中国文化英语教程unit3原文翻译(束定芳版)
中国文化英语教程Unit 3
The Strategic Thoughts of Sunzi
• Treachery is meant to entice (诱使) the enemy to make all sorts of mistakes, defeating them after they all into a state of chaos.
• This is the principle of a “decent victory”.
The Strategic Thoughts of Sunzi
• It is not plausible to fight and win wars. • It‟s ideal to achieve victory through means other than war, such as politics, diplomacy, and other deterrent (威慑的) measures. • These ideas of Sunzi reflect his deep understanding of what we today call “holistic war (整体战争)”.
• Such holistic (全面的) thinking is a special feature of Sunzi’s Art of War.
The Strategic Thoughts of Sunzi
“One can fight and win a hundred wars if one knows both oneself and the enemy.”
The Strategic Thoughts of Sunzi
“Planning before going to war.” • Before entering a war, one must compare and analyze all factors of both sides, which mainly include: morale (士气), climate, terrain, commanders, and rules.
中国文化英语教程文本
P a r t I W i s d o m a n d B e l i e f s Unit 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”, ., 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 was an important treme for philosophers, and ant-war thinking was the norm. Eventhe 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 goingMen 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” c an 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 BuddhistFive 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 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.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, 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 Rome arrivedvia the Silk Road in Chang’an, were they set up an embassy.Part III Art and AestheticsUnit 5 Music: Govern the Country, Nourish the Mind The 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 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 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 Culture In 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.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 theYuan 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 PekingOpera depends on movement to depict events, actors are given much room to perform on the 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 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.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。
U3 Chinese Cuisine
Unit 3 Reading AChinese CuisineChinese Culinary ArtsPara. 1Chinese culinary arts are famous all over the world. Chinese dishes appeal to the senses through color, shape, aroma and taste. Chinese cuisine’s entree normally strives for three to five colors, made up of the main ingredient, and more secondary ingredients of contrasting colors and textures; these are prepared and cooked to enhance their own qualities, with the use of appropriate condiments and garnishing, enabling the chef to present an appealing platter of delicacy. Para. 2When preparing Chinese dishes, the cooks make a strong fragrant aroma to stimulate one’s appetite, by using scallion, fresh ginger, root garlic or chili pepper; with the use of wine, aniseed, cinnamon, peppercorn or sesame oil. Complementary nuances are added. Soy sauce, sugar, vinegar and other seasonings may be used discreetly, adding to the complex play on the taste buds.Para. 3All chefs of the Chinese kitchens, professional or amateur, strive for harmony of sight, smell, taste, texture, so that each individual dish has its unique features highlighted, contrasted and balanced if it is a dinner of many dishes, be it 3, 6, 9 or 12. The flavors must not overpower the food, yet subtle enough to meet the tastes of thosedining. Complex or simple dishes may be prepared quickly or much longer, but the ultimate goal is to share with the guests the play on the eaters’real and imagined visions of the