters51.中国结Chinese knots52.佛教Buddhism53.国徽national emblem54.国旗national flag55.国歌national anthemII. Multiple choices （每题三个选项中选一个最佳答案）1）Which of the following is irrelevant to the pictographic symbols of Chinese characters? （下列哪项与汉字的象形符号无关？） ___ AAspiration. 吸Imagination. 想象Creativity. 创造力Allusion. 典故2）Which of the following statements is true of the name of Fudan University （关于复旦大学的名称，下列哪个陈述是正确的？） ___ DThe characters both stand for "the sun rising on the horizon". 这些字符都代表着“太阳在地平线上升起”The name is taken from a Chinese classical poem. 这个名字取自中国古典诗歌The name encourages the students to get up early in the这个morning. 名字鼓励学生早上早起The characters are intended to tell the students to make progress day by day. 这些字旨在让学生们一天天地进步3) Which of the following languages mostly consists of language pictures (下列 语言中哪一种主要由语言图片组成？) ? B___Mandarin Chinese. 普通话 Hieroglyphs of ancient 古埃及的象形文字Oracle-bone inscription. 甲骨文Seal characters. 篆书4) The symbol for is closest to （“游泳”的符号最接近的___.oracle-bone inscription 甲骨文MandarinChinese sealcharacters none 普通话 篆书 没有选项5) The symbol for “ athletics ” contains the ingredients of (“运动”的符号包含了) ___. Adancing and running running and swinging dancing and swinging triathlon andfootball6) All the following are the titles of Confuciusexcept an educator 一个教育家A biologist 一个生物学家A scholar 有识之士A philosopher 一个哲学家7) The expression “filial piety ” mostprobably means being是指) ___.DLoyal to the state 忠于国家Obedient to sister(s) 听姐姐的话Responsible for the family 对家庭负责Dutiful to parents 孝顺父母 8) Which of following can best describe Confucius ' view on the relationship between man and nature ( 下面哪一个最能说明孔子对人与自然关系的看法？) ___.DBrothers 兄弟跳舞、跑步跑步和摆动跳舞和摆动铁人三项和足球 以下孔子的头衔除了） ___.B“孝”的意思很可能Husband and wife 夫妇Doctor and patient 医生和病人Mother and son 母子9）Through burial and ancestral worship rituals,people can learn通过丧葬that 和祭祖仪式，人们可以了解到。
中国文化知识(英汉对照)
中国文化知识（英汉对照）2013年12月全国英语四级必考翻译（四级改革后关于传统文化）1. 中国龙对龙图腾的崇拜在中国大约已绵延了八千多年。
中国龙是古人将鱼、蛇、马、牛等动物与云雾、雷电等自然天象集合而成的一种神物。
中国龙的形成与中华民族的多元融合过程同步。
在中国人的心目中，龙具有振奋腾飞、开拓变化的寓意和团结凝聚的精神。
Chinese Dragon Dragon totem worship in China has been around for the last 8,000 years. The ancients in China considered the dragon (or loong) a fetish that combines animals including the fish, snake, horse and ox with cloud, thunder, lightning and other natural celestial phenomena. The Chinese dragon was formed in accordance with the multicultural fusion process of the Chinese nation. To the Chinese, the dragon signifies innovation and cohesion.2. 秧歌秧歌舞是中国汉族的一种民间传统舞蹈，通常在北方省份表演。
秧歌舞者通常穿上明亮多彩的表演服装，他们的表演动作有力迅速。
在农历春节、元宵节等节日期间，人们一旦听到锣鼓声，不管外面天气有多冷，他们都会蜂拥到街上看秧歌舞表演。
近年来，中国东北某些城市的老年人自发组织了了秧歌队，队员常年通过跳秧歌舞来保持健康，同事他们也乐在其中。
Yangko Yangko is one of tradition folk dance of Han in China. It is usually performed in northern provinces. The dancers usually wear colorful and light costumes, and the performance is powerful and rapid. During some festivals such as Spring Festival, Lantein Festival, if people hear the sound of drum and gong, no matter how cold the weather is , they will come to street and appreciate the Yangko. Recent years, the old people in city of east-northern of China organized the team of Yangko by themselves, the teamers keep their health by dancing Yangko the whole year.3. 长城是人类创造的世界奇迹之一。
中国文化英语教程Unit_
“筑长城，自代并阴山下，至高阙为塞”
——《史记·匈奴列传》
Aspiration for Peace
Protection for the southerners from being attacked by the northerners
• The Great Wall prevented northern peoples on horseback from attacking people in the south who were mostly engaged in farming.
Unit 10 The Great Wall
Content
Lead-in Text study Exercises
Lead-in
Do you know the New Seven Wonders of the World? What are they?
Lead-in
The Great Wall of China（长城）
Introduction
• Three major renovations (修复) of the Great Wall took place in the Qin (221-206 BC), Han (206 BCAD 220), and Ming dynasties.
• The Great Wall of today is mainly the legacy of the Ming-dynasty renovations.
“Seen from today, if it had not been for the protection of the Great Wall, Chinese civilization would have been interrupted by the northern peoples in the late Qin or early Han dynasties, long before the Song and Ming dynasties. In that case, there would not have been the prosperity of the Han and Tang dynasties, or the integration of southern and northern peoples.”
中华文化汉译英
中华文化汉译英中华文化汉译英1. 元宵节：Lantern Festival2. 刺绣：embroidery3. 重阳节：Double-Ninth Festival4. 清明节：Tomb sweeping day5. 剪纸：Paper Cutting6. 书法：Calligraphy7. 对联：(Spring Festival) Couplets8. 象形文字：Pictograms/Pictographic Characters9. 人才流动：Brain Drain/Brain Flow10. 四合院：Siheyuan/Quadrangle11. 战国：Warring States12. 风水：Fengshui/Geomantic Omen13. 铁饭碗：Iron Bowl14. 函授部：The Correspondence Department15. 集体舞：Group Dance16. 黄土高原：Loess Plateau17. 红白喜事：Weddings and Funerals18. 中秋节：Mid-Autumn Day19. 结婚证：Marriage Certificate20. 儒家文化：Confucian Culture21. 附属学校：Affiliated school22. 古装片：Costume Drama23. 武打片：Chinese Swordplay Movie24. 元宵：Tangyuan/Sweet Rice Dumpling (Soup)25. 一国两制：One Country, Two Systems26. 火锅：Hot Pot27. 四人帮：Gang of Four28. 《诗经》：The Book of Songs29. 素质教育：Essential-qualities-oriented Education30. 《史记》：Historical Records/Records of the Grand Historian31. 大跃进：Great Leap Forward (Movement)32. 《西游记》：The Journey to the West33. 除夕：Chinese New Year’s Eve/Eve of the Spring Festiva l34. 针灸：Acupuncture35. 唐三彩：Tri-color Pottery of the T ang Dynasty/ The TangTri-colored pottery36. 中国特色的社会主义：Chinese-charactered Socialist/Socialist with Chinese characteristics37. 偏旁：radical38. 孟子：Mencius39. 亭/阁：Pavilion/ Attic40. 大中型国有企业：Large and Medium-sized State-owned Enterprises41. 火药：gunpowder42. 农历：Lunar Calendar43. 印/玺：Seal/Stamp44. 物质精神文明建设：The Construction of Material Civilization and Spiritual Civilization45. 京剧：Beijing Opera/Peking Opera46. 秦腔：Crying of Qin People/Qin Opera47. 太极拳：Tai Chi48. 独生子女证：The Certificate of One-child49. 天坛：Altar of Heaven in Beijing50. 小吃摊：Snack Bar/Snack Stand51. 红双喜：Double Happiness52. 政治辅导员：Political Counselor/School Counselor53. 春卷：Spring Roll(s)54. 莲藕：Lotus Root55. 追星族：Star Struck56. 故宫博物院：The Palace Museum57. 相声：Cross-talk/Comic Dialogue58. 下岗：Lay off/Laid off59. 北京烤鸭：Beijing Roast Duck60. 高等自学考试：Self-taught Examination of Higher Education61. 烟花爆竹：fireworks and firecracker62. 敦煌莫高窟：Mogao Caves63. 电视小品：TV Sketch/TV Skit64. 香港澳门同胞：Compatriots from Hong Kong and Macao65. 文化大革命：Cultural Revolution66. 长江中下游地区：The Mid-low Reaches of Yangtze River67. 门当户对：Perfect Match/Exact Match68. 《水浒》：Water Margin/Outlaws of the Marsh69. 中外合资企业：Joint Ventures70. 文房四宝（笔墨纸砚）："The Four Treasure of the Study" "Brush, Inkstick, Paper, and Inkstone"71. 兵马俑：cotta Warriors/ Terracotta Army72. 旗袍：cheongsam。
中国文化英语教程unit5
中国文化英语教程unit5Unit 5: Traditional Chinese FestivalsIn this unit, we will explore the rich and vibrant traditional festivals in Chinese culture. These festivals not only have a long history but also reflect the values and beliefs of the Chinese people.1. Spring Festival: Also known as Chinese New Year, it is the most important and widely celebrated festival. Families come togetherto have reunion dinners, set off firecrackers, and exchange red envelopes filled with money to bring good luck and fortune for the upcoming year.2. Lantern Festival: This festival marks the end of the Spring Festival celebrations. People light up lanterns and participate in various activities such as solving lantern riddles and enjoying lion and dragon dances.3. Dragon Boat Festival: Held on the 5th day of the 5th lunar month, this festival is celebrated through dragon boat races and the consumption of sticky rice dumplings called zongzi. These activities are meant to commemorate the ancient poet Qu Yuan, who drowned himself in the river.4. Mid-Autumn Festival: Known as the Moon Festival, it is a time for families to appreciate the full moon and enjoy mooncakes together. Mooncakes are round pastries filled with various sweet or savory fillings, symbolizing unity and completeness.5. Double Ninth Festival: Celebrated on the 9th day of the 9thlunar month, this festival is also known as the Chongyang Festival. On this day, people climb mountains, wear dogwood, and drink chrysanthemum wine to pray for good health and longevity.6. Qingming Festival: Also called Tomb-Sweeping Day, it is a time for people to visit ancestors' graves, clean the tombstones, and make offerings of food and flowers. This festival is about honoring and remembering the deceased.7. Winter Solstice Festival: Celebrated on the shortest day of the year, it is a day for families to gather and eat tangyuan, a sweet glutinous rice ball. The festival represents the arrival of winter and the importance of family unity.Throughout the year, these traditional festivals bring people together, strengthen family bonds, and provide opportunities for people to reconnect with their roots and cultural heritage. They play a significant role in shaping Chinese identity and fostering a sense of community.。
Unit15 Chinese Literature(中国文化)
Fiction in the Ming and Qing Dynasties
• In the Ming and Qing dynasties, the novels • flourished and formed a mighty current in literature.During these time there are four repersentative works.Do you know what are they ?
