Research on the Audio Publishing of Classical Books Based on the Theory of Business Model Canvas: Taking Romance of the Three Kingdoms in Digital Audio Platforms as an Example

Visual media have dominated sensory communications for decades,and the resulting“visual hegemony”leads to the call for the“auditory return”in order to achieve a holistic balance in cultural acceptance.Romance of the Three Kingdoms,a classic literary work in China,has received significant attention and promotion from leading audio platforms.However,the commercialization of digital audio publishing faces unprecedented challenges due to the mismatch between the dissemination of long-form content on digital audio platforms and the current trend of short and fast information reception.Drawing on the Business Model Canvas Theory and taking Romance of the Three Kingdoms as the main focus of analysis,this paper argues that the construction of a business model for the audio publishing of classical books should start from three aspects:the user evaluation of digital audio platforms,the establishment of value propositions based on the“creative transformation and innovative development”principle,and the improvement of the audio publishing infrastructure to ensure the healthy operation and development of the digital audio platforms and consequently improve their current state of development and expand the boundaries of cultural heritage.

A Study on the Acceptance of the English Translation of Romance of the Three Kingdoms by Overseas Readers Based on Python Data Analysis Technology

Paperless reading has become a prevalent trend among global readers,leading to the accumulation of vast amounts of reading data on numerous book websites.This offers new perspectives for studying translated works.This paper utilizes Python-based data processing technology to collect and analyze reader reviews of Romance of the Three Kingdoms on Amazon and Goodreads,presenting trends in review volume,word cloud maps,and readers’emotional attitudes in a quantitative manner.The findings indicate that overseas readers generally exhibit a positive emotional tendency towards Romance of the Three Kingdoms and recognize its cultural value.However,negative opinions do exist,focusing on aspects of the book’s quality,such as printing quality and proofreading.These results provide valuable insights for the foreign translation of canonical texts.

English Translation Study of Romance of the Three Kingdoms in China in the Last Five Years

According to the research of Wen Jun and Li Peijia, this paper examins the articles and treatises regarding the English translations of Romance of the Three Kingdoms in China in the past five years. It is divided into four sections: Summary, Language, Literature and Culture. We point out the existing problems of the current studies;limited in traditional linguistic levels, leaning to the translation of Moss Roberts, neglecting the study of non-cover-to-cover translations, revelry at home and coldness abroad. Besides, we put forward the translation studies of Romance of the Three Kingdoms based on comparative literature to fill the gaps in the current research. The translation study of comparative literature pays attention to four aspects;literary translations and translated literature, cover-to-cover translations and non-cover-to-cover translations, C.H. Brewitt-Taylor and Moss Roberts, domestic and overseas.

Romance of the Three Kingdoms －The TV Series

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Creative Treason of Moss Roberts’Allusion Translation in Three Kingdoms:A Historical Novel

San Guo Yan Yi is one of the Four Great Classical Novels of ancient China.A large number of Chinese allusions have been cited in this book,containing rich cultural connotations and national characteristics.Under the guidance of creative treason,this paper analyzes the translator’conscious and unconscious creative treason in the translation process by comparing the original allusion with the translated text and further explores the reasons of creative treason.The study has found that through creative treason in allusion translations,Moss Roberts conveyed the deeper meanings of the allusions,connecting the context closely and ensuring the readers’understanding of the whole text;but he also failed to reveal the form or the historical and cultural connotation of some allusions in the original text.

The Dissemination, Acceptance and Evolution of The Romance of the Three Kingdoms in Japan

As one of the Four Great Masterpieces of China,The Romance of the Three Kingdoms has become a landmark of ancient Chinese literature with vivid and profound character images,ups and downs of politics and war descriptions,and appealing historical plots.After being introduced to Japan in the second half of the 17th century,it was spread in Japanese society and was accepted for literary value,social needs and other reasons,then a series of evolutions were produced by combining with local culture,eventually becoming a national culture in Japan.This paper selects the most popular text of The Romance of the Three Kingdoms with 24 chapters and 120 verses in the Wanli period of the Ming Dynasty,and the Japanese translation of The Popular Romance of the Three Kingdoms published by Hunan Wenshan in 1689 as the objects,guided by Ralph Linton’s“Manifestation,Selection,Integration”cultural communication research method,to analyze the dissemination,acceptance and evolution of The Romance of the Three Kingdoms in 17-20 centuries’Japan,which started from the field of literature,then combined with various cultural forms and spread to the civic class,and finally entered politics area and produced a series of evolutions under the influence of Japanese values to become the representative culture of Japan.This paper suggests that in today’s world of frequent cultural exchanges,China should,based on strengthening cultural self-confidence,actively and appropriately select and accept foreign cultures with the attitude of prioritizing our own culture and utilizing foreign culture for our own purposes.The research outcome can provide experience for the current Chinese culture to go to the world with high quality.