dishes and its ingredients. Para. 4Once the meal is cooked, it is served all at once to the family, who eat with chopsticks and drink soup with a flat-bottomed soup spoon. The average dinner includes a staple —rice, noodles, bread, or pancakes — a meat dish, vegetable, and soup, which serves as a beverage. For formal meals and banquets, there are many successive courses which are served in a strict traditional order. Another point is that over festive periods, with the play of word’s phonetics, felicitous names of dishes may encourage people to guess what they are about to eat, thereby adding fun to eating.Para. 5Chinese food enjoys a high reputation in the world also for its sheer abundance. It is due to the diversity of the climate, products and customs that there are widely different food styles and tastes in local regions.Para. 6For local styles, Beijing cuisine combines the best features of different regional styles. Shandong cuisine represents the Northern dishes. Shandong cooks are good at cooking seafood. Sichuan cooks specialize in chilies and hot peppers and Sichuan dish is famous for aromatic and spicy sauces. Guangdong cooks make use of many ingredients. They look for fresh, tender, crisp textures. Huai Yang cuisinestresses the natural flavors. Dishes are strong but not greasy, and light but delicate. There is a saying that “southerners have a sweet tooth, and northerners crave salt”, but Tan dishes manage to satisfy both. Because China’s local dishes have their own typical characteristics, Chinese food can be divided into eight regional cuisines, the distinction of which is now widely accepted.Everyday Eating Customs in ChinaPara. 7Chinese cuisine culture is deeply rooted in China’s history. There are so many “whys”that you may find so interesting: Why is a fish never turned over? Why do tea-drinkers surreptitiously tap tables? Why are Chinese dinner tables round and how will you know who is the guest of honor?Para. 8The whole meal will be more enjoyable if you know a little of the ancient traditions and beliefs that place the meal in a 5,000-year-old culinary heritage.Para. 9 As a visitor or guest in either a Chinese home or restaurant you will find that table manners are essential and the distinctive courtesies displayed will invariably add to the enjoyment of your meals and keep you in high spirits!(1)Though customs and the kinds of food eaten vary from region to region, it is most common for Chinese families to gather for three meals a day.(2) An individual place setting for an everyday meal includes a bowl of fan (rice), a pair of chopsticks, a flat-bottomed soupspoon, and a saucer. Instead of a napkin, a hot towel is often provided at the start as well as the end of the meal for the diner to wipe his hands and mouth.(3) The real difference is that in the West, you have your own plate of food, while in China all the dishes will be put on the table for everyone’s share. The meat and vegetable dishes are laid out all at once in the center of the table, and the diners eat directly from the communal plates using their chopsticks. Soup is also eaten from the common bowl. Rather than for serving oneself a separate portion, the saucer is used for bones and shells or as a place to rest a bite taken from a communal plate when it is too large to eat all at once.(4) It is perfectly acceptable to reach across the table to take a morsel from a far-away dish. To facilitate access to all the dishes, Chinese dining tables are more likely to be square or round, rather than elongated like their western counterparts.(5) Maybe one of the things that will surprise a Western visitor most is that some of the Chinese hosts would like to put food into the plates of their guests. Usually in formal dinners, there are always “public”chopsticks and spoons for this purpose, but some hosts may still use their own chopsticks. This is a token of genuine friendship and politeness. It is polite to eat the food. If you don’t like to eat it, please just leave thefood in the plate.