Romance of the Three Kingdoms
Outlaws of the Marsh
Journey to the west
A Dream of Red Mansions
Unit 15 Chinese Literature
The Book of Songs（诗经）
The Book of Songs is the earliest anthology of Chinese poetry. It’s contains those poems (305 poems) created during the early Western Zhou dynasty to the middle of the Spring and Autumn Period. It's also called Poems or Three Hundred Poems.
LiBai and DuFu are regarded as the twin masters of the Tang poetry.Widely praised as the "Immortal of Poems",LiBai abounded with passion and talent.DuFu is revered as "Sage of the Poems"by the posterity.
中国文化英语教程Unit15全文
Rhythm of Calligraphy
Zhang Xu was a Chinese calligrapher of the Tang Dynasty. A native of Suzhou, he became an official during the reign of Emperor Xuanzong of Tang. Legend has it that whenever he was drunk, he would use his hair as brush to perform his art, and upon his waking up, he would be amazed by the quality of those works but failed to produce them again in his sober state.
• As father and son, Wang Xizhi and Wang Xianzhi have been known as the “two Wangs”.
• Their works universally recognized as the peak of Chinese calligraphy.
Introduction
The brush is the traditional writing implement in Chinese calligraphy. The body of the brush can be made from either bamboo, or rarer materials such as red sandalwood, glass, ivory, silver, and gold. The head of the brush can be made from the hair (or feathers) of a wide variety of animals.
中国文化英语教程文本
Part I Wisdom and BeliefsUnit 1 Confucian thought on heaven and humanityConfucius (551-479 BC), known in China as Kongzi, given name Qiu and alias Zhongni, was a native of Zouyi (present-day Qufu in Shandong Province) of the State of Lu during the Spring and Autumn Period (770-476 BC). A great thinker, educator and founder of Confucianism, Confucius is an ancient sage to the Chinese people. His words and life story were recorded by his disciples and their students in The Analects (Lunyu).Confucius on Heaven: the source of EverythingIn the Shang (1600-1046 BC) and Zhou (1046-256 BC) dynasties, the prevalent concept of “Heaven”was that of a personified god, which influenced Confucius. Generally, however, Confucius regarded “Heaven”as nature. He said, “Heaven does not speak in words. It speaks through the rotation of the four seasons and the growth of all living things.” Obviously, heaven equaled nature, in the eyes of Confucius. Moreover, nature was not a lifeless mechanism separate from humans; instead, it was the great world of life and the process of creation of life. Human life was part and parcel of nature as a whole.Confucius on People: ren and liRen and Li are the two core concepts of Confucius’s doctrine about people.When his students Fan Chi asked him about ren, Confucius replied, “love people”. This is Confucius’ most important interpretation of ren. Love for the people is universal love. Confucius further emphasized that this kind of love should “begin with the love for one’s parents”. He believed no one could love people in general if they did not even love their own parents. Confucius regarded “filial piety and fraternal duty”as the essence of ren. The Doctrine of the Mean (Zhongyong) quotes Confucius as saying, “ The greatest love for people is the love for one’s parents.” He also said, “Children should not travel far while their parents are alive. If they have no choice but to do so, they must retain some restraint.” He did not mean that children should not leave their parents at all. What he meant was that children should not make the parents anxious about them while away from home. Confucius said again, “Children should think often of the age of their parents. They should feel happy for the health and longevity of their parents. They should also feel concern for the aging of their parents.”By ren, Confucius meant universal love based on love for one’s parents. How should people love one another then? Confucius said, “One should be aware that other people may have similar desires as oneself. While fulfilling one’s desires, allow others to fulfill their desires as well.” He further said, “Do not do toward others anything you would not want to be done to you.” Thus from oneself to one’s family, from family to society, one should extend love to all people. Mencius (c. 372-289 BC), a great Confucian scholar, best summarized ren as, “loving one’s parents, loving the people, loving everything in the world.”Li refers to rituals, traditions and norms in social life. Of these, Confucius regarded burial rituals and ancestral worship rituals as the most important, because they rose from human feelings. He said, “A child should not leave his parents’ bosom until he is three years old.” He naturally love his parents. The ritual of wearing mourning for a deceased parent for three years was an expression of the child’s love and remembrance.Confucius on the State of lifeBefore Confucius, only the nobility had the right to education. He was the first figure in Chinese history to initiate private education. According to historical records, Confucius taught for many years and trained 3,000 disciples. A total of 72 of them excelled in the “six arts”, i.e., ritual, music, archery, (carriage)driving, calligraphy, and mathematics. A great educator, Confucius has been admired by later generations as the “sage of sages”.Confucius believed the basic goal of education was to cultivate “persons of virtue”, who should have sound character and uplifted minds. Such people should be able to shoulder important social responsibilities and to make contributions to society. Confucius regarded lofty ideals, great virtue, love of people, and the “six arts” as the general principles of education. Of these, virtue was the most important. His students were involved in a variety of professions, including politics, trade, education, diplomacy, ritual ceremony, and classifying ancient books. Whatever they did, they all wanted to improve their learning of the humanities and to enhance their virtue.Unit 2 Laozi’s philosophy of Non-actionThe book Laozi was written around the sixth century BC. The author is generally believed to be Lao Dan, or Laozi – a recluse who lived during the Spring and Autumn Period. Few records have survived about Lao Dan, who was said to have once held a low civil position in the royal court, in chare of the archival records of the Zhou Dynasty. Yet, due to his great learning, even Confucius was said to have traveled miles to consult him.Laozi, also known as Classic of the Way and Virtue (Dao De Jing), consists of just over 5,000 Chinese characters. Its 81 chapters are divided into two parts, Dao (the Way) and De (Virtue). Short as it is, the book has played a tremendous role in the development of Chinese culture. It became the basis of Daoism, the school of philosophy parallel to Confucianism in ancient China. The thought of Laozi formed the foundation of Daoism, the most influential indigenous school of religion in China. It has also exerted a direct impact on the characteristics, trends of thought and aesthetic sensibilities of the Chinese nation. Today Laozi still plays a role in the development of Chinese thinking.Naturalness and Non-action“Naturalness” is an important concept of Laozi’s philosophy. It refers to a natural state of being, an attitude of following the way of nature. Laozi emphasized that everything in the world has its own way of being and development: birds fly in the sky, fish swim in the water, clouds float in the sky, flowers bloom and flowers fall. All these phenomena occur independently and naturally without following any human will, and humans should not try to change anything natural. Laozi admonished people to give up on any desire to control the world. Following the way of nature is the way to resolving conflicts between humans and the world.“Non-action”is another important concept of Laozi’s philosophy. It is the guarantee of “Naturalness”. Laozi said, “(Dao or the Way) acts through non-action,” by which he did no mean that one should do nothing and passively wait for something to be achieved. Neither did he deny human creativity. What he meant is that human enterprises should be built on the basis of naturalness, not on many attempts to interrupt the rhythm of nature. Human creativity should be in compliance with the ways of nature.The philosophy of Non-contentionOn the basis of “naturalness” and “non-action”, Laozi proposed the view of “overcoming the strong by being weak”. The era Laozi lived in was replete with endless wars. Therefore, war wasan important treme for philosophers, and ant-war thinking was the norm. Even the great strategist Sunzi advocated “winning a war without fighting it”, not to mention the great thinker Confucius, who strongly championed a government based on love. Their contemporary Mozi (c. 468-376 BC), founder of Mohism, also condemned wars while calling for “love for all”.According to Laozi, war springs from humanity’s bloated desires. Conflict arises out of people’s struggles to satisfy their desires, and conflict escalates into war. Therefore, Laozi’s philosophy is based on “non-contention”. To him, human striving and competitive strife is the root cause of decline; desiring nothing is the natural way of life.Laozi said, “The greatest virtue is like water.”He compared his philosophy of “non-contention” to water, to distinguish it from the law of the jungle. He said, “Water nourishes everything but contends for nothing.” To Laozi, humans tend to seek higher positions while water always flows to lower places. Driven by desire, humans like whatever they think is superior while despising whatever they think is inferior. Yet water always flows downward. As the source of life, water nourishes all living things on Earth. No life can exist without water. Water contributes to the world without regard for gain or loss. Remaining low, level and tranquil, water embraces and reflects everything under heaven. The way of water is completely different from the way of people with avid desires.But the philosophy of Laozi is by no means weak. On the contrary, it is full of strength. According to Laozi, water accumulates great strength in its weakness and quietude. Its strength can break down all barriers in the world. He said, “Nothing in the world is weaker than water. Yet nothing is stronger than water when it comes to breaking something strong.” Water is a typical example of the weak winning over the strong. Water is invincible because it desires nothing and contends for nothing.Unit 3 Chinese Buddhist CultureWho