英国职教高校考试招生制度变革的内在逻辑与动力因素——基于历史制度主义的视角

职教高校考试招生制度是我国职业教育顺利迈向高质量发展阶段的关键制度。从历史制度主义考察英国近30年来职教高校考试招生制度的形成和变革,经历了基于扩大教育参与的初创阶段、基于提高职教标准的转型阶段以及对接产业发展战略的新发展阶段,这一发展历程既体现出制度变迁对学术资格考试的路径依赖,也体现了渐进转型的过程,最终摆脱对学术资格考试的依附,形成独立的技术资格考试招生制度。对驱动变革因素考察表明:经济利益驱动与文化认同是主要的结构性动力;制度的自我学习与强化是内生性动力;政府、雇主和高校的利益博弈是推进政策演变的行动性动力。

《三国志演义》批评曹操形象的小说化书写——以其“喜”“笑”为阐述中心

曹操奸雄形象的生成有其历史性过程,由正史到小说,再到小说内部不同版本,对于曹操“喜”“笑”的关键情绪书写存在差异,这些差异呈现的客观变化,是曹操形象逐渐小说化的过程,而这一过程也是小说创作者的思想倾向和艺术敏锐的结合。小说通过叠合、增删和衍生等方式,使曹操的“喜”与“笑”比正史书写更具备曲折与戏剧的一面,也展现曹操喜怒无常的奸雄个性。

英国“双重制”的兴衰之鉴:我国普职教育平等发展

英国“双重制”的生命周期仅二十余年,其兴衰之旅大致经过了酝酿、兴起和衰退三个阶段。对技术教育进步需求与学术教育保守要求之间矛盾的调和作用,使得“双重制”顺利实行。然而,地位与权利的不平等带来的趋同现象,促使英国高等教育公共部门丧失自身职能与特色,最终导致“双重制”的终结。韦弗等人构想的“双重制”对我国当前的社会发展、个人发展与教育发展皆利大于弊,有很高的借鉴价值。应从确保普通教育与职业教育权利与地位的平等,组织社会力量共同加强职业教育的质量建设,破除阻碍职业教育健康发展的不良社会环境三方面着手,推动我国普职教育平等发展,以确保社会、个人与教育等协同发展。

十六国时期的玉玺传说书写与政权合法性塑造

玉玺传说的书写在十六国时期空前强化。作为中原王朝宣扬正统性与合法性的核心器物,十六国诸政权通过大力宣传所获各类玉玺,为塑造政权合法性作出了一系列努力,同时也利用玉玺传说为诸项政治活动创造条件。十六国时期及后世史官对玉玺传说的书写,保留了较完整的传国玺争夺脉络与其他各类玉玺传说的流变过程。经过十六国时期的广泛流传,玉玺传说的内涵进一步丰富。玉玺传说在十六国时期的流传,对玉玺传说的书写模式变化及十六国时期政局均产生了深远的影响。

制造刘伯温:刘基形象构建与传播刍议

明代开国文臣刘基在民众心目中是神机妙算、无所不知,才能不逊于张良、诸葛亮的高大形象。事实上,刘基只是朱元璋创业和开国时期众多幕僚之一,在世时宦海沉浮并不得志。刘基去世后,由于他是唯一未遭政治清算的开国伯爵,且具备天文知识,故成为史家拔高、吹捧朱元璋的最佳陪衬人选。基于此原因,明代史家对刘基的传记书写刻意模仿《史记·留侯世家》的书写模式,受三国文化影响,又融入了大量三国文化元素。此类历史书写模式,虽然使刘基迅速登上神坛,并为民众所接受,但却导致刘基的历史叙述严重失真。特别是在明清野史、民间传说穿凿附会、层累叠加下,经浙籍官员推波助澜,被官方有意制造的刘伯温形象通过小说、话本、戏剧等文学形式进行传播,使刘基历史地位陡升,但元末明初文学家刘基的历史事迹却早已失去本来面貌。时至今日,民间只知制造出的刘伯温,而不知历史上真实的刘基。

《三国演义》“倚夜”结纂的叙事效果及其意蕴

《三国演义》在一定程度上可视作一部掩映在夜色中的政治史、军事史。罗贯中不仅通过战争、谋议的“夜间化”,增强政治、军事中波诡云谲的戏剧效果;而且以灯烛、火把等光源实现场景或人物的聚焦,强化叙事场景或人物的视觉冲击力;同时,他还有意识地借助星、月等“闲笔”烘托氛围,从而赋予小说叙事盎然的诗意情调。此外,《三国演义》还有意识地借助秋夜、冷月等自然界中带有“寒意”的事物,或是通过“占星”与“夜梦”等命定式悲剧色彩的小说叙述,或是以“互涉”的形式把小说文本引入悠远的历史语境,从而赋予小说叙事苍凉的历史情韵与厚重的文化底蕴。

《三国演义》数字出版领域本体构建基础研究

论证语义出版的领域本体构建理论运用于文艺作品数字出版的可行性,说明《三国演义》在严肃历史类长篇小说中的代表地位,提出对《三国演义》进行本体构建研究可对其余类型小说进行本体构建起到触类旁通作用。其后阐述领域本体构建在出版领域的应用现状,进一步分析适用于《三国演义》领域本体构建的原则和方法,将“明确性”“一致性”“扩展性”“智能性”“开放性”五大原则作为《三国演义》本体构建的原则,在七步法等国际惯用本体构建方法的基础上拟定九步法作为《三国演义》本体构建的方法论。之后,实际推演九步法中五步可用人工编辑方式验证的步骤用以验证本体构建运用于《三国演义》的可行性。最后,本研究对未来进行了展望。