(6) Eating usually begins in order of seniority, with each diner taking the cue to start from his or her immediate superior.(7) In order to cool the soup a bit and to better diffuse the flavor in the mouth, soup is eaten by sipping from the spoon. This method, of course, produces the slurping noise that is a taboo in the West.(8) Rice is the staple food. To eat fan, a diner raises the bowl to her lips and pushes the grains into her mouth with chopsticks. This is the easiest way to eat it and shows proper enjoyment. The diner must finish the entire bowl of rice, otherwise it is considered bad manners —a lack of respect for the labor of the farmers.(9)People in China tend to over-order food, especially at banquets or get-togethers, for they will find it embarrassing that all the food is consumed or not enough.Reading BOn EatingXia MianzunPara.1 The first word that comes to mind when someone starts to talk about Chinese Lunar New Year is most definitely “eating”. This has its origins in my childhood, and the still-vivid memories of gleefulanticipation, lasting all winter, every winter. We children pined for Spring Festival and everything about it, above all, though, the variety of foods offered. Our anticipation grew stronger with every passing day before the Festival.Para.2 The Chinese are a people of the world particularly skilled at eating. In an average home, when a guest arrives, the host and hostess will get right to work, respectively going out to get the food, then hurrying to the kitchen to prepare a meal. Meanwhile, the guest is usually waiting in the living room, enjoying some watermelon seeds, waiting for mealtime to arrive, listening to the cacophony of bowls, plates, kitchen knife, and cutting board. After the meal, where the purpose of the visit is usually expressed and addressed, the guest will stand and apologize for “Causing so much trouble,”while the host will say “Nothing to it.”Sometimes, the host will even try to convince the guest to stay and say, “Have afternoon tea”or “Stay for dinner”. Para.3On occasions of celebration or mourning, though the ceremony is usually held for its own sake, its substance is still, in fact, about filling the stomach. For the rich, this usually means a feast lasting five to seven continuous days, while for the poor it will take one to three. Through breakfast, lunch, tea, dinner and evening snacks, each day is filled with one meal after another, until the wine drunk could almost fill a bathtub and the meat eaten could be piled high.Para.4On the eve of the Lunar New Year, close relatives will exchange food and alternate inviting one family or the other for the New Year’s Eve Meal. During the first several days of the New Year, relatives and friends will visit one another and share a meal or two. We eat at the Dragon Boat Festival in early summer, we eat at the Mid-Autumn Festival, we eat on birthdays, we eat when we gather with friends or when we say farewell to a friend. In fact, on virtually every possible occasion, whether we celebrate or mourn, we eat. It seems as though eating is the start and finish of all things and supersedes everything else.Para.5Children will ask their Mother for a nickel or two several times a day for the snacks they eat to keep them happy, in addition to the three meals they eat to keep them sated. For an adult, the first rule of morality is to let your parents eat well. Learning to cook has always been a critical part of the traditional education of girls in China. The Analects testify that Confucius himself likes good food. “The finer the grain the better, the more exquisite the meat the better,”he writes. “Go