Uniting Cultures With the Beijing Opera

A non-Chinese actor plays the Monkey King and dreams of bringing traditional productions together on stage.Ghaffar Pourazar is an Azary Iranian British national. At the age of 13, his parents sent him to Cambridge, England for his education. He graduated from college with a degree in computer systems, and then earned a master’s degree in computer animation. He started working in character animation in London, but his hobbies included dance, mime and theater. After years of training, Ghaffar is now a director and performer playing the Monkey King and other warrior roles with the Beijing Opera. He shares with us his journey in becoming the only foreigner to hold such positions with this traditional Chinese theater. Through his experiences, we learn how he created a unique bridge between his Western education and his desire to learn the ancient arts of the Chinese. His story begins when he lived in London.

A Study of Chinese Students in the United States and Its Implication for English Teaching in China

Language acquisition is a system with four components： language development, academic development, cognitive development and sociocultural development. Based on this theory, Chinese students in the United States are studied from three perspectives： linguistically, culturally, and social psychologically. It indicated that, to help Chinese students develop their English performance and cultural appreciation in this diverse world, the profession of English teaching in China should cover a variety of domains, including linguistic, cultural and psychological input. Both American and Chinese education can benefit from this special group of Chinese students if they can be better understood, and used as a bridge between China and U. S. cultural and academic exchange. In the meantime, the mirror held up to the Chinese students in these perspectives reflects not only who they are but also who they can become.

Units 7 Cultural relics课本要点精练

一、单词拼写根据句意和首字母或汉语提示,写出句中所缺单词的完全形式。1.The c________exchange between the two countries will make them better under

TWO CULTURES UNITE IN ONE FAMILY

While some deep-rooted antagonism between the Japanese and Chinese cultures lingers,the younger generation seems to be shrugging off politics

The Origin and Vision of National Cultural Park Management Policy in China

Research on the evolution of cultural policy is the key in the field of public policy study,and it is also an important means to solve the problems that have emerged in cultural heritage management.The National Cultural Park is an innovative cultural heritage protection system proposed by Chinese leaders within the context of national rejuvenation and building a culturally-strong country campaign.From the perspective of system evolution theory,this paper systematically sorts out the ideas behind international heritage management and the evolutionary process of the Cultural Relics Protection Unit system,in an effort to explore the origin,innovation and vision of the National Cultural Park System.A review of the international heritage documents revealed that the principle of heritage protection has developed from“authenticity”to“integrity”,and the focus of the protection object has also changed from“monism”to“diversity”,which provided a theoretical background for the burgeoning National Cultural Park.The Cultural Relics Protection Unit system has been promoted as the most crucial cultural heritage management system in China.Therefore,this study sheds light on the evolution and limitations of the system that lays a practical foundation for the National Cultural Park System.There have been three stages in the history of China’s National Cultural Relics Protection Unit,namely,the creation of the system(1956–1965),the survival crisis of the system(1966–1977),and the rebirth and development of the system(1978 to the present),in which the main driving concepts of China's cultural heritage management have been sequentially elucidated as simple protectionism,tolerant conservatism and comprehensive developmentalism,respectively.Since the establishment of China’s Cultural Relics Protection Unit system,tremendous progress has been made not only in the enlightenment of the public’s mindset and but also in the development of system and culture.However,the changes in the institutional environment gradually exposed its limitations regarding cultural relic management and value expression.The National Cultural Park System is the fruit created by the internal contradictions of the cultural heritage system itself and the evolution of heritage theory.Its biggest innovation lies in the two core connotations of“integrated protection”and“integrated development”.In the future,as the National Cultural Park management system matures,a Chinese cultural heritage management system will take shape in which the National Cultural Parks become dominant and various cultural resources are utilized.Finally,the National Cultural Park will become a symbol of Chinese culture and will be internalized into the common belief system of the Chinese nation.

Cultural unitred in the Old Testament

The paper describes and analyzes the full presence of red in the Old Testament-in Hebrew and translations.The approach is interdisciplinary,which includes:the treatment of color as a cultural unit,according to the idea of Umberto Eco;lexical and contextual semantics;examining Basic Color Terms(BCT-adjective,noun,verb),Prototype Terms(PT blood and fire),Rival Terms of Prototypes(RT),e.g.ruby;Ters for Basic Features of the Prototypes(TBFP burn);translation as a criterion and semiotic value;semiotic osmosis(semio-osmosis)as a process that aims equivalence between Hebrew PT and TBFP;semio-osmosis and accommodation;cultural and linguistic context;the interplay of old information(topic/theme)-new information(focus/rheme);rhizome of Hebrew root Aleph-Dalet-Mem deriving untranslatable set of words;well-structured and always translatable terms for PTs.Some links between the Old and New Testaments based on red color are explicit.

Cultural unit blue in the Old Testament

The paper describes and analyzes the full presence of blue in the Old Testament-in Hebrew and translations.The interdisciplinary approach in-cludes the treatment of color as a cultural unit according to of Eco's idea,lexical and contextual semantics,distinguishing visual and verbal color languages.The interface between verbal and visual color language is the prototype.Prototypes are universal natural visual objects-sky,sea,fire,blood,the sun at noon,all plants,light,milk,snow,darkness,and coal and have evolved into cultural units(Eco 1996[1985])in all cultures and languages.Basic Color Terms(BCT-blue),Prototype Terms(PT-sky and sea),Rivals Terms of prototypes(RT-sapphire,blue skins),Terms for Basic Features of the Prototypes(TBFP-breadth,infinite,boundless)are examined.Translation is a criterion for semiotic value,cultural and linguistic context.Norm of Test of Free Word-Associations is a source of non-color(secondary)meanings of verbal colors.Test results allow us to flesh out the hidden links‘prototype color-most typical feature of the proto-type-secondary meanings of color'in text and visual culture.The secondary cultural meanings of BCTs and RTs are specified in color compounds.The color blue tehelet is used in most cases in synergy(not in opposition)with the other three colors in a tetrad:purple argaman-scarlet tolaat shani-linen shesh.Analysis on the synergic relations is performed.The same applies to duads blue-linen,blue-purple,blue skins-scarlet,blue skins-red skins.Color compounds are elements of the Priestly Code,therefore a hypothesis on compounds at se-miotic axes is developed.The PT sky is involved in religious heritage.Themes as Hebrew substitute shamaim for the Tetragrammaton,the Hierarchy of heavens complete the areas of cultural unit blue in the Old Testament.