am I? Where am I from? Where am I going?Men are mortal. But death is not an once-and-for-all thing. They enter the rotating Wheel of Six Realms:Heaven, Human, Asura, Animal, Hungry Ghost, Hell.Documents stored in computer can be canceled at will, but what we have done in our life, and actually in our innumerable lives, cannot. What has been done has been done. The information is stored in your true “self”, not the physical one, and will accompany you life after life, and determines which Realm you enter.Only when we are completely free from lust, hatred, and folly, can we manage to break away from the capture of the rotating Wheel, and achieve perpetual enlightenment, discovering your true “self”.In Buddhism there isn’t any dominating god who controls your destiny. We are the maker of our own fate. What we are at present is a result of what we have done in the past; and what we will be in the future is decided by what we are doing at present. What we have done form the “karma”, which, like a gene, decides on your future story. But this “gene” can of c ourse be modified, by doing good deeds and obtaining healthy biological and spiritual energy, so as to change our future course of career. We are, therefore, our own master. What are the basic requirements for a Buddhist?Five Prohibitions for the laymen:1) Don’t kill;2) Don’t steal;3) Don’t seek aberrant sensual pleasures;4) Don’t talk irresponsibly;5) Don’t drink alcohol.Part II Creativity and ExchangeUnit 4 The Silk RoadThe silk road refers to a transport route connecting ancient China with Central Asia, West Asia, Africa, and the European continent. It appeared as early as the second century BC and was traveled mainly by silk merchants. The term “Silk Road”, or “die Seidenstrasse”in German, was first noted down by the German geographer Ferdinand V on Richthofen at the end of the 19th century.The silk road began in Chang’an (present-day Xi’an, capital of Shaanxi Province), passing through Gansu and Xinjiang to Central Asia, West Asia, and to lands by the Mediterranean. There were no signs of communication between ancient Chinese civilization and Mediterranean civilization in earlier history. In about the seventh century BC, the ancient Greeks began to learn about an ancient civilization to the east, yet knew little about it. Before the Silk Road, according to archeological findings, there had already existed an intermittent trade route on the grasslands from the Yellow River and the Indus River drainage areas to the Euphrates and the Tigris, and the Nile drainage areas. Yet real communication between China, Central and West Asian countries, Africa and the European continent did not develop until the opening of the Silk Road.Zhang Qian, Trail BlazerThe pioneer who blazed the trail of the Silk Road was Zhang Qian (c. 164-114 BC). In Zhang Qian’s time, the Chinese has little knowledge about Central and West Asian countries, Africa or Europe, although they were aware of the existence of many different countries and cultures in faraway places to the west.During the reign of Emperor Wu (r. 140-135 BC), there were 36 small kingdoms in the Western Regions (present-day Xinjiang and parts of Central Asia). All of them were later conquered by the Huns, who then posed a direct threat to the Western Han and blocked the dynasty’s path west. Under these circumstances, Emperor Wu appointed Zhang Qian to lead a team of more than 100 envoys to the Western Regions.The mission was to unite the Indo-Scythic people against the Huns, who once killed their chieftain. Zhang Qian’s team set out in 138 BC. No sooner had they entered the Hexi Corridor (northwest of present-day Gansu Province), than they were captured by the Huns. After being held under house arrest for over ten years, Zhang Qian and only one other remaining envoy managed to escape and return to Chang’an in 126 BC. Their accounts about the Western Regions were a revelation to Hun emperor and his ministers.In the next two decades, Emperor Wu launched three major campaigns against the Huns, forcing them to retreat from the Western Regions. In 119 BC, the emperor sent Zhang Qian on a second mission to the Western Regions. This time Zhang Qian went further west, while his deputies reached more than a dozen countries in South and West Asia, and the Mediterranean.Zhang Qian’s two missions to the Western Regions opened up the road to the west. Emperor Wu adopted a series of measures to strengthen ties with the Western Regions, includingencouraging Han People to trade there.Soon the route was bustling with caravans of camels carrying goods of all types and reverberating with the tinkling of their bells. Through the Silk Road, trade flourished between China and Central, South and West Asian countries, Africa and Europe. In 166, envoys from Rome arrived via the Silk Road in Chang’an, were they set up an embassy.Part III Art and AestheticsUnit 5 Music: Govern the Country, Nourish the MindThe tradition of Chinese music dates back to remote antiquity. Governing the country and nourishing the mind through music are two of the main functions of this tradition.Governance Through MusicAccording to ancient Chinese culture, rituals provided the norms of conduct of people. The goal was to maintain social order.Music was for the mind’s cultivation and expression. Its purpose was to enhance people’s outlook on life and imbue them with energy and creativity, such that they could enjoy a more harmonious and happier spiritual life. Individual contentment would then lead to social harmony, as well as to a more harmonious relationship between people and nature. The highest level of ancient Chinese music was to represent spiritual with nature.The prominent stature of music in ancient China explains the emergence of sophisticated instruments from early times. Chime bells were one example. First used in the Shang Dynasty, they became quite popular during the Western Zhou Dynasty (1046-771 BC). In 1978, a fine set of chime bells was unearthed in Hubei Province, from the tomb of Marquis Yi, a local lord in a small state called Zeng during the Warring States Period.The Marquis Yi chime bells consist of 65 bells arranged in three rows. The first row includes 19 niu bells, and the second and third rows include 45 yong bells. The bells in each row differ from one another in shape and size, emanating(发出) different tones. In addition, there is a separate and much larger bell used to adjust pitch. Like the bells, the from is made of bronze, weighing as much as five tons or more. The total weight of the bells is more than 440 kilograms. While the bells bear inscriptions totaling more than 2,800 Chinese characters relating to music and the making of the instrument, the frame is carved with exquisite patterns in relief (浮雕) and fretwork(回纹细工). Instruments of such a scale and such fine craftsmanship were quite rate in the world at the time. Five musicians were needed to play the instrument. Each bell produces two tones when struck at the respective sound points as marked. The entire set of chime bells is able to produce all the tones of a modern piano.Consoling the Mind with MusicThe Chinese zither tends to create a tranquil air. The composition Wild Geese Landing on the Shallow Shore is such an example. With a relaxed rhythm, the first part of the piece depicts a calm Yangtze River under a clear autumn sky. The second part progresses into livelier rhythms to imitate the chirping of many birds. The third part presents a thematic scene of wild geese leisurely landing on the shallow shores of the Yangtze, as a gentle breeze makes the water ripple. To Chinese musicians and music lovers, the contentment of the wild geese represents the humanheart.The zither was also instrumental in communication between ancient scholars and artist. The famous zither composition, Three Stanzas of Plum Blossoms, was based on an Eastern Jin Dynasty story of the poet Wang Ziyou (王子猷) (c. 338-386) and the flute player Huan Yi (桓伊) (?-383). One day the poet was taking a boat trip when he overheard someone on the riverbank say Huan Yi was passing by. Although the two had never met before, they admired each other as poet and flute player. Despite his lower rank of office, Ziyou sent a family member to request Huan Yi to play the flute. Without hesitation, Huan Yi dismounted from his carriage and played Three Stanzas of Plum Blossoms, while Ziyou listened from his boat. After finishing, Huan Yi mounted his carriage and drove on. Ziyou, too, continued with his boat journey. The two of them exchanged not a single word, yet both were content with the communication of their hearts through the music.The flute’s three stanzas were later converted into a composition for the Chinese zither, which has become one of the best-known musical works –as an expression of otherworldly feelings through its eulogy of the plum flower’s purity, fragrance and resistance to the cold.Unit 6 Flying strokes of CalligraphyThe evolution of Chinese characters font甲骨文the Oracle bone script→金文Jinwen (Inscriptions on bronze )→篆书Seal script→隶书Official script→楷书Regular script→草书Cursive script→行书running scriptWang Xizhi and Preface to the Lanting Pavilion CollectionIn the Hall for Cultivation of Mind of the Palace Museum, there is a Three-treasurer Study, which derives its name for the three most valuable calligraphic works housed here. These three treasures, most valued and adored by Emperor Qianling (r. 1736-1795) of the Qing Dynasty, were A Sunny Scene after a Quick Snow by Wang Xizhi, Mid-Autumn by Wang Xianzhi and Boyuan by Wang Xun (349-400). As father and son, Wang Xizhi and Wang Xianzhi hae been known as the “Two Wangs”, their works universally recognized as the peak of Chinese calligraphy.Unit 7 Porcelain – Calling Card of Chinese CultureIn English, the country and “porcelain”share the same name –“China”. This proves that Europeans have long known of China’s relationship to porcelain. Porcelain found its way to Europe in the 15th century, occupying an important position in the exchanges between China and other countries. The Keisel Randy Museum in Germany houses a blue-and-white bowl dating back to the Ming Dynasty. Throughout history, China, along with other Asian countries, and Europe maintained a busy and vast trade in porcelain. From 1602 to 1682, the Dutch East India Company transported more than 16 million articles of porcelain to Europe. Porcelain garnered a good reputation for China for its sophistication and elegance, and played an important role in the wave of the European idealization of