and buy wine as well as bacon.”He would not deign to eat “meat improperly cut”!A man can be proud if his wife can prepare delicate dishes. Many scholars have also taken pains to try their hands at writing a gourmet’s handbook.Para.6In Chinese culture, it is not only the spirits and humans who like to eat, but Deities, too. Gods of the mountains and rivers, despite beingmouthless, will enjoy a pig head, or perhaps even the whole animal. In some areas, it is the goat or ox that is offered as a sacrifice in return for good weather and a bountiful harvest, or protection from floods and droughts, among other things. There are even convenient books and calendars passed down in which you can find the Deities’personal preference for sacrifices. Compared to those Deities of pageants who are idealistic in their desire for only hymns and worship, the Deities of the Chinese seem extremely materialistic.Para.7The poet, Mei Cun, once wrote, “Out of every ten shops of buying, three serve wine and are places of dine.”He is right. While the West is full of banks, China is filled with restaurants. As the saying goes，“There are seven tasks awaiting you the moment you open the door every morning.”Indeed, the most burdensome task that comes with running a home is not educating children or anything else, but preparing the day’s three meals. In a school, the most difficult thing to handle is perhaps not improving the teaching or the teachers themselves, but rather disorder in the school cafeteria.Para.8The list of cooking techniques is endless, too: roast, stew, steam, pickle, fry, boil, treat with liquor, broil, saute, scramble, cold blend, etc. Some great chefs of the past have had their names committed to history books, where they glimmer alongside those of great statesmen and generals. It seems that even this was not enough, and some lucky oneswere even promoted to premier or chancellor. If there is one thing on which China can pride itself, it would not be its long and unbroken civilization, nor its vast territory, nor its great population, its mighty army, or noble military history. It would have to be the vibrancy of its cuisine and its people’s love of eating. It seems that Chinese cuisine has conquered much of the world. There is a saying that the Chinese are best at using three kinds of knives; the first of these is the kitchen knife, of course (with the other two being the barber’s knife and the foot doctor’s knife).Para.9Have you ever seen that picture of the three Deities, often hung in the hall of a pious and reverent household? To have the blessing of the three Deities, Fathers Fu, Lu, and Shou, who represent prosperous posterity, wealth and authority, and health and longevity, respectively, is the goal of every Chinese. Depicted in the center of the picture is Father Lu, on his right, Father Fu and his left, Father Shou. In the simplest sense, Father Lu represents good food. Lao Tzu, the great Chinese philosopher in the age before Christ, also said once that “the multitude should have their brains empty and their stomach filled”and “Saints rule by keeping their people from starvation, not from boredom.”As you can see, eating always comes first for the Chinese, who would easily forget all else. Among sex, gambling, hedonism, and luxurious clothes —the most common sins and pleasures —people here all regard a fondnessfor eating as most venial. “Vanity is vain, good food is good for the body, gambling never really wins, and too much sex ends in nothing.”Ultimately, other than being sated with good food, all is meaningless. Para.10The Chinese fondness of eating has lent many colorful expressions to their mother tongue. The simple word “chi”, to eat, by virtue of numerous extended meanings has become perhaps most complicated in the Chinese language. It is commonly used as the substitute for the words “have”or “suffer”in English. For example, “Have been taken advantage of”is “chi kui.”