Chinese Culture

This is a Chinese book that introduces and reflects on Chinese family culture and morality.

筆者原先是讀電腦工程的，其後去研讀神學、宗教和哲學時有機會接觸中國文化科目，內容都是講中國儒、釋、道思想、中國的文學、藝術、心理等，上課時除了討論家庭和心理外，其他內容都有一份莫名的陌生感；自小長輩常告訴我﹕「我們中國人深受儒家思想影響」，但我自小並沒有讀儒家經典，當我成年後研讀時便出現莫名的陌生感，為甚麼我對這些內容如此陌生？難道我身處文化並非中國文化？直至過去幾年在香港理工大學專業及持續教育學院教通識科目「中國家庭與文化」，才突然有種強烈親切感：「這就是自小到大影響著我的中國文化！」很多討論中國文化或中西文化比較書籍都會討論哲學宗教、文學藝術、政治經濟等，但事實上一般人對儒家典籍、詩詞歌賦都認識不多，所以如果從哲學文學去討論中國文化，讀者會感到很陌生，甚至懷疑自己是否真的受中國文化影響，又或中國文化是否依然有價值。筆者在教導「中國家庭文化」的過程中深深體會到：我們不一定熟悉中國歷史和傳統典籍，但中國文化就在我們的家庭中，一代一代潛移默化地傳承下來，深深影響著我們的處事、思想和價值觀；另外有部分中國文化亦因近年西方現代文化和工商業化影響而作出了調適和轉變。這些教學經驗亦令筆者重新認識和反思自我和所處的文化。
筆者在備課時發覺找有關中國家庭文化參考書籍並不容易，大多都只是歷史進路，如家庭史或婚姻史，大多資料陳述，較少對傳統價值進行反思；又或只是社會學進路，多討論中國家庭現代化轉變和適應，對傳統家庭觀念只簡單概括及批評，缺乏對傳統的歷史視野和欣賞；至於中國家庭對於個人的價值觀、社會文化、甚至政治經濟文化影響的探討就更少。筆者原本只是想出版一本資料性的書籍，但因筆者的哲學訓練和教學背景的影響，在教授這一科目時總喜歡進一步發問、思考傳統價值和現代社會文化的優點和不足，以獨立批評性角度思考傳統和現代化問題，故一邊教學一邊進一步研究中國家庭文化。由於課堂需要每位同學交一份「家庭個案分析」，透過閱讀超過一千位同學的功課和課堂上的討論，再加上筆者過去在教會和一些非牟利團體結識的朋友，以及與中外學者的交流等等，都讓筆者有機會認識到很多真實家庭故事和文化，有助筆者對中國家庭文化進一步反思和產生一些看法。本書不單只是從歷史和社會學角度，亦涉及人類學、心理輔導、宗教和哲學的分析，偶然亦會與西方文化作比較分析，以及討論包含中國大陸、香港、台灣家庭現代化的發展分別，可謂一跨科際的進路，同時也有筆者不少獨特的研究心得，希望本書對有關議題能有所貢獻。筆者亦很感激羅國洪先生和蔣瑋茵女士對本書提出寶貴意見，若本書有甚麼錯漏，責任仍在筆者。
一般寫傳統中國家庭的書籍亦會討論到古代婚姻家庭起源、煩瑣的婚禮、父母之命、媒妁之言、三妻四妾、三從四德、貞烈觀等，這些觀念都備受現代人批評，但筆者發覺很多有關批評都太片面，並非不對，只是未能多角度去思考；但由於篇幅所限，未能在此討論。筆者不敢自跨書中內容有甚麼過人之處，只期望透過本書可與不同學人對中國家庭文化一起進行反思和交流。