China during the 17th and 18th centuries. In the rococo stylepopular in Europe of that time, one could sense, from time to time, the influence of “Chinese vogue”represented by China’s styles of porcelain and gardens.Porcelain is of great significance in the history of Chinese civilization. Pottery was the predecessor of porcelain, while glazed pottery was the basis for the emergence of porcelain. Around the first century, porcelain production first emerged in China, and by The Song Dynasty it had become mature. Song-Dynasty porcelain represented the acme of Chinese porcelain technique. Five famous kilns, the Jun, Ding, Guan, Ge, and Ru, were all creative and original in their respective products, and their porcelain ware has been imitated by later generations throughout the ages. In the Yuan Dynasty, Jingdezhen became the center of the Chinese Porcelain industry.Pure Blue-and-White PorcelainPure and elegant beauty is the goal that porcelain pursues, and this ideal is best explained in the production of blue-and-white porcelain.Blue-and-white porcelain is a typical artifact of porcelain in China. Among the porcelain exported during the Ming and Qing dynasties, 80 percent was blue-and-white. Chinese-made blue-and-white porcelain ware emerged long before the founding of the Tang Dynasty, but it was not until the Yuan Dynasty that this type of porcelain came to be produced in quantity, with the attendant masterpieces. The Ming Dynasty witnessed the maturity of the art, and a large number of valuable pieces were produced in this period. Jingdezhen, a small town that created the enchanting blue-and-white porcelain of the Yuan Dynasty, became its porcelain-producing center; and in the subsequent Ming Dynasty, the imperial kilns were established here. Blue-and-white porcelain is now the most representative of Chinese porcelain.To produce blue-and-white porcelain, cobalt oxide is requisite. It is employed to draw on the white roughcast before glaze is applied. After kilning at a high temperature, the roughcast turns into blue-and-white porcelain, since cobalt oxide turns blue with heat. The white surface with blue patterns and a shiny sheen of glaze produces a pure, elegant and transparent effect.Unit 8 Peking Opera: Artistry of PerformersThe Delights of Peking Opera MasksChina’s Peking Opera radiates with the beauty of resplendent color –vivid, intense and glamorous. This artistic beauty comes not only from the costumes but also from the masks of exaggerated, dazzling designs, gleaming with red, purples, whites, yellows, blacks, blues, greens, every diverse color imaginable.Masks, applied to the two roles of the “jing”or “painted-face role”and the “chou”or “clown”, serve two purposes. One is to indicate the identity and character of the role. For example, a “red face”means the person is loyal and brave; a “black face”signifies the person is straightforward; and “a white face”identifies the person as crafty and evil. The other purpose is to express people’s appraisal of the roles from a moral and aesthetic point of view, such as respectable, hateful, noble, ridiculous, etc.Peking Opera Performance: Sing, Speak, Act, and FightThe performance of a Peking Opera actor can be summarized into four basic aspects, of singing, speaking, acting, and fighting, the core of which is a combination of song and choreography.Singing is of utmost importance in the performance of Peking Opera, because first of all, Peking Opera is a singing art. Any famous Peking Opera boasts several wonderful arias that are well-known and popular with audiences. The charm of the melodies usually embodies the sublime realm of the art of Peking Opera. Unable to appreciate the magic of Peking Opera arias, one would fail to enjoy the profound beauty of the art itself.Speaking refers to character monologs and dialogs, which serve to propel the development of the story. Speaking, like singing, needs to be executed in an appealing way.Acting and fighting mean that actors employ physical movements to express the emotions of the characters and the circumstances. Acting includes body movements and eye movements, solo dancing or group dancing, etc. Most of the dancing is choreographed movements from everyday life. Fighting is choreographed martial arts and acrobatics to depict fight or battle scenes. As the art of Peking Opera depends on movement to depict events, actors are given much room to perform on the stage.In the opera Picking up the Jade Bracelet, the young woman Sun Yujiao and the young scholar fall in love with each other, their eyes affixed on each other as if a thread connected them. Then, as Matchmaker Liu uses her pipe to pull the “virtual” line up and down, the young couple’s eyes accordingly move up and down. These actions produce great humor and add much significance to the performance.Acting and fighting serve the whole “play”or the “world of images”, but at the same time they are themselves a beautiful art in both form and skill. For example, in King Chu Bids Farewell to His Concubine, artist Mei Lanfang performed a sword dance in a miraculously skillful way, which became very popular with audiences. This is a type of beauty in form. As for the beauty of skill, this usually includes some very difficult acrobatic movements, often referred to as “superb skills”.The uniqueness of performances in Peking Opera lies in the fact that the singing, speaking, acting, and fighting, all focus on one or two actors in the play.These performers used to be called “jue’er”, hence “mingjue” was used to refer to famous actors or actresses. In this sense, the world of imagery created in Peking Opera mainly relies on the singing, speaking, acting, and fighting of actors, especially in the performance of the famous plays. This is the biggest difference between Peking Opera and other forms of performing arts in terms of aesthetic appreciation. And the remark –“Peking Opera is the art of performers”–well describes its quintessence.The Beauty of a “Visual World”Depicting a “visual world”is a distinctive feature of Peking Opera. Its virtually consists of two aspects: one is virtual movements, and the other virtual settings. Virtual movement refers to imitating actions onstage. For example, riding a horse. Onstage, an actor cannot ride a real horse, but can only hold a whip and imitate the movement of galloping by walking around the stage, turning the body, wielding the whip, and pulling the reins. A virtual setting means creating an imagined environment onstage. For example, rowing a boat. As there is no water or boat on the stage, an actor usually takes an oar and, through actions, makes the audience “see”the rowing of a boat on water.One is At the Crossroad. This opera describes the story of two yamen runners escorting Jiao Zan to prison. On the way they stay at an inn for the night. Ren Tanghui, whose task is to protect Jiao Zan, checks in at the same time. The owner of the inn, however, suspects Ren Tanghui is planning to murder Jiao Zan, so he gropes his way into Ren’s room at night. Thus a fight starts. What is special about the performance is that, although the fight happens at night, the stage isbrightly lit; yet the audience is able to sense it is a pitch-dark night from the actors’performances, which feature stealthy movements typical of people in darkness. Sometimes, one man’ s sword swishes down, only a few inches away from the other’ s face, yet the latter feels nothing, thus producing a breathtaking yet meaningful and humorous effect.The other example is Autumn River, a play transplanted from Sichuan Opera. This story describes a young nun, Chen Miaochang who leaves the nunnery to pursue her lover Pan Bizheng. Onstage, there is neither water nor boat, but through the performance of the young woman and the old boatman, the audience is able to obviously “see”that the stage is a river. The boat sways forward; all the way there the girl complains about the boat for being slow, while the old boatman keeps teasing her about her anxiety to see her lover. The performance is full of wit and humor.These examples describe the function of the “virtual world” in the art of Peking Opera, which provides limitless room for the performances of actors; and in return, performers present the audience with a world of images full of appealing wit. If in fact the stage of At the Crossroad was really all black to represent the dark night, and there was a real boat on the stage of Autumn River, what could the actors do? And what we still find as much wit and meaning in the performances? We doubt it.Part IV Folk CustomsUnit 9 Life with Fragrant TeaTea is a wonderful beverage originally produced in China about 4,000 years ago. During the Tang Dynasty, Japanese monks introduced tea seeds to Japan, and by combining tea with Zen Buddhism, created the world-famous Japanese tea ceremony. In the 17th century, the Dutch took to Europe the Chinese habit of tea drinking, which then became a tradition of the Europeans. In England in particular, people developed the custom of afternoon tea. Prior to the 19th century, all the tea in the world was grown in China, and even the English word “tea”was a transliteration of the pronunciation of “tea”in the Fujian dialect of China. Tea is an important contribution of the Chinese people to the world.Ways of Savoring TeaThe Chinese people look to tea drinking as an art, which incorporates a wide range of knowledge; the taste of tea might be light, yet the meaning is rich and deep.The Chinese attach great importance to the water, tea leaves, tea set, and fire, when making and drinking tea.Water is an element of priority in the making of tea. To make a good cup of tea, quality water is a must. The ancient Chinese commented on tea making thus: the tea must be new, and water must be live, or flowing. Lu Yu(陆羽) (733-804), the Saint of the Tang Dynasty, pointed out that, to make fine, water from high mountains is the best, followed by water from rivers and wells. In the cloud-enveloped high mountains, crystal clear spring water is the best for making tea; water in the brooks though also good, is not pure because it smells of the earth, therefore is only second best. Considered third is water from wells, as artificial springs from underground are often stagnant and tinted with the flavor of salt. It is thus no match at all for uncontaminated mountain spring water. Unluckily for us today, we do not even have the third type of water to make tea; we use either tap water or artificially purified water – a true pity indeed!。
中国文化英语教程文本 (优选.)