“Have had a slap in the face”is “chi erguang.”“To long for things one is not worth of”is “to dream to ‘chi’the meat of a swan.”“Being sued by somebody”is “chi guansi.”To be hit by a bullet is to “chi zidan”. In addition, there are expressions in the Shanghai dialect, such as “chi shenghuo”and “chi paitou”, meaning “to be beaten”and “to be scolded.”Casual greetings for most peoples are usually “Good Morning,”“Good Afternoon,”and “Good Evening.”For Chinese, it is “Had your breakfast?”“Had your lunch?”or “Had your dinner?”You can express your line of work with “chi ... fan”(have a certain bowl of rice). For instance, “chi du fan,”means to make a living in the gambling trade. “Chi tangzi fan’, means to run a brothel. “Chi yanghang fan”means to be a comprador, and so on. What’s more, for serious things like religious beliefs or service in the army entrusted with the protection ofthe country, the Chinese use “chi”to denote a level of devotion, rather than a way for making a living. Colloquially, Catholics in China are called those who “chi tianzhujiao de.”And other Christians are the “chi yesujiao de.”Those in the army are not usually called soldiers or servicemen but rather “chi huangliang de,”meaning those who get their rice from the government. Lately, new phrases have emerged, like “chi dang fan”or “chi sanminzhuyi,”meaning those working for the Kuomintang and the followers of Dr. Sun Yat-sen’s revolutionary doctrines.Para.11Originally, it was human nature to be concerned about clothing, dining, housing and travelling, the basic elements of everyday life. Man, of course, would not survive without eating. However, no country outside China has connotations of the word for eating so complicated, concern for eating so serious and conspicuous, cuisine methods so complicated, the variety of foods so wide-ranging, or the appearance that nothing seems to matter more than eating. It seems that Chinese could put up with dirty clothes, a shabby dwelling, and muddy streets, but never with perfunctory meals. Among those four basic concerns of a human being, the importance of eating is greater than everything else, a rather awkward tendency and philosophy, I think. It is as though the Chinese culture is one based solely on a concern for stuffing one’s mouth.Para.12In Buddhism, the Buddha divides all beings into six echelons: the Heavenly, the Human Being, the Daemon, the Animal, the Hell, and the Starving Ghost. If we believe in this division as well as Samsara or Transmigration preached by Buddha, one might wonder whether the Chinese are all born into the sixth echelon, the Starving Ghosts.Reading CInspiration for ChangePara.1Taste is more important than anything else as far as food is concerned. The Chinese have never restricted themselves to a certain tedious food list. With their understanding of food, the Chinese are always looking for an inspiration for change.Para.2Once the clouds clear up, Yao Guiwen moves the split-bamboo baskets to the terrace. He and his wife have spent days making the tofu balls. Some tofu has already turned yellowish. But that’s far from enough. Yao has to wait several days more. When it gets hard and shriveled and the skin turns black, then the tofu has matured. The change is because of fermentation.Para.3 Wang Cuihua tightly wraps the shapeless tender tofu with gauze and squeezes out the water. Then the tofu takes shape. There is no time to lose. The fresh tofu will quickly turn sour. It means Wang has to work very quickly without rest.Para.4 A basin of charcoal fire of proper heat will be the key to Yao’s work in the afternoon.Para.5Jianshui in Honghe Prefecture of Yunnan Province was named Lin’an in ancient times. It was once an important city in southwest