Öz Birçok dinin tarih boyunca ortaya çıktığı coğrafi bölgelerde kabullenilmesinde zorluk yaşanılmıştır. İslamiyet de bu dinlerden biri olmuş ve ilk vahyin geldiği Mekke topraklarında belli sayıdaki insanların dışında kabul görmemiştir. Bunun doğal bir sonucu olarak da Mekke'den Medine'ye hicret gerçekleşmiştir. Arabistan topraklarında doğan İslamiyet, zamanla dünyanın dört bir noktasına ulaşmış ve 7. yüzyılın ortasında Tang Hanedanlığı döneminde Çin'e girmiştir. İslamiyet, Tang Hanedanlığından itibaren sırasıyla Song, Yuan, Ming ve Qing hanedanlıklarında farklı gelişmeler göstererek kendi varlığını sürdürmüş ve zamanla Çin'in sosyal ve kültürel yapısının bir parçası olmuştur. Tarihi kaynaklarda İslamiyet'in Çin'e girişi hakkında farklı tarihler verilmektedir. Bu makalede, Çin kaynakları incelenerek İslamiyet'in Çin'e giriş tarihi ve daha sonraki dönemlerde İslamiyet'in Çin sınırları içerisindeki tarihi gelişimi hakkında genel bilgi verilmesi amaçlanmaktadır. Abstract Many religions were accepted difficultly in the geographical regions in which they emerged throughout history. Islam was one of those kinds of religions and it was approved by quite few people in Mecca where the first revelation was inspired. As a result of this, hejira took place from Mecca to Medinah. Rising in the Arab territories Islam reached out all around the World and spreading from Arabia to China Islam, entered into China in the period of Tang Dynasty in the mid-7th Century. Islam has continued its existance by showing different developments since Tang dynasty chronologically following Song, Yuan, Ming and Qing periods and it has gradually become a part of social and cultural structure of China. In historical sources different dates are given for the entry of Islam into China. In this article it is aimed to give general information about the date of the entry of Islam into China and its development within the boundaries of the country since then, by means of investigating the Chinese sources. Giriş Çin medeniyeti, tarih boyunca diğer medeniyetlerle etkileşim içinde olmuştur. Özellikle Çin'in batı sınırı, Çin'in batı medeniyetini ve kültürünü tanıması açısından en önemli coğrafi bölge ARAŞTIRMA MAKALESİ

The concept of interfirm adaptation is a critical component in the IMP (industrial marketing and purchasing) paradigm. The existing wisdom points to the “five metaphors” (investment, decision making, political process, learning, and evolution) as the cognitive map for understanding the mechanisms of interfirm adaptations. This article, however, reveals that culture can be a significant force driving interfirm adaptations. An empirical case of a Chinese shipyard negotiating large shipbuilding projects with Scandinavian ship owner and classification society is used to illustrate the role that culture plays in interfirm adaptations. The article concludes by suggesting adding a new metaphor—the culture metaphor—to the list of the metaphors to better understand the workings of interfirm adaptation in business relationships.

It is an undeniable fact that China has basically succeeded in controlling the spread of the epidemic in China in the first half of 2020. Behind this success there may be several reasons, among which the cultural factors have certainly played an important role. What kind of cultural values helped Chinese to combat the COVID-19 Epidemic? This paper attempts to discuss this issue by analysing some data from the newly released results in Wave 7 of the World Values Survey and combining with the study of Chinese cultural concepts. It finds that, generally speaking, Chinese culture is characterized with the following cultural spirits and values which are relevant to Chinese people's responding to the crisis of COVID-19 outbreak: the value of the supremacy of human life, believe in science rather than religion, the preference of the value of security over the value of freedom, the idea that the fate of an individual is inextricably linked to that of a group, nation, and humanity, and the spirit of trust and obedience to political leadership. At a time when humanity need to unite in the face of a major disaster such as the Covid-19 pandemic, these Chinese cultural values clearly have some advantages that deserve to be summarized and studied.

is a prolific writer who has handled varied themes in her novels. Most of her novels bring out the culture, tradition and custom of Chinese culture. Grandparenthood is a subject of minor importance in the works of many authors. Gaan has given enormous weightage to this rare theme in her novel Red Barbarian. The aim of the research paper is to bring out grandparenthood in the novel Red Barbarian. The major question raises in the article is why grandparents in China are showing so much of love and affection to their grandchildren.