wo最新文件---------------- 仅供参考--------------------已改成-----------word文本--------------------- 方便更改rdPart I Wisdom and BeliefsUnit 1 Confucian thought on heaven and humanityConfucius (551-479 BC), known in China as Kongzi, given name Qiu and alias Zhongni, was a native of Zouyi (present-day Qufu in Shandong Province) of the State of Lu during the Spring and Autumn Period (770-476 BC). A great thinker, educator and founder of Confucianism, Confucius is an ancient sage to the Chinese people. His words and life story were recorded by his disciples and their students in The Analects (Lunyu).Confucius on Heaven: the source of EverythingIn the Shang (1600-1046 BC) and Zhou (1046-256 BC) dynasties, the prevalent concept of “Heaven”was that of a personified god, which influenced Confucius. Generally, however, Confucius regarded “Heaven”as nature. He said, “Heaven does not speak in words. It speaks through the rotation of the four seasons and the growth of all living things.” Obviously, heaven equaled nature, in the eyes of Confucius. Moreover, nature was not a lifeless mechanism separate from humans; instead, it was the great world of life and the process of creation of life. Human life was part and parcel of nature as a whole.Confucius on People: ren and liRen and Li are the two core concepts of Confucius’s doctrine about people.When his students Fan Chi asked him about ren, Confucius replied, “love people”. This is Confucius’ most important interpretation of ren. Love for the people is universal love. Confucius further emphasized that this kind of love should “begin with the love for one’s parents”. He believed no one could love people in general if they did not even love their own parents. Confucius regarded “filial piety and fraternal duty”as the essence of ren. The Doctrine of the Mean (Zhongyong) quotes Confucius as saying, “ The greatest love for people is the love for one’s parents.” He also said, “Children should not travel far while their parents are alive. If they have no choice but to do so, they must retain some restraint.” He did not mean that children should not leave their parents at all. What he meant was that children should not make the parents anxiouss .. t .....about them while away from home. Confucius said again, “Children should think often of the age of their parents. They should feel happy for the health and longevity of their parents. They should also feel concern for the aging of their parents.”By ren, Confucius meant universal love based on love for one’s parents. How should people love one another then? Confucius said, “One should be aware that other people may have similar desires as oneself. While fulfilling one’s desires, allow others to fulfill their desires as well.” He further said, “Do not do toward others anything you would not want to be done to you.” Thus from oneself to one’s family, from family to society, one should extend love to all people. Mencius (c. 372-289 BC), a great Confucian scholar, best summarized ren as, “loving one’s parents, loving the people, loving everything in the world.”Li refers to rituals, traditions and norms in social life. Of these, Confucius regarded burial rituals and ancestral worship rituals as the most important, because they rose from human feelings. He said, “A child should not leave his parents’bosom until he is three years old.” He naturally love his parents. The ritual of wearing mourning for a deceased parent for three years was an expression of the child’s love and remembrance.Confucius on the State of lifeBefore Confucius, only the nobility had the right to education. He was the first figure in Chinese history to initiate private education. According to historical records, Confucius taught for many years and trained 3,000 disciples. A total of 72 of them excelled in the “six arts”, i.e., ritual, music, archery, (carriage)driving, calligraphy, and mathematics. A great educator, Confucius has been admired by later generations as the “sage of sages”.Confucius believed the basic goal of education was to cultivate “persons of virtue”, who should have sound character and uplifted minds. Such people should be able to shoulder important social responsibilities and to make contributions to society. Confucius regarded lofty ideals, great virtue, love of people, and the “six arts” as the general principles of education. Of these, virtue was the most important. His students were involved in a variety of professions, including politics, trade, education, diplomacy, ritual ceremony, and classifying ancient books. Whatever they did, they all wanted to improve their learning of the humanities and to enhance their virtue.Unit 2 Laozi’s philosophy of Non-actionThe book Laozi was written around the sixth century BC. The author is generally believed to be Lao Dan, or Laozi – a recluse who lived during the Spring and Autumn Period. Few records s .. t .....have survived about Lao Dan, who was said to have once held a low civil position in the royal court, in chare of the archival records of the Zhou Dynasty. Yet, due to his great learning, even Confucius was said to have traveled miles to consult him.Laozi, also known as Classic of the Way and Virtue (Dao De Jing), consists of just over 5,000 Chinese characters. Its 81 chapters are divided into two parts, Dao (the Way) and De (Virtue). Short as it is, the book has played a tremendous role in the development of Chinese culture. It became the basis of Daoism, the school of philosophy parallel to Confucianism in ancient China. The thought of Laozi formed the foundation of Daoism, the most influential indigenous school of religion in China. It has also exerted a direct impact on the characteristics, trends of thought and aesthetic sensibilities of the Chinese nation. Today Laozi still plays a role in the development of Chinese thinking.Naturalness and Non-action“Naturalness” is an important concept of Laozi’s philosophy. It refers to a natural state of being, an attitude of following the way of nature. Laozi emphasized that everything in the world has its own way of being and development: birds fly in the sky, fish swim in the water, clouds float in the sky, flowers bloom and flowers fall. All these phenomena occur independently and naturally without following any human will, and humans should not try to change anything natural. Laozi admonished people to give up on any desire to control the world. Following the way of nature is the way to resolving conflicts between humans and the world.“Non-action”is another important concept of Laozi’s philosophy. It is the guarantee of “Naturalness”. Laozi said, “(Dao or the Way) acts through non-action,” by which he did no mean that one should do nothing and passively wait for something to be achieved. Neither did he deny human creativity. What he meant is that human enterprises should be built on the basis of naturalness, not on many attempts to interrupt the rhythm of nature. Human creativity should be in compliance with the ways of nature.The philosophy of Non-contentionOn the basis of “naturalness” and “non-action”, Laozi proposed the view of “overcoming the strong by being weak”. The era Laozi lived in was replete with endless wars. Therefore, war was an important treme for philosophers, and ant-war thinking was the norm. Even the great strategist Sunzi advocated “winning a war without fighting it”, not to mention the great thinker Confucius, who strongly championed a government based on love. Their contemporary Mozi (c. 468-376 BC), founder of Mohism, also condemned wars while calling for “love for all”.According to Laozi, war springs from humanity’s bloated desires. Conflict arises out of s .. t .....people’s struggles to satisfy their desires, and conflict escalates into war. Therefore, Laozi’s philosophy is based on “non-contention”. To him, human striving and competitive strife is the root cause of decline; desiring nothing is the natural way of life.Laozi said, “The greatest virtue is like water.”He compared his philosophy of “non-contention” to water, to distinguish it from the law of the jungle. He said, “Water nourishes everything but contends for nothing.” To Laozi, humans tend to seek higher positions while water always flows to lower places. Driven by desire, humans like whatever they think is superior while despising whatever they think is inferior. Yet water always flows downward. As the source of life, water nourishes all living things on Earth. No life can exist without water. Water contributes to the world without regard for gain or loss. Remaining low, level and tranquil, water embraces and reflects everything under heaven. The way of water is completely different from the way of people with avid desires.But the philosophy of Laozi is by no means weak. On the contrary, it is full of strength. According to Laozi, water accumulates great strength in its weakness and quietude. Its strength can break down all barriers in the world. He said, “Nothing in the world is weaker than water. Yet nothing is stronger than water when it comes to breaking something strong.” Water is a typical example of the weak winning over the strong. Water is invincible because it desires nothing and contends for nothing.Unit 3 Chinese Buddhist CultureWho am I? Where am I from? Where am I going?Men are mortal. But death is not an once-and-for-all thing. They enter the rotating Wheel of Six Realms:Heaven, Human, Asura, Animal, Hungry Ghost, Hell.Documents stored in computer can be canceled at will, but what we have done in our life, and actually in our innumerable lives, cannot. What has been done has been done. The information is stored in your true “self”, not the physical one, and will accompany you l ife after life, and determines which Realm you enter.Only when we are completely free from lust, hatred, and folly, can we manage to break away from the capture of the rotating Wheel, and achieve perpetual enlightenment, discovering your true “self”.In B uddhism there isn’t any dominating god who controls your destiny. We are the maker of our own fate. What we are at present is a result of what we have done in the past; and what we will be in the future is decided by what we are doing at present. What we h ave done form the “karma”, which, like a gene, decides on your s .. t .....future story. But this “gene” can of course be modified, by doing good deeds and obtaining healthy biological and spiritual energy, so as to change our future course of career. We are, therefore, our own master.What are the basic requirements for a Buddhist?Five Prohibitions for the laymen:1) Don’t kill;2) Don’t steal;3) Don’t seek aberrant sensual pleasures;4) Don’t talk irresponsibly;5) Don’t