China during the past 1,200 years. Its brilliance has gradually faded with the passage of time. Just like many other towns in Yunnan, Jianshui is a multi-ethnic settlement. Different cultures have merged here, conjuring a unique atmosphere.Para.6The tough tofu quickly inflates in the heat of charcoal fire. It reminds people of fermented flour. People of Jianshui like enjoying this special air-dried and fermented flavor. People can enjoy the tofu with varied sauces. But for Yao, the texture of tofu is the most important. Para.7 Tofu easily ferments in the warm weather of the river valley area. And the mildly dry air prevents it from rotting. Yao is more sensitive than anyone else to the subtle relations between wind, water, sunshine and tofu.Para.8This is the famous Daban Well of Jianshui. Beside the well, women set up a production line of tofu by just using their fingers. Para.9Water is a necessity in every procedure of making tofu. With a total of 128 wells in Jianshui, local residents are well versed with water. The Chinese believe water nourishes the spirit and mind of people. Just like water to tofu, the common points speak for themselves.Para.10The ancient town of Shiping is less than 40km from Jianshui. Tofu here has a completely different look. The finished product is shockingly big. But it’s unusually tenacious. And it almost doesn’t crumble. A dash of salt can best preserve tofu’s freshness.Para.11Yunnan has never been a major soybean production area, but it has a long history of making tofu. One corn for one piece of tofu. There is a tacit agreement between the buyer and the seller.Para.12For the past three decades, Yao’s tofu stall has never been quiet. It takes half an hour to walk from the stall to home and Yao has to go across almost the entire town. The rapid development has changed many aspects of Jianshui. As time goes by, some variables have disappeared and others, altered. And new ones are added. But there are some that stand the tests of time and remain.Para.13The Yao’s life centered on tofu is watery and hard. The biggest wish of the husband is to fish in the big lake far away. He has no merits but only shortcomings. To the couple, every piece of tofu is precious. It helps them to support their children and sustain a happy family life. Para.14In the past over 1,000 years, with rounds of northern immigration, tofu, the representative of central China’s food culture, has taken roots in the abundant land on the southwest border. And it has developed its unique disposition. The production details remind us of the hinter land of central China that is thousands of miles away. There, frombirth to prosperity, tofu has enjoyed a history of 2,000 years.Para.15Hu Xuebing is on his way to the county town. He needs to sell his tofu at the morning market.Para.16Shouxian County is an old little town in the north Anhui Province, people there has a special attachment to tofu. They believe their ancestors invented the great tofu. In middle October, soybeans in north Anhui have already been ripped and stored. Tofu made with newly harvested soybeans has always been the most popular in China’s thousands years old history of agriculture. Soybean has long occupied an important position among the well-known legumes. Soybean is the richest in protein and the cheapest sustenance, but it was once in an awkward position. Cooked soybeans failed to wet people’s appetite and, to make matters worse, caused flatulence. People urgently needed to find the best way to consume soybeans.Para.17The white powder on scale is gypsum, the key to turn spy milk into tofu. Hu Xuebing can use gypsum as skillfully as his ancestors.When the denatured protein meets the g ypsum, the boiling soy milk quickly, coagulates. The change is so drastic that it can be seen in a bli nk of eye.Para.18 Gypsum often