Écouter, WuYuan »  , premier album de ce projet signé par le musicien Li Chao, c'est se plonger dans une expérience unique et singulière, c'est écouter les histoires de fantôme prendre vie, se laisser happer par une forme sombre et vaguement humaine. Pour Li Chao :« Les histoires sont juste une facette, ancienne et terrible. C'est ça Enmity. ». Au travers d'Enmity il met en musique les esprits malfaisants en « nombre infini et partout présent » décrit par Marcel Mauss : « Les uns sont des émanations, des âmes, des êtres qui hantent et qui doublent la nature et ses produits. Ce sont les démons de la montagne, du désert, de la forêt. Il est curieux qu'ils ne soient pas les agents les plus fréquents du cauchemar ; ce sont plutôt les esprits des plantes et des choses inanimées qui tiennent ce rôle. La plupart ont des aspects d'animaux, mais ce n'est ni nécessairement ni exclusivement à ces représentations qu'ils sont astreints. Les esprits des montagnes ont une seule jambe et figure de chèvres ou de chiens ; ils peuvent aussi, semble-t-il, revêtir par instants, comme s'ils étaient les simples opposés du loup-garou, des formes humaines, plus ou moins terribles, colossales, monstrueuses, fugaces, grotesques. Les esprits des eaux ont, naturellement, des formes serpentines ; ceux des arbres, alternativement, se distinguent de leurs habitats et se confondent avec eux. Les statues sont naturellement animées ; il en est de même d'autres choses qui n'ont même pas les aspects extérieurs de la vie, comme le balai, le bois à brûler, qui sont des démons. »

Leonesi, Barbara, Wang Qianru, Veronica Regis, Lidia Tammaro, Alessandro Tosco, Caterina Viglione, Manman lai, Corso di lingua e cultura cinese 3, Il Capitello, Torino, 2018. ISBN: 9788842690627. (Sections relating to the lexicon of each lesson; final vocabulary. In Italian)

The Mid-Autumn Festival, also known as the Moon Festival, is one of the two most important festivals in the lunar calendar (the other being the Spring Festival). Dating back over 3,000 years to China's Zhou dynasty (1066-221 BC), the Mid-Autumn Festival falls on the 15th day of the 8th lunar month, around the Autumn Equinox (as the lunar calendar is not synchronous with the Gregorian calendar, this date could be anywhere from mid-September to early October). At this time, the moon appears at its fullest and brightest, marking an ideal time to celebrate the abundance of the summer's harvest. The traditional food of the festival is the moon cake, of which there are many different varieties.

Dall'incontro della Cina imperiale con l’Occidente nel XIX secolo, il volume effettua un percorso – che giunge fino ai nostri giorni – attraverso temi cruciali come identità e nazionalismo, Stato e governo, partito e organizzazione, risorse umane, informazione e media. Temi che continuano ad avere un notevole riscontro nel dibattito intellettuale e politico nella Cina di oggi, e che proprio nel loro rapporto con il passato trovano una rinnovata importanza e attualità. Il filo rosso che unisce e rende omogenee le scelte tematiche che danno corpo al volume è quello di narrazione. Non si tratta di descrivere l’accaduto quanto piuttosto di mettere l’accento sulla rappresentazione e il racconto che la Cina ufficiale (e non) registra mediante il documento scritto.

From the encounter of imperial China with the West in the Nineteenth century, the volume follows an itinerary - up to the present - through crucial issues such as identity and nationalism, state and government, party and organization, human resources, information and media. Themes that keep on having a great relevance in the intellectual and political debate in China today, and that in their link to the past are continually rebuilt, reinforcing their importance and modernity. The thread of persisting narratives unites and makes homogeneous the thematic choices of the present volume. The aim is not to describe historic events, but rather to put an emphasis on the representation and the story that the official China (and others) records using written documents.

Review of "Chinese Characteristics" by Arthur H. Smith (1894).  The American missionary who lived in China for 52 years described 26 "characterisics" of the Chinese people, drawn from observations of family and village life. This is a sociology of impressions, not data or fieldwork or surveys, which were hardly conceived of a century ago. Smith's introduction to the work addressed many of its potential shortcomings, so while there is generalization, Smith aimed to be free of dogmatism and arrogance. Readers can judge how successful he was.