drink alcohol.Part II Creativity and ExchangeUnit 4 The Silk RoadThe silk road refers to a transport route connecting ancient China with Central Asia, West Asia, Africa, and the European continent. It appeared as early as the second century BC and wastraveled mainly by silk merchants. The term “Silk Road”, or “die Seidenstrasse”in German, was first noted down by the German geographer Ferdinand Von Richthofen at the end of the 19th century.The silk road began in Chang’an (present-day Xi’an, capital of Shaanxi Province), passing through Gansu and Xinjiang to Central Asia, West Asia, and to lands by the Mediterranean. There were no signs of communication between ancient Chinese civilization and Mediterranean civilization in earlier history. In about the seventh century BC, the ancient Greeks began to learn about an ancient civilization to the east, yet knew little about it. Before the Silk Road, according to archeological findings, there had already existed an intermittent trade route on the grasslands from the Yellow River and the Indus River drainage areas to the Euphrates and the Tigris, and the Nile drainage areas. Yet real communication between China, Central and West Asian countries, Africa and the European continent did not develop until the opening of the Silk Road.s .. t .....Zhang Qian, Trail BlazerThe pioneer who blazed the trail of the Silk Road was Zhang Qian (c. 164-114 BC). In Zhang Qian’s time, the Chinese has little knowledge about Central and West Asian countries, Africa or Europe, although they were aware of the existence of many different countries and cultures in faraway places to the west.During the reign of Emperor Wu (r. 140-135 BC), there were 36 small kingdoms in the Western Regions (present-day Xinjiang and parts of Central Asia). All of them were later conquered by the Huns, who then posed a direct threat to the Western Han and blocked thedynasty’s path west. Under these circumstances, Emperor Wu appointed Zhang Qian to lead a team of more than 100 envoys to the Western Regions.The mission was to unite the Indo-Scythic people against the Huns, who once killed their chieftain. Zhang Qian’s team set out in 138 BC. No sooner had they entered the Hexi Corridor(northwest of present-day Gansu Province), than they were captured by the Huns. After being held under house arrest for over ten years, Zhang Qian and only one other remaining envoymanaged to escape and return to Chang’an in 126 BC. Their accounts about the Western Regions were a revelation to Hun emperor and his ministers.In the next two decades, Emperor Wu launched three major campaigns against the Huns, forcing them to retreat from the Western Regions. In 119 BC, the emperor sent Zhang Qian on a second mission to the Western Regions. This time Zhang Qian went further west, while his deputies reached more than a dozen countries in South and West Asia, and the Mediterranean.Zhang Qian’s two missions to the Western Regions opened up the road to the west. Emperor Wu adopted a series of measures to strengthen ties with the Western Regions, including encouraging Han People to trade there.Soon the route was bustling with caravans of camels carrying goods of all types and reverberating with the tinkling of their bells. Through the Silk Road, trade flourished between China and Central, South and West Asian countries, Africa and Europe. In 166, envoys from Romearrived via the Silk Road in Chang’an, were they set up an embassy.s .. t .....Part III Art and AestheticsUnit 5 Music: Govern the Country, Nourish the MindThe tradition of Chinese music dates back to remote antiquity. Governing the country and nourishing the mind through music are two of the main functions of this tradition.Governance Through MusicAccording to ancient Chinese culture, rituals provided the norms of conduct of people. The goal was to maintain social order.Music was for the mind’s cultivation and expression. Its purpose was to enhance people’s outlook on life and imbue them with energy and creativity, such that they could enjoy a more harmonious and happier spiritual life. Individual contentment would then lead to social harmony, as well as to a more harmonious relationship between people and nature. The highest level of ancient Chinese music was to represent spiritual with nature.The prominent stature of music in ancient China explains the emergence of sophisticated instruments from early times. Chime bells were one example. First used in the Shang Dynasty, they became quite popular during the Western Zhou Dynasty (1046-771 BC). In 1978, a fine set of chime bells was unearthed in Hubei Province, from the tomb of Marquis Yi, a local lord in a small state called Zeng during the Warring States Period.The Marquis Yi chime bells consist of 65 bells arranged in three rows. The first row includes 19 niu bells, and the second and third rows include 45 yong bells. The bells in each row differfrom one another in shape and size, emanating(发出) different tones. In addition, there is a separate and much larger bell used to adjust pitch. Like the bells, the from is made of bronze, weighing as much as five tons or more. The total weight of the bells is more than 440 kilograms. While the bells bear inscriptions totaling more than 2,800 Chinese characters relating to music and the making of the instrument, the frame is carved with exquisite patterns in relief (浮雕) andfretwork(回纹细工). Instruments of such a scale and such fine craftsmanship were quite rate in the world at the time. Five musicians were needed to play the instrument. Each bell produces two tones when struck at the respective sound points as marked. The entire set of chime bells is able to produce all the tones of a modern piano.s .. t .....Consoling the Mind with MusicThe Chinese zither tends to create a tranquil air. The composition Wild Geese Landing on the Shallow Shore is such an example. With a relaxed rhythm, the first part of the piece depicts a calm Yangtze River under a clear autumn sky. The second part progresses into livelier rhythms to imitate the chirping of many birds. The third part presents a thematic scene of wild geese leisurely landing on the shallow shores of the Yangtze, as a gentle breeze makes the water ripple. To Chinese musicians and music lovers, the contentment of the wild geese represents the human heart.The zither was also instrumental in communication between ancient scholars and artist. The famous zither composition, Three Stanzas of Plum Blossoms, was based on an Eastern Jin Dynastystory of the poet Wang Ziyou (王子猷) (c. 338-386) and the flute player Huan Yi (桓伊) (?-383). One day the poet was taking a boat trip when he overheard someone on the riverbank say Huan Yi was passing by. Although the two had never met before, they admired each other as poet and flute player. Despite his lower rank of office, Ziyou sent a family member to request Huan Yi to play the flute. Without hesitation, Huan Yi dismounted from his carriage and played Three Stanzas of Plum Blossoms, while Ziyou listened from his boat. After finishing, Huan Yi mounted his carriage and drove on. Ziyou, too, continued with his boat journey. The two of them exchanged not a single word, yet both were content with the communication of their hearts through the music.The flute’s three stanzas were later converted into a composition for theChinese zither, which has become one of the best-known musical works –as an expression of otherworldly feelings through its eulogy of the plum flower’s purity, fragrance and resistance to the cold.Unit 6 Flying strokes of CalligraphyThe evolution of Chinese characters font甲骨文the Oracle bone script→金文Jinwen (Inscriptions on bronze )s .. t .....→篆书Seal script→隶书Official script→楷书Regular script→草书Cursive script→行书running scriptWang Xizhi and Preface to the Lanting Pavilion CollectionIn the Hall for Cultivation of Mind of the Palace Museum, there is a Three-treasurer Study, which derives its name for the three most valuable calligraphic works housed here. These three treasures, most valued and adored by Emperor Qianling (r. 1736-1795) of the Qing Dynasty, were A Sunny Scene after a Quick Snow by Wang Xizhi, Mid-Autumn by Wang Xianzhi and Boyuan by Wang Xun (349-400). As father and son, Wang Xizhi and Wang Xianzhi hae been known as the “Two Wangs”, their works universally recognized as the peak of Chinese calligraphy.Unit 7 Porcelain – Calling Card of Chinese CultureIn English, the country and “porcelain”share the same name –“China”. This proves that Europeans have long known of China’s relationship to porcelain. Porcelain found its way to Europe in the 15th century, occupying an important position in the exchanges between China and other countries. The Keisel Randy Museum in Germany houses a blue-and-white bowl dating back to the Ming Dynasty. Throughout history, China, along with other Asian countries, and Europe maintained a busy and vast trade in porcelain. From 1602 to 1682, the Dutch East India Company transported more than 16 million articles of porcelain to Europe. Porcelain garnered a good reputation for China for its sophistication and elegance, and played an important role in the wave of the European idealization of China during the 17th and 18th centuries. In the rococo style popular in Europe of that time, one could sense, from time to time, the influence of “Chinese vogue”represented by China’s styles of porcelain and gardens.s .. t .....Porcelain is of great significance in the history of Chinese civilization. Pottery was the predecessor of porcelain, while glazed pottery was the basis for the emergence of porcelain. Around the first century, porcelain production first emerged in China, and by The Song Dynasty it had become mature. Song-Dynasty porcelain represented the acme of Chinese porcelain technique. Five famous kilns, the Jun, Ding, Guan, Ge, and Ru, were all creative and original in their respective products, and their porcelain ware has been imitated by later generations throughout the ages. In the Yuan Dynasty, Jingdezhen became the center of the Chinese Porcelain industry.Pure Blue-and-White PorcelainPure and elegant beauty is the goal that porcelain pursues, and this ideal is best explained in the production of blue-and-white porcelain.Blue-and-white porcelain is a typical artifact of porcelain in China. Among the porcelain exported during the Ming and Qing dynasties, 80 percent was blue-and-white. Chinese-made blue-and-white porcelain ware emerged long before the founding of the Tang Dynasty, but it was not until the Yuan Dynasty that this type of porcelain came to be produced in quantity, with the attendant masterpieces. The Ming Dynasty witnessed the