appeared in secret scriptures of Chinese war locks. It is said that was how the relation between gypsum and tofuoriginally started. Over 2,000 year ago, Liu An, the king of Huan’nan was addicted to alchemy when nurturing a immortal pill in soymilk. He happened to add some gypsum in it. Many people believe that’s how tofo was invented, regardless of whether the reality was as dramatic as the story. Chinese must be groping for a long time before finally making tofu a great food of china. The invention of tofu however completely changes the fate of soybeans.Para.19The great flexibility of tofu offers huge room for the imagination of the Chinese well-known for the culinary skills. The disadvantages of soybeans were eliminated by reason or unconsciously. As the ancient Chinese transform soybeans into tofu, the use of soybean protein reaches the climax. Chinese cooks’understanding of tofu will often take you by surprise. Maybe it is also correct to say that the Chinese are showing their adaptability through tofu, and thus, soybeans have been sublimated. The milky juice arouses many thoughts in our mind.。
综合英语《文化透视英语教程》第三册课后英译汉
Unit1种族或民族的传承就如性别和社会等级一样对塑造身份很重要，并且种族还能影响一个人的生活质量、教育机会和职场晋升。
长期以来美国社会挣扎着去面对和克服基于民族的种族主义和种族歧视问题。
远在内战开始前，美国各反奴隶制群体就开始反对奴役美国黑人并致力于废除全美奴隶制度的工作，不光是美国黑人因肤色和民族而遭受不公的待遇和歧视，这些群体还包括：19世纪被运到美国修建穿越全美铁路的中国人，19世纪后期为了寻求更好生活的欧洲移民，20世纪为了养家而赴美做苦力的日本人以及从北部移居美国的拉美人。
由于人们对种族，阶级和性别之间相互影响的意识增强，从小学到研究生各个层次的学校课程都包含了关于种族、等级和性别的内容或者说开设了致力于我们个人身份和个人历史重要成分的整套课程。
UNIT 2毋庸置疑，语言也是一种政治工具、手段，以及权利的证明。
它是个人身份的最鲜明而又最重要的特征: 它揭示了个人身份，使一个人与公众或社区的身份相关联或分离。
在某些特定的时间和地点，讲某种语言是危险的，甚至是致命的。
再或者，一个人也许和其他人说同一种语言，但是他说话的方式会使他的家世被暴露，或（也有可能正如他所期望的）被隐藏起来。
这一点在法国如此，在英格兰也更是如此：在那个潮湿小岛上的（占主导地位的）方言，使得英格兰人完全理解英格兰岛上所使用的英语，但对于其他岛外的人来说，却完全无法理解这种语言。
在英格兰开口讲话，就相当于（如果我可以用一句黑人英语来说的话）”把你的一切公诸于世”：你已经对人坦白了你的父母双亲，你的青年时代，你的教育背景，你的个人收入，你的自尊，甚至还有你的前途。
UNIT 4.除了立法之外，国会听证会在没有来自市民的群众团体的压力下是不可能取得任何成就的。
最终，你的信件、电话和传真才能成为反抗电视暴力的最好武器，并可以抑制犯罪，保障你在宪法第二修正案中的权益。
当你在电视节目中看到一些毫无意义而又不必要的暴力时，给相关的电视网络管理人写信，让他们了解你的感受。
中国文化英语教程束定芳教师用书
中国文化英语教程束定芳教师用书
中国文化英语教程是一种特殊的教材，旨在帮助学生了解中国的文化背景及其对英语学习的影响。
束定芳教师用书是这门课程的辅助教材之一，有助于教师更好地教授这门课程。
中国文化英语教程的目标是通过学习中国文化，提高学生的英语水平，增加他们对中国的了解。
这门课程涵盖了中国历史、文学、艺术、哲学、宗教和传统习俗等多个方面。
通过学习这些内容，学生可以更好地理解中国人民的思维方式、价值观和生活方式。
束定芳教师用书以教师为主要受众，为他们提供了丰富的教学资源和指导。
这本书包括了教学大纲、课堂活动、练习题和教学策略等内容。
教师可以根据自己的教学需要，选择适合的教学材料，设计教学活动，并使用教学策略提高学生的学习效果。
束定芳教师用书的优势在于其全面的内容和灵活的使用方式。
教师可以根据学生的英语水平和学习需求，选择合适的教学材料和教学方法。
同时，这本书也提供了一些案例和实例，帮助教师更好地理解中国文化，并将其与英语教学相结合。
除了教师用书，中国文化英语教程还包括学生用书和配套的多媒体教学资源。
学生用书提供了学习指导和练习题，帮助学生巩固所学知识。
多媒体教学资源包括音频和视频材料，可以帮助学生更好地理解课程内容。
总之，中国文化英语教程束定芳教师用书是一本有助于教师教授中国文化英语课程的资源，可以帮助教师更好地了解中国文化，并将其与英语教学相结合。
通过这门课程，学生不仅可以提高英语水平，还可以增加对中国文化的了解。
中国文化英语教程unit3原文翻译(束定芳版)
中国文化英语教程unit3原文翻译(束定芳版)
摘要：
1.中国文化英语教程unit3 的内容概述
2.束定芳版的特点和优势
3.原文翻译的注意事项
4.翻译实例分析
5.总结与展望
正文：
【1】中国文化英语教程unit3 的内容概述
中国文化英语教程unit3 主要介绍了中国传统文化中的一些核心概念和价值观，包括儒家思想、道家思想、佛教思想等。
通过学习这些内容，可以让学生更好地理解和欣赏中国文化的深度和广度。
【2】束定芳版的特点和优势
束定芳版的中国文化英语教程，以其严谨的学术态度、深入浅出的语言表达和丰富的文化内涵，深受广大学习者的喜爱。
其主要特点和优势在于，它能够将复杂的文化概念用简单的语言表达出来，使得学习者更容易理解和接受。
【3】原文翻译的注意事项
原文翻译是一项重要的任务，需要注意以下几点：首先，要保持原文的准确性，不能随意篡改原文的意思；其次，要注意语言的通顺和表达的清晰，使得翻译出来的英文能够让人理解和接受；最后，要注意文化的传递，尽可能地将原文中的文化信息传递给读者。
【4】翻译实例分析
例如，原文中的“仁者爱人”，可以翻译为“A person of 仁loves others”；“道可道，非常道”，可以翻译为“The way that can be spoken is not the eternal way”；“般若波罗蜜多”，可以翻译为“Prajnaparamita”。
【5】总结与展望
中国文化英语教程unit3 的束定芳版，为我们提供了一个学习中国文化的重要途径。
在原文翻译的过程中，我们需要注意保持原文的准确性、语言的通顺和表达的清晰，以及文化的传递。
unit 3中国文化英语阅读
emotional health?
Tui Na and Your Emotional Health
Vocabulary about body: Bladder Liver Meridian Gall Kidney
Spleen
囊；膀胱 肝脏 经脉 胆汁 肾脏 脾脏
Tui Na and Your Emotional Health
Positive Emotions ?
Negative Emotions ?
Positive Emotions
Top 10 positive emotions
Joy Gratitude Serenity Interest Hope Pride Amusement Inspiration Awe Love
connected with ? 3. What are liver and gall bladder linked to? 4. When there is a history of depression, what would the therapist look to?