In a mere quarter century, Mainland China has grown into a hotspot of international self-help. Though the self-help industry has a centuries-long tradition in the Anglo-American realm, this particular, commercial type of life advice is relatively new in Mainland China, first emerging in the wake of Deng Xiaoping’s reforms. Nonetheless, self-help books counseling individuals about the art of life have conquered China’s book market, while US-style ‘self-help gurus’ now play an important role in China’s speaker circuit and mass media. At first, the Chinese mainland simply imported foreign self-help books (translated from English to Mandarin), yet it eventually gave birth to a glocalised and creatively assertive cultural industry. Individual-oriented, US-style self-help now flourishes in the heart of the Middle Kingdom, blatantly defying the dichotomy between ‘Western individualism’ and ‘Eastern collectivism.’

This chapter will first outline the young history of US-style self-help in mainland China and discuss the glocalised character of Chinese self-help culture. Second, it will discuss the structural transformation of the Chinese book market and mass-mediated public sphere which enabled and continues to facilitate the prominence of the self-help industry on the Chinese mainland. Third, it will sketch self-help’s role in public life, which involves touching upon its limited autonomy and weak delineation as a cultural field, its relatively privileged position vis-à-vis institutionalised religion, and its significance as a source of guidance to uprooted individuals chasing after the ‘Chinese Dream’ in the rat race of China’s new market economy.

The most comprehensive guide produced to date. 
The result of over five years of intensive research presents for the first time a true understanding of what has to be the most complex  and probably the largest silver category ever produced.
Many long-held mis-conceptions are laid to rest and the dichotomy of opinion of Western and Chinese collectors is finally re-assessed, resulting in a single, focused insight.
The work spans over 1000 pages and includes details of over 340 Chinese silversmiths, their silver marks and their own definitive styles illustrated by over 2000 images.

This preface by the guest editors provides a situated overview of the purpose, structure and methodologies of the contributing articles on Chinese animations in this special issue. Aiming to reconfigure Chinese film studies through historical and theoretical inquiries about the relationship between the animated and the cinematic, the special issue introduces a nascent perspective on Chinese animations by offering rigorous and stimulating studies on the forms, genres and materiality of animation, as well as on the technological and ontological conditions of animated moving images in the age of digital new media. The preface also provides a brief historical overview of Chinese animation and animation studies, generating dialogues with diverse approaches to Chinese animation at home and abroad. Whereas the socio-historical contexts of Chinese animation highlight its ideological functions, the contributing authors in this special issue present fresh visions and innovative studies of Chinese animation as a crucial cultural form with transnational popularity and unique aesthetics.

Systemization of apparently pre-existing elements of traditional Chinese wedding ceremony is generally credited to scholars of the Warring States period (402-221 BCE). Three venerable texts, The Book of Rites, The Book of Etiquette and Ceremonies, and the Baihu Tong outline the Three Covenants and the Six Rites, which were considered necessary elements of a marriage. However, the full ritual was so complicated that even within the span of the Warring States period the custom underwent changes and simplification.

This study shows that in order to develop their social media advertising strategies and obtain optimal results, global luxury brands that wish to enter the Chinese market, must consider a number of Chinese cultural peculiarities. Several studies have already used the cross-cultural theoretical framework for the purpose of identifying some effective luxury brands’ marketing and communication strate- gies. This research recognizes specific features that can be used to create targeted and successful social media advertising approaches. As the majority of Chinese luxury consumers are Millennials and Gen Z, brands are even more challenged. In fact, these segments show preference for digital communication tools, media, and channels, with social media advertising representing the most valuable strategy. Global luxury brands that seek to profitably use social media adverting, besides taking into account specific Chinese cultural-related features and contexts, must also identify, understand, and learn how to employ any useful stratagem emerging from innovation in digital communication. This would allow brands to compete in the global marketplace while increasing their growth rate thanks to updated and effective social media advertising strategies.

As a result of China's growing participation and importance in the process of internationalization and globalization a continuously rising number of Chinese students has gone abroad for further study. By the end of the last decade the number of Chinese students abroad made up the largest group of international students in the USA (surpassing those from India) and during the next decade this group will become the world's largest floating student population. Because of its size and the growing recognition of China and Chinese culture around the world, research on a wide range of problem areas among Chinese students abroad has been initiated, especially in Australia, Great Britain, New Zealand, the USA and Hong Kong. This article looks at the variety of research issues and attempts to provide a first overview in the light of international and comparative research on international students, their mobility and their recognition by host countries as well as their influence as cultural 'irritators'.