maturity of the art, and a large number of valuable pieces were produced in this period. Jingdezhen, a small town that created the enchanting blue-and-white porcelain of the Yuan Dynasty, became its porcelain-producing center; and in the subsequent Ming Dynasty, the imperial kilns were established here. Blue-and-white porcelain is now the most representative of Chinese porcelain.To produce blue-and-white porcelain, cobalt oxide is requisite. It is employed to draw on the white roughcast before glaze is applied. After kilning at a high temperature, the roughcast turns into blue-and-white porcelain, since cobalt oxide turns blue with heat. The white surface with blue patterns and a shiny sheen of glaze produces a pure, elegant and transparent effect.Unit 8 Peking Opera: Artistry of PerformersThe Delights of Peking Opera MasksChina’s Peking Opera radiates with the beauty of resplendent color –vivid, intense and glamorous. This artistic beauty comes not only from the costumes but also from the masks of exaggerated, dazzling designs, gleaming with red, purples, whites, yellows, blacks, blues, greens, s .. t .....every diverse color imaginable.Masks, applied to the two roles of the “jing”or “painted-face role”and the “chou”or “clown”, serve two purposes. One is to indicate the identity and character of the role. For example, a “red face”means the person is loyal and brave; a “black face”signifies the person is straightforward; and “a white face”identifies the person as crafty and evil. The other purposeis to express people’s appraisal of the roles from a moral and aesthetic point of view, such as respectable, hateful, noble, ridiculous, etc.Peking Opera Performance: Sing, Speak, Act, and FightThe performance of a Peking Opera actor can be summarized into four basic aspects, of singing, speaking, acting, and fighting, the core of which is a combination of song and choreography.Singing is of utmost importance in the performance of Peking Opera, because first of all, Peking Opera is a singing art. Any famous Peking Opera boasts several wonderful arias that are well-known and popular with audiences. The charm of the melodies usually embodies the sublime realm of the art of Peking Opera. Unable to appreciate the magic of Peking Opera arias, one would fail to enjoy the profound beauty of the art itself.Speaking refers to character monologs and dialogs, which serve to propel the development of the story. Speaking, like singing, needs to be executed in an appealing way.Acting and fighting mean that actors employ physical movements to express the emotions of the characters and the circumstances. Acting includes body movements and eye movements, solo dancing or group dancing, etc. Most of the dancing is choreographed movements from everyday life. Fighting is choreographed martial arts and acrobatics to depict fight or battle scenes. As the art of Peking Opera depends on movement to depict events, actors are given much room to perform on the stage.In the opera Picking up the Jade Bracelet, the young woman Sun Yujiao and the young scholar fall in love with each other, their eyes affixed on each other as if a thread connected them. Then, as Matchmaker Liu uses her pipe to pull the “virtual” line up and down, the young couple’s eyes accordingly move up and down. These actions produce great humor andadd much significance to the performance.Acting and fighting serve the whole “play”or the “world of images”, but at the same time they are themselves a beautiful art in both form and skill. For example, in King Chu Bids Farewell to His Concubine, artist Mei Lanfang performed a sword s .. t .....dance in a miraculously skillful way, which became very popular with audiences. This is a type of beauty in form. As for the beauty of skill, this usually includes some very difficult acrobatic movements, often referred to as “superb skills”.The uniqueness of performances in Peking Opera lies in the fact that the singing, speaking, acting, and fighting, all focus on one or two actors in the play.These performers used to be called “jue’er”, hence “mingjue” was used to refer to famous actors or actresses. In this sense, the world of imagery created in Peking Opera mainly relies on the singing, speaking, acting, and fighting of actors, especially in the performance of the famous plays. This is the biggest difference between Peking Opera and other forms of performing arts in terms of aesthetic appreciation. And the remark –“Peking Opera is the art of performers”–well describes its quintessence.The Beauty of a “Visual World”Depicting a “visual world”is a distinctive feature of Peking Opera. Its virtually consists of two aspects: one is virtual movements, and the other virtual settings. Virtual movement refers to imitating actions onstage. For example, riding a horse. Onstage, an actor cannot ride a real horse, but can only hold a whip and imitate the movement of galloping by walking around the stage, turning the body, wielding the whip, and pulling the reins. A virtual setting means creating an imagined environment onstage. For example, rowing a boat. As there is no water or boat on the stage, an actor usually takes an oar and, through actions, makes the audience “see”the rowing of a boat on water.One is At the Crossroad. This opera describes the story of two yamen runners escorting Jiao Zan to prison. On the way they stay at an inn for the night. Ren Tanghui, whose task is to protect Jiao Zan, checks in at the same time. The owner of the inn, however, suspects Ren Tanghui is planning to murder Jiao Zan, so he gropes his way into Ren’s room at night. Thus a fight starts. What is special about the performance is that, although the fight happens at night, the stage is brightly lit; yet the audience is able to sense it is a pitch-dark night from the actors’performances, which feature stealthy movements typical of people in darkness. Sometimes, one man’ s sword swishes down, only a few inches away from the other’ s face, yet the latter feels nothing, thus producing a breathtaking yet meaningful and humorous effect.s .. t .....The other example is Autumn River, a play transplanted from Sichuan Opera. This story describes a young nun, Chen Miaochang who leaves the nunnery to pursue her lover Pan Bizheng. Onstage, there is neither water nor boat, but through the performance of the young woman andthe old boatman, the audience is able to obviously “see”that the stage is a river. The boat sways forward; all the way there the girl complains about the boat for being slow, while the old boatman keeps teasing her about her anxiety to see her lover. The performance is full of wit and humor.These examples describe the function of the “virtual world” in the art of Peking Opera, which provides limitless room for the performances of actors; and in return, performers present the audience with a world of images full of appealing wit. If in fact the stage of At the Crossroad was really all black to represent the dark night, and there was a real boat on the stage of Autumn River, what could the actors do? And what we still find as much wit and meaning in the performances? We doubt it.Part IV Folk CustomsUnit 9 Life with Fragrant TeaTea is a wonderful beverage originally produced in China about 4,000 years ago. During the Tang Dynasty, Japanese monks introduced tea seeds to Japan, and by combining tea with Zen Buddhism, created the world-famous Japanese tea ceremony. In the 17th century, the Dutch took to Europe the Chinese habit of tea drinking, which then became a tradition of the Europeans. In England in particular, people developed the custom of afternoon tea. Prior to the 19th century, allthe tea in the world was grown in China, and even the English word “tea”was a transliteration of the pronunciation of “tea”in the Fujian dialect of China. Tea is an important contribution of the Chinese people to the world.Ways of Savoring TeaThe Chinese people look to tea drinking as an art, which incorporates a wide range of knowledge; the taste of tea might be light, yet the meaning is rich and deep.The Chinese attach great importance to the water, tea leaves, tea set, and fire, when making s .. t .....。
中国文化英语教程U ppt课件
Lead-in
Zhuozheng garden:
Text study
2.1 Introduction 2.2 A Winding Path to Places of Interest 2.3 Fascinating Stones 2.4 A Sense of Space
• Rock formations are as important to a Chinesestyle garden as sculptures are to a Europeanstyle garden, and may signify even more.
Fascinating Stones
Fascinating Stones
• Thinness represents unearthliness and aloofness. • Porosity signifies openness and flexibility. • Exquisiteness describes the characteristics of
being fine and delicate in texture. • Wrinkles are the curving forms and ripple-like
lines nurtured by water.
A Sense of Space
• Gardens in the south are mostly small in size. To evoke a sense of space, the use of “borrowing a distant view” is of special significance.
• More interestingly, through the windows, visitors may see different views at different angles, and thus the composition of the garden becomes infinitely enlarged.
中国文化英语教程unit
The Temple of Heaven: Reverence with Awe and Gratitude
Content
Lead-in Text study Exercises
Lead-in
Watch a video clip of The Temple of Heaven, and try to take down some words that used to describe it,.
Ceremonial Offerings of the Emperor
Note:
祈年殿是皇帝每年正月上辛日举行祈谷礼的地方，据说设计时以圆形平面象 征天，以四龙井柱象征四季，以十二根金柱和檐柱分别象征十二月和十二时 辰。
Ceremonial Offerings of the Emperor
• On the Winter Solstice (冬至), they would make offerings at the Circular Mound Altar (圜丘坛), to show their gratitude for the great compassion (同情) of Heaven toward the human world.
Introduction
• The Temple of Heaven was constructed during the reign of Emperor Yongle (r.1403-1424) of the Ming Dynasty (1368-1644), and completed in 1420, about the same time as the Forbidden City.
• The colors used invoke a strong sense of purity and sublimity (祟高)—qualities the Chinese attribute to Heaven.
中国文化英语教程U PT
Porcelain—Calling Card of Chinese Culture
ContentBiblioteka Lead-in Text study Exercises
Lead-in
Do you know the five famous kilns (窑) in Song Dynasty?
• Porcelain found its way to Europe in the 15th century, occupying an important position in the exchanges between China and other countries.
Introduction
• The Ming Dynasty witnessed the maturity of the art, and a large number of valuable pieces were produced in this period.
Pure Blue-and-White Porcelain
Nature’s Craft
• crackling: a porcelain terminology • The crackles occurred during kilning due to
flawed workmanship, but latter on crackleware become a craze (时尚) in Song Dynasty, and was passed down to this very day.
Five famous kilns are the Jun, Ding, Guan, Ge, and Ru.