Tui Na and Your Emotional Health
Guasha
刮痧是以中医经络腧穴理论为指
导， 通过特制的刮痧器具和相应的手 法，蘸取一定的介质， 在体表进行反复刮动、摩擦，使 皮肤局部出现红色粟粒状(millet grain)，或暗红色出血点等“出 痧”变化， 从而达到活血透痧的作用。
Cupping
Through either heat or suction,
the skin is gently drawn upwards by creating a vacuum in a cup over the target area of the skin. The cup stays in place for five to fifteen minutes. It is believed by some to help treat pain, deep scar tissues in the muscles and connective tissue, muscle knots, and swelling;
束定芳中国文化英语教程翻译16单元
束定芳中国文化英语教程翻译16单元在中国走向世界的过程中，传播中国文化、增进中外交流显得尤为重要。
为此，编写一本针对中国文化英语教程的教材显得尤为必要。
本篇文章以束定芳编写的《中国文化英语教程》为例，对其16个单元进行详细解析，以期帮助学习者更好地掌握和运用英语传播中国文化。
一、引言随着全球化的发展，英语已成为国际间沟通交流的主要语言。
因此，能够用英语表达和传播中国文化，对于提升中国文化在国际舞台上的影响力具有重要意义。
本篇文章针对束定芳编写的《中国文化英语教程》的16个单元进行概述，以期帮助学习者更好地学习和掌握。
二、中国文化英语教程概述《中国文化英语教程》旨在通过英语这一国际语言，向全球传播中国文化。
本教程以实用性和可读性为原则，结合束定芳教授在跨文化交际领域的丰富经验，以及对中国文化的深入研究，为学习者提供了一本难得的教材。
教程特点如下：1.内容丰富：涵盖了中国传统文化的各个方面，如传统节日、美食、书法、戏剧、民间传说、古代发明、名胜古迹、传统工艺品、诗词、绘画、武术、民俗、宗教、现代文学、影视作品以及体育项目等。
2.结构清晰：每个单元都围绕一个主题展开，内容循序渐进，便于学习者理解和掌握。
3.语言简练：采用通俗易懂的英语表达，适合各种水平的英语学习者。
4.实践性强：每个单元都配有实践性练习，旨在帮助学习者在实际应用中提高英语表达能力。
三、16个单元详细解析1.单元1：中国传统节日中国传统节日丰富多彩，如春节、元宵节、端午节等。
本单元将介绍中国传统节日的起源、庆祝活动和习俗。
2.单元2：中国美食中国美食享有盛誉，有着悠久的历史和丰富的种类。
本单元将介绍中国美食的特点、烹饪技巧和代表菜品。
3.单元3：中国书法中国书法是一种独特的艺术形式，具有很高的审美价值。
本单元将介绍中国书法的历史、流派和技法。
4.单元4：中国传统戏剧中国传统戏剧包括京剧、越剧等，具有悠久的历史和丰富的表演形式。
本单元将介绍中国传统戏剧的发展历程、表演特点和经典剧目。
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中国文化英语教程unit3原文翻译(束定芳版)
（原创实用版）
目录
1.介绍中国文化英语教程 Unit 3 的内容
2.翻译束定芳版的 Unit 3 原文
3.对原文进行详细解读
正文
中国文化英语教程是一本面向英语学习者的教材，旨在通过教授中国文化的知识，帮助学习者更好地理解和掌握英语。
本教程的 Unit 3 主题为“中国传统文化”，内容包括中国古代哲学、文学、艺术等方面。
本文将对束定芳版的 Unit 3 原文进行翻译，并详细解读原文内容。
【原文翻译】
Unit 3: Chinese Traditional Culture
Lesson 1: Confucianism
1.1 Confucius and His Ideas
1.2 The Five Constant Virtues
1.3 The Four Noble Truths
Lesson 2: Taoism
2.1 Lao Tzu and His Thoughts
2.2 The Yin and Yang
2.3 The Tao Te Ching
Lesson 3: Chinese Literature
3.1 The Analects
3.2 The I Ching
3.3 Tang Poetry
Lesson 4: Chinese Art
4.1 Calligraphy
4.2 Painting
4.3 Sculpture
Lesson 5: Chinese Traditional Music
5.1 The Qin
5.2 The Erhu
5.3 The Guqin
【原文解读】
本单元的主题是中国传统文化，共分为五个小节，分别是儒家、道家、中国文学、中国艺术和中国传统音乐。
第一节课是儒家，主要介绍了儒家学派的创始人孔子及其思想，以及儒家五常：仁、义、礼、智、信。
同时，还介绍了佛教的四谛：苦、集、灭、道。
第二节课是道家，讲述了道家学派的老子及其思想，包括道家的阴阳学说和《道德经》。
第三节课是中国文学，本节课选编了《论语》、《易经》和唐诗作为学习材料，以展示中国古代文学的魅力。
第四节课是中国艺术，包括书法、绘画和雕塑，这些都是中国艺术的重要表现形式。
第五节课是中国传统音乐，选取了古琴、二胡和古筝三种乐器进行介绍，以展现中国传统音乐的韵味。