La maternidad es un fenómeno universal, sin embargo, la experiencia de las mujeres se diversifica dependiendo de la sociedad a la que pertenezcan y del lugar que ocupen en ésta, el tipo de sistema familiar que prevalece, el valor de los hijos y las ideas sobre crianza. En China, la familia fue siempre considerada como la base de la sociedad, y el matrimonio el único sistema para constituirla y para tener hijos. Desde las primeras fuentes escritas que constituyen la "gran tradición" china, abundan las referencias a la familia y a las relaciones entre sus miembros. La familia tradicional se puede caracterizar como patrilineal y patriarcal, en donde la posición de la mujer es baja y los hijos son siempre valorados dentro de las necesidades del contexto familiar. Si bien esta caracterización de la familia está presente en mnamerau.es uex.os que se re^en a ras cases a^a, ^ embargo, también fue el patrón seguido por la mayoría de la población. En ese contexto podemos examinar como se mamtestaba la maternidad dentro de ia tradición cnina.

Chinese painting has a long history and excellent tradition. Through thousands of years, it has developed its own style, its own techniques, and a complete system of art which expresses the aesthetics of the nation. Through its unique style and features, it has established supremacy in the world of art. Chinese painting emphasizes the point that "Inspiration comes from close observation and understanding of Nature." Traditional Chinese painting is the art of painting on a piece of Xuan paper or silk with a Chinese brush that was soaked with black ink or colored pigments. It is regarded as one of the three "quintessence of Chinese culture"

Hu Shi, being praised as “the Father of Chinese Renaissance”, always juxtaposes the Chinese New Culture Movement and the European Renaissance. Scholars thus tend to review this analogy from the perspective of comparative history, evaluating the appropriateness of Hu’s view by the examination of the similarities and the differences between these two cultural movements. However, the recent Orientalistic studies remind us that Hu’s narration of the Renaissance is not only a historical fact that took place in Europe in a certain period of time, but also an imaginary metaphor, which constitutes Hu’s own experience about the New Culture Movement. With the scrutiny of the origin, meaning and function of this metaphor, the research gap due to comparative historical studies can be undoubtedly filled.
In view of this, this article attempts to elucidate the process of how Hu constructed the discourse of the Chinese Renaissance, as well as the narrative function of such a discourse. It will first revisit Hu’s experience in reading the book written by Edith Sichel, analyzing his hermeneutical approach to acquiring the European Renaissance; then, it will explore the academic interactions of Hu and Philippe de Vargas, with a focus on their different views towards Chinese Renaissance. The research can clarify the meaning and function of Hu’s notion, and hence deepen the investigation of related studies.

胡適經常把中國的新文化運動與歐洲的文藝復興運動(Renaissance)相提並論，更被推許為「中國文藝復興之父」。不少學者因而從歷史研究的角度檢討這個類比，審視中西這兩場文化運動的異同，藉此評論胡適的說法是否恰當。然而近年的東方主義研究提醒我們，胡適經常提及的文藝復興，除了表示歐洲某一特定時期的歷史事件外，同時也是一個想像性的比喻(imaginary metaphor)，是胡適本人的新文化運動經驗的其中一個組成部分。考察這個喻體的來源、內涵和作用，無疑可以從另一個角度補充過去比較史學研究的不足。
有見及此，本文試圖闡述胡適建構其中國文藝復興論述的過程，以及這些論述所產生的作用。文章首先會回溯胡適早年閱讀薛謝兒(Edith Sichel)相關著作的經驗，分析胡適接收歐洲文藝復興時的詮釋傾向；繼而揭示胡適與王克私(Philippe de Vargas)之間的學術互動，重點抉發二人在觀點上的分歧，藉此說明胡適的中國文藝復興的涵義及其作用，深化現有的相關研究。

Leonesi, Barbara, Veronica Regis, Lidia Tammaro, Alessandro Tosco, Caterina Viglione, Wang Qianru, Manman lai, Corso di lingua e cultura cinese 1, Il Capitello, Torino, 2016. ISBN: 9788842690405.  (Sections relating to the lexicon of each lesson; final vocabulary. In Italian)