Text study
(完整版)中国文化英语翻译
Unit1 中国丝绸中国是丝绸的故乡。
栽桑、养蚕、缫丝、织绸是中国古代人民的伟大发明。
商周时期（前1600——前256）丝绸的生产技术就已发展到相当高的水平。
西汉（前206——公元25）时张蹇通西域，把中元与波斯湾、地中海紧密联系起来，开辟了中外交流贸易的新纪元。
从此中国的丝绸以其卓越的品质、精美的花色和丰富的文化内涵闻名于世，成为中国文化的象征、东方文明的使者。
Chinese SilkChina is the home of silk. Mulberry planting, sericulture, silk reeling and thickening are all great inventions of the ancient Chinese. As early as the Shang and Zhou Dynasties (1600-BC256BC), the Chinese people’s silk-weaving techniques had reached an extremely high level. During the Western Han Dynasty(206BC-25AD),Zhang Jian ,an outstanding diplomat ,traveled around central Asia and connected China with the Persian Gulf and the Mediterranean, opening up a new era of Sino-foreign trade, exchange and communication. From then on, China’s silk became well known for its extraordinary quality, exquisite design and color , and abundant cultural connotations. Hitherto, Chinese silk has been accepted as a symbol of Chinese culture and the emissary of oriental civilization.中国园林中国园林是把人造的山水、植物、建筑等与自然地貌有机结合的环境艺术，是我国古代建筑艺术的珍宝。
Unit+5+中国传统文化英语翻译+2020-2021学年高一英语人教版+2019+必修第一册
中国传统文化翻译一、儒家思想由孔子在春秋时期创立，并迅速成为中国文化的核心内容之一。
儒家重视道德和人与人之间的关系，着力关注人类社会的秩序的和谐安定：对于虚无缥缈的神灵(illusory divine)世界，尽量采取回避的态度，或按照自己的观念加以改造而得到强化。
儒学对中国文化产生了巨大的影响，其价值观念渗透在中国人民的生活、思想和习俗中。
1. Confucius established the Confucian school of thought during the Spring and Autumn Period. Confucianism quickly became one of the pillars of Chinese Culture.Confucian philosophy attaches great importance to ethics and interpersonal relationships and is concerned about the harmony and stability of the order of human society. It adopts the attitude of trying as much as possible to evade the illusory divine world or intensifying the concept through the transformation of divine world according to one’s own ideology. Confucianism has had a great influence on Chinese culture with its values permeating the life, thinking and customs of the Chinese people.二、要顺应人民群众对美好生活环境的期待，大力加强生态文明建设和环境保护。
最新中国传统文化(中英对照)
八拜之交：原表示世代有交情的两家弟子谒见对方长辈时的礼节，旧时也称异姓结拜的兄弟姐妹。
●friendship between sworn brothers or sisters●friendship between very close friends whounderstand each other and recommend eachother at the sacrifice of their own interests莫逆之交：bosom friends总角之交：friendship between people who are friends since childhood一般作宾语，指儿时的朋友。
总角：古代未成年的人把头发扎成髻。
借指童年时期，幼年。
总角是八九岁至十三四岁的少年，古代儿童将头发分作左右两半，在头顶各扎成一个结，形如两个羊角，故称“总角”。
贫贱之交：friendship between people who are poverty-stricken and from humble circumstances杵臼之交：friendship between people who do not care about the financial condition and social status of each other 杵：舂米的木棒；臼：石臼。
比喻交朋友不计较贫富和身分。
君子之交：friendship between gentlemen小人之交：friendship between villains狐朋狗友：people who often gather together doing something meaningless and even illegal棋友/牌友/球友：people who often meet to play chess, poker, ball. etc.战友：people who get to know each other while serving in the same army unit普通老百姓交的朋友谓“布衣之交”；有钱人与没钱人交朋友谓“车笠之交”；在逆境中结交的朋友称“患难之交”；吃喝玩乐结交的朋友称“酒肉之交”；年岁差别大，行辈不同而交情深厚的朋友称“忘年之交”；幼年相交的朋友称“竹马之交”；交情深厚的朋友谓“肺腑之交”；亲密无间的朋友谓“胶漆之交”；生死与共的朋友谓“生死之交”；情投意合的朋友称“莫逆之交”；哪怕砍头也不改变友谊的朋友称“刎颈之交”；无意中相遇而结成的朋友称“邂逅之交”；在道义上互相支持的朋友称“君子之交”；只见过一次面，交情不深的朋友称“一面之交”；仅点头打招呼，感情不深的朋友称“点头之交”；平淡而浮泛交往的朋友称“泛泛之交”；见过面但不熟悉的人称“半面之交”；旧时结拜的兄弟姊妹称“八拜之交”；交友不嫌贫贱称“杵逆之交”；宝贵而有价值的交往称“金玉之交”。
中国文化英语教程unit15翻译
中国文化英语教程unit15翻译摘要：I.引言- 介绍中国文化英语教程unit15 的主题II.课程内容概述- 课程背景和目的- 课程涵盖的章节和主要内容III.课程重点- 课程中的重要概念和知识点- 课程中涉及的中国特色词汇和短语IV.课程学习方法- 针对课程内容的有效的学习策略- 课程资源的利用和建议V.总结- 课程对学习者的帮助和启示- 对课程的总体评价和展望正文：【引言】中国文化英语教程unit15 的主题为“中国传统节日的庆祝”。
这一单元旨在帮助学习者了解中国传统节日的起源、庆祝方式和传统习俗，通过学习这一单元，学习者可以提高对中国传统节日的英语表达能力，同时加深对中国文化的理解。
【课程内容概述】中国文化英语教程unit15 涵盖了春节、中秋节、端午节、清明节、元宵节等中国传统节日的庆祝方式、传统习俗和相关的英语表达。
课程内容紧密围绕节日的起源、庆祝活动、传统食品、民间传说等方面展开，旨在让学习者全面了解中国传统节日的各个方面。
【课程重点】本课程的重点包括：春节的贴对联、放鞭炮、拜年等习俗；中秋节的赏月、吃月饼、放天灯等习俗；端午节的赛龙舟、吃粽子等习俗；以及清明节的扫墓、踏青等习俗。
此外，课程中还包括了大量与节日相关的中国特色词汇和短语，如“春联”、“月饼”、“龙舟”等。
【课程学习方法】针对课程内容，学习者可以采用以下有效的学习策略：首先，通过观看课程视频，了解节日的起源、庆祝活动和传统习俗；其次，通过阅读课程文本，学习与节日相关的英语表达和中国特色词汇；最后，通过完成课程练习，检验和巩固所学知识。
此外，学习者还可以利用网络资源，如相关节日的英文文章、视频等，丰富学习内容。
【总结】中国文化英语教程unit15 为学习者提供了一个了解中国传统节日的好机会。
通过学习这一单元，学习者不仅可以提高对中国传统节日的英语表达能力，还可以加深对中国文化的理解。
中国文化英语教程unit15翻译
中国文化英语教程unit15翻译摘要：1.课程简介2.课程目标3.课程内容a.汉字基础知识b.汉字的构造方法c.汉字的演变d.汉字的分类与用法e.英汉翻译技巧4.课程学习方法与建议5.课程总结正文：【课程简介】《中国文化英语教程》是一门针对英语学习者教授的关于中国文化知识的课程。
本课程旨在帮助学生了解汉字的起源、构造、演变以及分类，掌握英汉翻译技巧，并通过学习汉字的用法，加深对中国文化的理解。
【课程目标】通过本课程的学习，学生将能够：1.了解汉字的基础知识，包括汉字的起源、构造方法等；2.熟悉汉字的演变过程，了解不同时期的汉字特点；3.掌握汉字的分类与用法，学会运用汉字进行英汉翻译；4.提高对中国文化的兴趣和认识。
【课程内容】1.汉字基础知识a.汉字的起源：象形文字、指事文字、会意文字、形声文字b.汉字的构造方法：笔画、偏旁、部首2.汉字的构造方法a.象形：日、月、山、水等b.指事：上、下、左、右等c.会意：人、口、手、心等d.形声：形旁、声旁、形声字3.汉字的演变a.甲骨文b.金文c.小篆d.隶书e.楷书f.行书g.草书4.汉字的分类与用法a.常用汉字b.生僻汉字c.汉字的组合方式：词语、成语、短语5.英汉翻译技巧a.直译与意译b.词汇对应c.语法转换d.文化背景知识【课程学习方法与建议】1.认真阅读教材，掌握汉字基础知识；2.多做练习题，提高英汉翻译能力；3.结合实际例子，学习汉字的构造方法；4.观看相关视频，了解汉字的演变过程；5.多与同学交流，分享学习心得。
【课程总结】通过本课程的学习，学生将能够深入了解汉字的起源、构造、演变以及分类，掌握英汉翻译技巧，并通过学习汉字的用法，加深对中国文化的理解。
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中国文化英语教程unit15翻译
目录
1.翻译中国文化英语教程 unit15 的重要性
2.中国文化英语教程 unit15 的主要内容
3.如何更好地学习和理解中国文化英语教程 unit15
4.中国文化英语教程 unit15 的实际应用
正文
【翻译中国文化英语教程 unit15 的重要性】
随着中国的崛起，越来越多的人开始学习中文，并希望通过学习中文来了解中国的文化。
而中国文化英语教程 unit15 就是一本很好的教材，可以帮助我们了解中国的文化。
【中国文化英语教程 unit15 的主要内容】
中国文化英语教程 unit15 主要介绍了中国的传统文化，包括中国的传统节日、传统饮食、传统服饰、传统建筑等。
同时，也介绍了中国的历史和文化名人，以及他们的故事和成就。
【如何更好地学习和理解中国文化英语教程 unit15】
要更好地学习和理解中国文化英语教程 unit15，我们需要结合实际生活中的例子来学习，同时也要通过观看相关的视频和图片，以及阅读相关的文章来增加对中文的理解和认识。
【中国文化英语教程 unit15 的实际应用】
中国文化英语教程 unit15 不仅可以帮助我们了解中国的文化，还可以帮助我们在实际生活中更好地和中国人进行沟通和交流。
同时，也可以帮助我们更好地理解中国的文化和社会，为我们在中国的生活和工作提供
帮助。