学术史思维与时代性意识——论中国“通俗史学”发展的源流、路径及意义

学界对中国“通俗史学”研究的重要分歧在于对史学“娱乐化”(作品)的理解与接受,辨证该问题需从中国“通俗史学”自身的发展史及其学术功用之实践入手。从中国“通俗史学”发展的渊源来看,其历程至迟于唐代已开始,这个历史过程可以20世纪初“新史学”的提出为界,分为两个大的阶段,不同阶段表现出明显的时代特征。从“通俗史学”普及历史知识、延伸正统史学社会功能的角度看,中国“通俗史学”的发展有两条路径,一条以通俗历史读物等简化正统史学的形式为主,一条以讲史等娱乐性活动的形式为主。历史地看,两条路径下的史学“通俗化”发展均促进和实现了历史意识及史学意识的深化,延伸了史学本身在教化、教育等方面的社会功能。因此,当下的“通俗史学”研究应以时代意识来重新定位史学“娱乐性”作品。

庞统容貌“丑化”的文化意蕴

《三国演义》中庞统容貌的“丑化”并非是意在通过容貌贬低庞统,以达到凸显诸葛亮完美形象之目的。庞统容貌的“丑化”包含了三层内涵:一是,通过人物的“貌陋”,以示其“长相不凡”,并在“畸人”观的影响下,表达“外丑内美”的写人意图;二是,“貌陋”作为“失威仪之制”的一种表现,源自古代对狂士群体的一种形象期待,借以彰显庞统的狂士气质;三是,庞统的“貌陋”与其政治上的失意,在“以貌取人,失之子羽”择才观的文化传统中,也流露了深沉的“士不遇”的悲情色彩。

探析《水经注》对《三国志》的补证——以《水经注·沔水》为例

郦道元的《水经注》是我国重要的历史地理名著,对缺少地理志的《三国志》有补证作用。以《水经注·沔水》对《三国志》的补证为例,《水经注·沔水》详细考察了沔水流域重要的军事遗迹及周围山川水势,因而可补证三国时期发生在沔水流域的战争史实;记载了三国时期重要历史人物在沔水流域的轶事,故可补证《三国志》中的名人事迹;还记述了河流沿途的宗教文化、金石遗存等,正可补足《三国志》中所缺少的宗教与金石文献。总而言之,《水经注》对缺少地理志的《三国志》来说,有重要的参证与补足作用。

二战后英国移民政策的历史演进(1945-2010)

本文的研究对象是二战后(1945-2010)英国移民政策的历史演进。英国移民政策深受文化多元主义的影响,不仅促进了各群体间的和谐共存、融合发展,而且较好地保持了各族群的独特性,体现出开放性与包容性,成为世界民族融合的典范。二战后(1945-2010)英国移民政策共经历了四个时期:自由与鼓励的移民政策(1945-1961)、限制与控制的移民政策(1962-1997)、开放与包容的移民政策(1997-2007)、继承与转变的移民政策(2007—2010),移民政策属于一个国家的国内政策,体现了该国政府和执政党的执政理念和行动指南,更是一个国家的移民形势在政治层面的反映。

从口头文献的词汇考证科尔沁口语的古词——以布仁巴雅尔演述的《三国演义》为例

词义不仅是人类思维过程的产物,也是对客观现实的反映,它的变化与社会文化的变化有着密切的关系。而且,某些词语的古词义可能在该语言的方言或土语中保留下来,发挥着不可忽视的作用。本文以1984年8月内蒙古呼伦贝尔人民广播电台录制的胡尔奇布仁巴雅尔演述的62小时胡仁·乌力格尔作品《三国演义》的词汇为研究对象分析了该作品的词汇。通过分析发现这些词汇中保留了大量的蒙古语古词语,并证实科尔沁土语中的古词语仍保留着蒙古语古词语的原义。探析口头文献胡仁·乌力格尔《三国演义》词汇中出现的古词语对研究现代蒙古语的科尔沁土语提供了珍贵的资料。

地域风俗与历史传奇的多重书写——论熊式一长篇小说《天桥》

长篇小说《天桥》主人公李大同的人生经历展示出一部家族兴衰史和社会演变史,形成了丰富的美学意蕴。小说通过江西乡间风景、风俗民情、生活场面及俚语俗语的书写背景使文本更具独特的“中国性”,同时全面展示了晚清社会世相、大革命的无序混乱等,将曲折的中国近现代史予以具象展示。《天桥》以李明建造天桥始,又以李大同再建天桥终,呈现出“戏剧性”的线性结构;同时,文本在幽默诙谐与沉重的历史演义中传递了国人向世界寻求理解沟通的深切愿望。