Discourse of early and middle Ch’an and its prajñāpāramitā predecessors state prajñā, or wisdom, is derived from dialectic investigation of phenomenon. This investigation, referred to as śūnyatā, is principally deconstructive. Following the negation of phenomena, a phenomenological experience of ‘neither beingness nor voidness’ results, that is principally without qualification and considered Absolute. This ‘no-mind’ is discussed extensively by Ch’an masters, and elicits paradoxical soteriological impetuses and paths to its attainder. In this manner, I aim to present the function of śūnyatā as a linguistic and rhetorical device that characterizes Ch’an discourse.1 Just how this rhetoric functions will be observed in key, representative texts below. Finally, the rhetoric of śūnyatā reflects current scholarly discussions about the historical development of the Ch’an tradition and this will provide insight into the question of why traditions (retrospectively) incorporate preceding philosophical ideals into their discourse and texts.

Leonesi, Barbara, Veronica Regis, Lidia Tammaro, Alessandro Tosco, Caterina Viglione, Wang Qianru, Manman lai, Corso di lingua e cultura cinese 2, Il Capitello, Torino, 2017. ISBN: 97888426906010. (Sections relating to the lexicon of each lesson; final vocabulary. In Italian)

DO NOT RE-PRINT WITHOUT PERMISSION.  This paper is designed to show the theoretical formulation on the left column, and demonstrate this formulation by cultural narratives on the right column. 

This is a pre-presentation draft for Asian Theological Association Theological Consultation 2018.  This paper argues that even with a new term in use (i.e., Contextual Theology), theological education in Asia needs to go through a process of decolonizing.  This will help the local context to identify the victimizing hegemonic consequences of an imported systematic theology from the west that is base in a philosophy of modernity.  Paulo Freire calls this “conscientization,” i.e., liberation, of the colonized local mindset.  This desired outcome allows the conscientized local mindset to “re-member” its colonized past.  As it moves forward, this liberated mindset engages in local theologizing that follows a new path, where it leaves behind the hegemonic control of its colonized experience.  Leny Strobel calls this decolonization. In the end, this paper will posit that Asian primal cultures are precursors to the western construct of postmodernity.

The classical poetry of Yu Dafu (郁达夫) remains important to historians and critics seeking to come to terms with the modernization of China, the events of World War II, and subsequent developments. While some critics are interested in how women are constructed in his literary works, (Levan 2010; Ahn 2006; Hu 2012; Feng 2004) or with the question of how the construction of Chinese women is intertwined with Yu Dafu’s self-construction, Chinese masculinity, and the condition of Chinese nationhood (Levan 2010), most Chinese critics assume that the women in his poetry and fiction have a quasi-autobiographical origin. They tend to see his texts as windows into the hidden truth of Yu Dafu and the real women in his life.
One such woman is my mother, Li Xiaoyin (李晓音), the alleged inspiration of the first seven of the eleven “Miscellaneous Poems of Chaos and Separation” (乱离杂诗) composed while Yu Dafu was exiled in Sumatra in 1942. Hu Yuzhi, rather than Yu Dafu himself, likely supplied the title for this cycle of poems. (Some annotators in Chinese call the cycle “Miscellaneous Poems of Separation and Chaos” [离乱杂诗]) Indeed, my mother’s reputation has largely been consumed and transformed by her role as Yu Dafu’s “lover,” becoming a chapter in the mythical trajectory of the career of this great poet. My mother is repeatedly represented as having had some grand love affair with Yu Dafu—a representation that Yu Dafu, if he did not actively encourage, did nothing to clarify. Yet there never was such an affair; all the “evidence” for the alleged affair is culled from the poems themselves and the spurious testimonies of a handful of “friends” and “witnesses.”

This volume contains 81 carefully selected Chinese poems arranged in chronological order, from antiquity (c.2000 BCE) to the modern time (1972), though most of them are from the Tang (618-907) and Song (960-1279) dynasties, since these two eras were the climax of Chinese poetry creation and development. The selection was based on the popularity of the poems, and the common phrases taken from them in everyday usage. Pinyin has been added to help readers learn Mandarin while reading these poems, and feel the sense of poetics in them. The translator is a native Beijinger who has lived in China for over 20 years and in English-speaking countries for over 30 years. Her professional background is architectural humanities. She hopes to make an original contribution to the translation of Chinese poetry through her unique lenses. During the translation, she found it interesting and surprising that the rhythms in the classical Chinese poems were somewhat able to be transformed to follow certain rhythms in the English versions. Maybe there is a universal truth about composing poetry in a sense. Enjoy your reading if you are a lover of Chinese literature and culture, and learn the wisdom of life through your reading.

Resumen: Sueño en el Pabellón Rojo, uno de los cuatro clásicos de la literatura china, cuenta con traducciones a más de 17 lenguas entre ellas la lengua hispana. En este trabajo se defiende como la biculturalidad del traductor Zhao Zhejiang ha contribuido positivamente a que la traducción al castellano de esta obra culmen de la literatura sea una de las mejores que se encuentran en el mercado. En el estudio se presentan además los elementos lingüísticos más complejos que han intervenido en el proceso de traducción: Chengyu, eufemismos y metáforas. Palabras claves: China, Sueño en el Pabellón Rojo, traducción chino-español, Zhao Zhejiang.
Abstract: Dream of the Red Chamber, one of the four classics of Chinese literature, which has now been translated into more than 17 languages including the Hispanic language. This approach is based in the assumption of that biculturalism of the translator, Zhao Zhejiang, has contributed positively to the translation into Spanish of this masterpiece as one of the best translated. This paper focused on the linguistic elements which complicating direct translation between Chinese and Spanish language. These are: Chengyu, euphemisms and metaphors. This paper provides concrete examples of the complicate linguistic elements which are found in the novel Dream of the Red Chamber.
Keywords: China, Dream of the Red Chamber, translation between Chinese and
Spanish language, Zhao Zhejiang, culture, literature.

“The brave and reverent front general (狀穆前將軍)”, “Demon-subduing emperor across the three realms (三界伏魔大帝)”, and the fabled “Lord of beautiful beards (美髯公)”. These are but a few of the many titles attributed to Three Kingdoms legend Guan Yu 關羽. Alongside his sworn brothers Liu Bei 劉備 and Zhang Fei 張飛, he strove to reunite the empire under the flag of the flailing Han dynasty. But roughly a thousand years after Guan Yu’s death, his image was reinvigorated as he came to be a religious figure. By the time the Three Kingdoms story took form in the Romance of the Three Kingdoms, it is clear that the author wasn’t merely describing a historical figure, but rather a proper god. Interestingly enough, this deification of Guan Yu took place more or less alongside a resurgence of popular interest in the Three Kingdoms story. This raises a number of interesting questions. Why was it Guan Yu who ascended to this divine status, which was so much higher than that of the other famous characters? How did Guan Yu’s elevated status affect other characters in the story? What factors caused both Guan Yu worship and the Three Kingdoms story to surge as they did?
In this thesis, I dedicate myself to answering such a question. Was the development of the Three Kingdoms narrative shaped by Guan Yu’s religious status? Was it the other way around, and did Guan Yu only manage to rise to his divine status due to the increased popularity the narrative was enjoying? Or did both come to pass due to a complicated interrelationship, rather than simply one’s influence on the other?

开斋节对大部分印度尼西亚人来说是一个很重要的节日。因为每个人有“叶落归根”的精神，为和家人一起庆祝开斋节，所以家庭的委员将要安排一个特定的时间回家。和印尼人相同，为庆祝春节，大部分中国人也会从很远的地方回到家乡。
两者在庆祝这两个节日的时候，他们会有相同的方式，就是 回家。不过，他们之间还有一个同样的活动，是和家人为特别的食物一起用餐。那时候，印度尼西亚人，特别是亚齐族会举行从旧传留的风俗。各个家庭在自己或为客人会提供美食，这个美食必须用牛肉，水牛或羊肉制成的，这个风俗叫做“Meugang”.
在中国，庆祝春节也有一个特别的活动，也是吃特色美食。嫩的猪肉 ，新鲜的鱼，彩色的菜，会提供在春节日期。接着，每个家庭委员会一起在桌子前面坐，一起用餐。若正常的早上熬粥会成为一个很简单的选择，在春节时，粥不值得上桌了。不过，每个国家一定有他们自己的优异，而且很特别的一个风俗，印度尼西亚和中国在庆祝他们的节日时，虽然举行的活动相似，活动意义上面却有很多不同的地方。